much zeal and industry in his interests that the old man, whose one weakness is a too great love of money, gives the supposed youth a full measure of admiration and affection.  Fidelio’s beauty and gentleness have worked havoc with the heart of Marcellina, the jailer’s pretty daughter, who is disposed to cast off Jaquino, the turnkey, upon whose suit she had smiled till her love for Fidelio came between.  Rocco looks with auspicious eye upon the prospect of having so industrious and thrifty a son-in-law as Fidelio promises to be to comfort his old age.  The action now begins in the courtyard of the prison, where, before the jailer’s lodge, Marcellina is performing her household duties—­ironing the linen, to be specific.  Jaquino, who has been watching for an opportunity to speak to her alone (no doubt alarmed at the new posture which his love affair is assuming), resolves to ask her to marry him.  The duet, quite in the Mozartian vein, breathes simplicity throughout; plain people, with plain manners, these, who express simple thoughts in simple language.  Jaquino begins eagerly:—­

[Musical excerpt—­“Jetzt, Schatzchen, jetzt sind wir allein, wir konnon vertraulich nun plaudern.”]

But Marcellina affects to be annoyed and urges him to come to the point at once.  Quite delicious is the manner in which Beethoven delineates Jaquino’s timid hesitation:—­

[Musical excerpt—­“Ich—­ich habe”]

Jaquino’s wooing is interrupted by a knocking at the door (realistically reproduced in the music)

[Musical excerpt]

and when he goes to open the wicket, Marcellina expresses no sympathy for his sufferings, but ecstatically proclaims her love for Fidelio as the reason why she must needs say nay.  And this she does, not amiably or sympathetically, but pettishly and with an impatient reiteration of “No, no, no, no!” in which the bassoon drolly supports her.  A second knocking at the door, then a third, and finally she is relieved of her tormentor by Rocco, who calls him out into the garden.  Left alone, Marcellina sings her longing for Fidelio and pictures the domestic bliss which shall follow her union with him.  Rocco and Jaquino enter, and close after them Leonore, wearied by the weight of some chains which she had carried to the smith for repairs.  She renders an account for purchases of supplies, and her thrift rejoices the heart of Rocco, who praises her zeal in his behalf and promises her a reward.  Her reply, that she does not do her duty merely for the sake of wage, he interprets as an allusion to love for his daughter.  The four now give expression to their thoughts and emotions.  Marcellina indulges her day-dream of love; Leonore reflects upon the dangerous position in which her disguise has placed her; Jaquino observes with trepidation the disposition of Rocco to bring about a marriage between his daughter and Fidelio.  Varied and contrasting emotions, these, yet Beethoven has cast their expression in the mould of a canon built on the following melody, which is sung in turn by each of the four personages:—­