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But as time sped on and the ladies still tarried, the young men began to grow anxious; many of them spoke aloud of female vanity, and made derisive comments on the coiffing and the like, which they imagined was the cause of the delay; eventually one of their number, tired of strutting before a mirror, happened to go to look out of the window toward the Rhine.
The scene of the coiffing is a print of Hogarth's translated to the stage; Rofrano's name "Octavian Maria Ehrenreich Bonaventura Fernand Hyazinth" is like an essay on the culture of the Vienna of Canaletto; the polite jargon of eighteenth-century aristocratic Austria spoken by the characters, with its stiff, courteous forms and intermingled French, must have been studied from old journals and gazettes.
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