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Updated: April 30, 2025
Andreozzo, her father, entreats his wife to carry her to the Saint, and implore her assistance. Francesca's humility cannot endure this direct appeal, and she tries to put them off; but, deeply affected by their tears, she at last touches with her finger the tongue of the little Camilla, and says, "Hope every thing from the mercy of God; it is as boundless as His power."
A wife with a really large fortune and a correspondingly big dower of character and ambition, might, perhaps, succeed in turning Comus's latent energies into a groove which would provide him, if not with a career, at least with an occupation, and the young serious face opposite looked as if its owner lacked neither character or ambition. Francesca's speculations took a more personal turn.
She raised her eyes, and Evangelista stood before her; his familiar aspect unchanged, but his features transfigured and beaming with ineffable splendour. By his side was another of the same size and height as himself, but more beautiful still. Francesca's lips move, but in vain she seeks to articulate; the joy and the terror of that moment are too intense.
Wherever he might be and whatever might happen to him, she could still love him from afar, and have, for her very own, the woman's joy of utmost giving. When the carriage came, she went down, and, without a word put her note into Aunt Francesca's faithful hands.
Madame Francesca's blue eyes filled with a sudden mist. Slowly she turned on her finger the worn band of gold that her gallant Captain had placed there ere he went to war. It carried still a deep remembrance too holy for speech. "Property," repeated the old lady, in a whisper. "Ah, but how dear it is to be owned!"
Odo lingered long on this image, but it was not till he stood beneath Piero della Francesca's portrait of the first Duke that he felt the thrill of kindred instincts. In this grave face, with its sensuous mouth and melancholy speculative eyes, he recognised the mingled strain of impressionability and unrest that had reached such diverse issues in his cousin and himself.
The scene would have been rather pretty and touching, but meantime the Worm had turned and despatched a letter to the Majestic at the quarantine station, telling her that he had found a less reluctant bride in the person of her intimate friend Miss Rosa Van Brunt; and so Francesca's dream of duty and sacrifice was over.
Willingly I would address these two together coming, Which seem so light before the wind." Francesca's reply to Dante is of Love and Death: "Love, that in gentle heart is quickly learnt, Entangled him by that fair form...; Love, that denial takes from none beloved, Caught me with pleasing him so passing well, That as thou seest, he yet deserts me not. Love brought us to one death."
Stephen Phillips, in the first act of Paolo and Francesca, outdoes all his predecessors, ancient or modern, in his daring use of sibylline prophecy. He makes Giovanni's blind foster-mother, Angela, foretell the tragedy in almost every detail, save that, in her vision, she cannot see the face of Francesca's lover. Mr.
Reanda entirely agreed with him on this point, and when Gloria spoke of it, he never failed to draw a lively picture of the drawbacks attending stage life. The artist spoke very strongly, for one of Gloria's earliest and chiefest attractions in his eyes had been the certainty he felt that she belonged to Francesca's class.
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