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Updated: June 19, 2025
The spectacle of this happy community ought to teach us humility and charity in judgment. Perhaps the philosophy of its attractiveness lies deeper than its 'dolce far niente' existence. We may never have considered the attraction for us of the disagreeable, the positive fascination of the uncommonly ugly.
A strangely solemn expression drifted over her countenance, but at that moment a tall form darkened the doorway, and she smiled. "Come in, General Laurance. Punctuality is essentially an American virtue, rarely displayed in this dolce far niente land; and you exemplify its nationality. Five was the hour you named, and my little Swiss tell-tale is even now sounding the last stroke."
In the Finale, Allegro non troppo, we are really clear, at the outset, of the toils of musing melancholy. After big bursts of chords, a tune rolls pleasantly along, dolce cantabile, in basses of wood and strings. Expressive after-phrases abound, all in the same jolly mood, until the whole band break boisterously on the simple song, with a new sonorous phrase of basses.
Again, in speaking of the famous altar-piece the Assumption, now in the Academy at Venice painted by Titian in 1516, Dolce mentions him twice as "giovinetto."
They are not Indians, they are not negroes, they are "zamboes" a mixture of both. They are coarse-featured, and coarsely clad. The zambo enjoys his dolce far niente while his wife does his work what work there is, but that is not much.
Each of the three had lost an eye in the course of his misfortunes. III. The third number is the idyll, both of the stories and of the music. There is no prelude of the narrator. The idyll begins straightway, Andantino quasi allegretto, winds through all kinds of scenes and storms, then sings again dolce e cantabile.
“O quam placens in colore, O quam fragrans in odore, O quam sapidum in ore, Dolce linguae vinculum. “Felix venter quem intrabis, Felix guttur quod rigabis, Felix os quod tu lavabis; Et beata labia!”
I will not say that I was very proud of my new name. The Corean noblemen, during their many hours of dolce far niente, often indulge in games of chess, backgammon and checkers, and teach these games to their sons as part of a gentleman's accomplishments. Cards, besides being forbidden by order of the king, are considered vulgar and a low amusement only fit for the lowest people.
The seventeenth century produced many pictures of this class; among them, a beautiful work by Guido Reni, in Rome, deserves mention, being executed with greater care than was usual with him. Sassoferrato and Carlo Dolce frequently painted the subject. Their Madonnas often seem affected, not to say sentimental, after the simpler and nobler types of the earlier period.
As he himself confesses, the balmy climate, the glorious landscapes, the languid dolce far niente, which tended to enervate all that came under their magic spell, wrought on his susceptible temperament with peculiar effect.
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