In no other part of the opera is the pathetic element express so prominent, the conflict being so strongly expressed that a serious catastrophe appears inevitable. But Susanna's unexpected appearance brings about an explanation, which could not be more aptly expressed than by the rhythmical motif of the second movement.[35] Susanna's mocking merriment, which for a moment rules the situation, is in some degree moderated by the uncertainty of the two others. The want of repose of the following movement alters the character again, while the chief characters have to adapt themselves to their change of relative position. The Count has to propitiate his wife, without being altogether convinced himself; the Countess's anger and forgiveness both come from the heart, but she feels that she is not now quite in the right. Susanna is exerting herself to bring about explanation and reconciliation, and in so doing takes involuntarily, as it were, the upper hand of the Countess. It is a mimic war, carried on in the most courteous manner; every emotion is broken and disturbed. Now let us turn to the music. A succession of short motifs, each of which characterises a particular element of the situation, are loosely put together, none of them independently worked out, one driving out the other. But the {LE NOZZE DI FIGARO.} (104) motifs occur in every case just where dramatic expression demands, and each repetition throws a new light upon the situation, turning the apparent confusion into a well-formed musical whole. Figaro brings an element of unrestrained gaiety into the midst of this troubled atmosphere; the G major following immediately on the E flat major breaks away from all that has gone before. His merriment is truly refreshing, but even he feels some constraint knowing that his secret is betrayed, without being aware of what has led to it. The eagerness with which the Count interrupts him, the anxiety with which the women seek to put him in the right way, his alternate holding back and yielding, give the scene a diplomatic sort of tone, wonderfully well-rendered by a tinge of dignity in the music, which only here and there betrays, involuntarily as it were, more animation. The closing ensemble gives to each of the four voices a mysterious character which is quite inimitable. A complete contrast to this delicate play is afforded by the half-drunken gardener with his denunciation; this opponent requires quite a different treatment. The musical characterisation becomes more lively and broader, the different features more strongly marked. As soon as the Count begins his examination of Figaro, the tone alters again. The remarkable andante 6-8 in which the beating motif--[See Page Image] is hurried through the most varied harmonic transitions expresses an impatience which is scarcely to be kept from violent explosion, quite in accordance with the suspense with which the progress of the explanation is followed by