son being transferred to the orchestra while she acquaints Susanna of her relationship to Figaro. Susanna, incredulous of the wonderful story, demands confirmation from each person present in turn, and the situation assumes a comic character, consisting however only in the unexpected turn of events, not in the sentiments of the persons interested, who only wish to be quite sure of their facts before giving themselves up to unmitigated delight. Once assured of their happiness, it overflows in fervent gratitude with an enchanting grace that invests the happy lovers with a sort of inspired and radiant beauty. Mozart has added very much to the effect by keeping the whole passage _sotto voce_, a device which he always employs with deep psychological truth.[40] But the lovers are not alone, and the contrast afforded by the other personages present prevents the purely idyllic character which would be incongruous in this scene. One of these is the Count, who with difficulty restrains his rage so far as not to commit himself. The other is the stupid, stuttering judge, Don Curzio, who has pronounced judgment as the Count's tool, and is now amazed at what is passing before him; incapable of an idea, he says first one thing and then another, and finally takes refuge in obsequiously following the opinions of his lord and master. The striking musical effect of the high tenor going with the Count's deep bass gives an expression of cutting irony, and emphasises the stupidity of the judge who chimes in with the Count, without in the least entering into the passions which agitate him. Don Curzio serves here the same purpose as Basiliain the terzet of the first act, mingling a comic element with the expression of a deeper emotion, and modifying, without injuring, the serious ground-tone of the piece. This mode of construction is altogether Mozart's own, and is a striking testimony to his power of grasping and delineating dramatic truth. Kelly narrates that Mozart begged him not to stutter {LE NOZZE DI FIGARO.} (108) while he was singing lest the impression of the music should be disturbed. He answered that it would be unnatural if a stutterer should lose his defect as soon as he began to sing, and undertook to do no harm to the music. Mozart gave in at last, and the result was so successful that the sestet had to be repeated, and Mozart himself laughed inordinately. He came on the stage after the performance, shook Kelly by both hands and thanked him, saying: "You were right and I was wrong."[41] This was doubtless very amiable of Mozart, but his first view was the right one, nevertheless. The artifice might succeed in a master of mimicry, but Don Curzio ought certainly not to be made the principal person in the sestet. On the contrary, he might well be omitted altogether as a musical pleonasm; at least, if Basilio were to be brought in and made to take the same part in the action.