after the same realistic manner, as, among others, the drawing of the swords in the first terzet, the flourish of trumpets and clinking of glasses in the third, the piping and cannon reports in the war chorus (8), the beating of the heart in Dorabella's air (28) suggested by the quavers on the oboe, and the general clinking of glasses in the last finale by the pizzicato of the violins.[63] These are all pleasing touches, introduced without injury to more important features, but they do not reach to the same height of psychological characterisation which we are wont to admire in Mozart's operas. Other devices of opera buffa are more constantly employed here than elsewhere, especially rapidity of speech; but, on the other hand, there is no trace of any attempt at imitating national peculiarities, even when the disguises assumed might have given rise to it; Mozart could not but feel that a musical disguise of the kind would very soon, fatigue the audience. The effort to cater to the taste of the public goes hand in hand with submission to the dictates of the singers, and we find their influence far more visible in "Cosi fan Tutte" than in "Figaro" or "Don Giovanni." There is an evident effort to please individual taste in the concerted airs, and in the unusually light and pleasing melodies; such concessions cause this opera, more than any other, to resemble the best works of Italian masters. The peculiar qualities of Mozart's nature, his refinement and nobility of thought, his wealth of productivity, and his marvellous technical knowledge, are as distinctly marked in this opera as elsewhere. The planning, the construction, the grouping of parts, are so firm, so transparently clear, that we follow even the most complicated movements with ease. The freedom and pliancy of the disposition of parts, where there occurs a combination of different characteristic melodies, the easy dexterity displayed in the employment of contrapuntal forms, co-operate to excite and rivet the attention of the hearer, without causing him any sense of effort. The quality, however, which delights us more than any other in this opera is its delicate sense of beautiful sound, {LABOUR AND POVERTY.} (274)