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You can do just what you like with him make an Italian of him; make him renounce his engagement to this pert little Lena of Lenkenstein, break his sword, play Arlecchino, do what you please. He is not required for any outrageous performance. A week, and Angelo will have recovered his strength; you likewise may resume the statuesque demeanour which you have been exhibiting here.
The little theatre is a kind of trysting-place for lovers in humble life, and there is a great deal of amusing drama going on between the acts, in which the invariable Beppo and Nina of the Venetian populace take the place of the invariable Arlecchino and Facanapa of the stage.
From doll-hood Arlecchino took life, and, so promoted, flitted through a thousand comedies, only to be again what he first was; save that, as once a doll played the man, so now a man plays the doll. It is but a memory of Arlecchino that our children see, a poor statue or image endowed with mobility rather than with life.
Ariel fulfils his office, and is not of one kind with those he serves. Is there a memory of Harlequin in that delicate figure? Something of the subservient immortality, of the light indignity, proper to Pantaleone, Brighella, Arlecchino, Colombina, and the Clown, hovers away from the stage when Ariel is released from the trouble of human things. Immortality, did I say?
From doll-hood Arlecchino took life, and, so promoted, flitted through a thousand comedies, only to be again what he first was; save that, as once a doll played the man, so now a man plays the doll. It is but a memory of Arlecchino that our children see, a poor statue or image endowed with mobility rather than with life.
This has been preserved in its entirety, together with the author's preface, from which valuable information may be gathered. The work is an attempt to turn into a lyric form the "Commedia dell' Arte," enacted in early times at village fairs in northern Italy. The characters are Arlecchino, Pantalone, Doctor Graziano, Brighella, Isabella, Lelio and others.
According to the plot of the play, Pantalone is an old merchant of Rimini who arrives in Venice with his family. Colombina is his daughter, and was played, of course, by Belviso; Arlecchino and Brighella are his simpleton sons they were the manager and myself. Il Nanno was Punchinello, his Neapolitan servant, Il Dottore his travelling physician.
Ariel fulfils his office, and is not of one kind with those he serves. Is there a memory of Harlequin in that delicate figure? Something of the subservient immortality, of the light indignity, proper to Pantaleone, Brighella, Arlecchino, Colombina, and the Clown, hovers away from the stage when Ariel is released from the trouble of human things. Immortality, did I say?
The "Arlecchino" of this work has much sprightliness, and shows the influence of Schumann, who made the harlequin particularly his own; but there is none of Chopin's nocturnity in the "Notturno," which presents the sussurus and the moonlit, amorous company of "Boccaccio's Villa."
You can do just what you like with him make an Italian of him; make him renounce his engagement to this pert little Lena of Lenkenstein, break his sword, play Arlecchino, do what you please. He is not required for any outrageous performance. A week, and Angelo will have recovered his strength; you likewise may resume the statuesque demeanour which you have been exhibiting here.
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