After the completion of the pretended cure, the lovers again come to the foreground and express their passion in extravagant ravings; the reluctance of the ladies, in spite of Despina's and Don Alfonso's persuasions, again gives a comic tone to the situation, contributing to the production of an ensemble singularly rich in contrasting sentiments. The orchestra again serves as a groundwork, and an original and persistent violin figure gives the andante a strange, somewhat solemn character, with which the voices frequently contrast in a manner highly suggestive of the situation. The instrumentation also lends its aid. Not only are the stringed instruments here employed so differently to the preceding movement that they scarcely seem the same instruments; but, whereas oboes with flutes and bassoons {THE SECOND FINALE.} (271) predominated in the former case, here clarinets and bassoons are reinforced by trumpets with highly original effect. The tone-colouring alters completely at the commencement of the allegro. The flutes in unison with the violins, and the tremolo quaver accompaniment, express a decree of sensual excitement which contrasts strikingly with the calm, exalted tone of the andante. The lovers awaking from their trance and demanding a kiss, the sisters are transported with an indignation far more intense than that excited by the first encounter. Don Alfonso and Despina seek to pacify them, and an unwilling suspicion that the very violence of the resentment argues against its absolute sincerity modifies in the minds of the lovers the comic impression of the whole scene. The dramatic characterisation of all these opposing elements, the well-defined grouping of the characters, the force and fire with which the climax is worked up, and the tumult of excited emotions with which the finale ends, give it a place above the corresponding first finale in "Figaro," and on a level with that in "Don Giovanni." The second finale begins with the wedding ceremony, which is charmingly and graphically depicted. Despina, who is joined by Don Alfonso, gives directions to the servants for the reception of the bridal party, and the whole of the first movement sparkles with life and gaiety, preparing the way for the festive chorus in which the two couples are presently welcomed. Then follows the endearing talk of the lovers, who seat themselves at table, drink to each other, and finally join in an amorous canon. This is a trait taken from the social manners of the time (Vol. II., p. 362), just as the independent treatment of the wind instruments during the whole scene represents the customary table music.[62] A startling enharmonic transition (from A flat major to E major) transports us out of this lovesick mood, and the scene which follows with the notary is as full of humour as that with the physician, although the context {COSÎ FAN TUTTE.} (272)