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The acting, by the Sicilian actors, of "La Figlia di Jorio," seemed to me to do something towards the solution of part at least of this problem. The play, as one reads it, has perhaps less than usual of the beauty which d'Annunzio elaborates in his dramatic speech.
For that impatient and lively people had, as now, a language distinct from speech a language of signs and motions, inexpressibly significant and vivacious: their descendants retain it, and the learned Jorio hath written a most entertaining work upon that species of hieroglyphical gesticulation.
There is no love in her heart, only love of possession, jealousy, an unreasonable hate; and she is not truly pathetic or tragic in her furious wrestle with her lover on the church steps or in her plot against him which sends an unanticipated knife into his heart. Yet, in the Mila di Codra of d'Annunzio's "Figlia di Jorio" she has moments of absolute greatness.
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