the enchanting duet with Susanna (Act III., 1); but the situation is rendered endurable to the audience by the knowledge that Susanna is playing a part to please the Countess. Mozart has given this little duet a title to be placed in the first rank of musical works of art by the delicacy with which he has rendered the mixture of encouragement and coyness in Susanna's demeanour, her true motives being as clear to the audience as is the misunderstanding of the Count. The harmonic turns of her evasive answer to his passionate request, "Signor, la donna ognora tempo ha di dir si," are masterpieces of musical diplomacy. Even the piquant conceit by which she answers his urgent questions, "Verrai? non mancherai?" with "si" instead of "no," and _vice versa_, to his great perplexity, has something more than a merely comic signification.[18] It characterises most strikingly the security with which she plays with his passion as expressed in these eager, flattering requests. Even here, delight at his hard-won victory predominates over his sensual impulses.
The sensual element of love plays far too great a part in "Figaro," however, to be altogether disregarded in its musical rendering. It would be a difficult matter to determine how far and in what way music is capable of giving artistic expression to this side of the tender passion; but it cannot be disputed that Mozart has in this respect competed successfully with the sister arts of painting and poetry. In Susanna's so-called garden air (Act IV., 5) her longing for her betrothed is expressed with all the tender intensity of purest beauty; but the simple notes, cradled as it were in blissful calm, that seem to be breathed forth "soft as the balmy breath of eve," glow with a mild warmth that stirs the heart to its depth, entrancing the mind, and intoxicating the senses like the song of the nightingale. The _pizzicato_ accompaniment of the air fitly suggests a serenade. It gives the voice free scope, and the sparely introduced wind instruments, as well as the tender passage for the first violin towards the close, only serve to give a finer emphasis to the
full body of the voice. The impression of longing delight is intensified by the simplicity of the harmonies, as if from fear of disturbing by any sudden change the calm bliss of the passing moment. But what analysis can penetrate these mysteries of creative genius[19] Mozart was right to let the feelings of the loving maiden shine forth in all their depth and purity, for Susanna has none but her Figaro in her mind, and the sentiments she expresses are her true ones. Figaro in his hiding-place, listening and suspecting her of waiting the Count's arrival, throws, a cross light on the situation, which, however, only receives its full dramatic signification by reason of the truth of Susanna's expression of feeling. Susanna, without her sensual charm is inconceivable, and a tinge of sensuality is an essential element of her nature; but Mozart has transfigured it into a noble purity which may fitly be compared with the grandest achievements of Greek sculpture.