Act II. _Rodolpho's_ sleeping apartment at the inn. He enters,
conducted by _Lisa_. She is coquettish, he quite willing to meet her halfway in taking liberties with her. He learns from her that his identity as the lord of the castle has now been discovered by the villagers, and that they will shortly come to the inn to offer their congratulations.
He is annoyed, but quite willing that _Lisa's_ attractions shall atone therefor. At that moment, however, there is a noise without, and _Lisa_ escapes into an adjoining room. In her haste she drops her handkerchief, which _Rodolpho_ picks up and hangs over the bedpost. A few moments later he is amazed to see _Amina_, all in white, raise his window and enter his room. He realizes almost immediately that she is walking in her sleep, and that it is her somnambulism which has given rise to the superstition of the village phantom. In her sleep _Amina_ speaks of her approaching marriage, of _Elvino's_ jealousy, of their quarrel and reconciliation. _Rodolpho_, not wishing to embarrass her by his presence should she suddenly awaken, extinguishes the candles, steps out of the window and closes it lightly after him. Still asleep _Amina_ sinks down upon the bed.
The villagers enter to greet _Rodolpho_. As the room is darkened, and, to their amusement, they see the figure of a woman on the bed, they are about to withdraw discreetly, when _Lisa_, who knows what has happened, enters with a light, brings in _Elvino_, and points out _Amina_ to him. The light, the sounds, awaken her. Her natural confusion at the situation in which she finds herself is mistaken by _Elvino_ for evidence of guilt. He casts her off. The others, save _Teresa_, share his suspicions. _Teresa_, in a simple, natural way, takes the handkerchief hanging over the bedpost and places it around _Amina's_ neck, and when the poor, grief-stricken girl swoons, as _Elvino_ turns away from her, her foster-mother catches her in her arms.
In this scene, indeed in this act, the most striking musical number is the duet near the end. It is feelingly composed, and, as befits the situation of a girl mistakenly, yet none the less cruelly, accused by her lover, is almost wholly devoid of vocal embellishment. It begins with _Amina's_ protestations of innocence: "D'un pensiero, e d'un accento" (Not in thought's remotest region).
When _Elvino's_ voice joins hers there is no comfort for her in his words. He is still haunted by dark suspicions.
[Music]
An unusual and beautiful effect is the closing of the duet with an expressive phrase for tenor alone: "Questo pianto del mio cor" (With what grief my heart is torn).
[Music]