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Updated: June 29, 2025
Henry is contrasted sharply with the mercurial hot-headedness of the Master; and each character stands forth more vividly because of its opposition to the other. Of the two women who are loved by Tito Melema, the one, Tessa, is simple and childish, the other, Romola, complex and intellectual.
Like many of the wealthier citizens in that time of pestilence, he spent the intervals of business chiefly in the country: the agreeable Melema was welcome at many villas, and since Romola had refused to leave the city, he had no need to provide a country residence of his own.
This was the attitude in which the mimic San Giovanni presented himself as the tall car jerked and vibrated on its slow way round the piazza to the northern gate of the Baptistery. "There go the Masters of the Zecca, and there is my brother you see him, Melema?" cried Cennini, with an agreeable stirring of pride at showing a stranger what was too familiar to be remarkable to fellow-citizens.
There has been no great people without processions, and the man who thinks himself too wise to be moved by them to anything but contempt, is like the puddle that was proud of standing alone while the river rushed by." No one said anything after this indignant burst of Cennini's till he himself spoke again. "Hark! the trumpets of the Signoria: now comes the last stage of the show, Melema.
Great characters in non-dramatic fiction have often resulted from abstract imagining, without direct reference to any actual person: Don Quixote, Tito Melema, Leatherstocking, sprang full-grown from their creators' minds and struck the world as strange and new.
Do you accept this test, Melema? or have you anything to allege against its validity? The Jacopo you speak of, was he a scholar?" It was a fearful crisis for Tito. If he said "Yes," his quick mind told him that he would shake the credibility of his story: if he said "No," he risked everything on the uncertain extent of Baldassarre's imbecility.
His name is Tito Melema, at your service." Romola's astonishment could hardly have been greater if the stranger had worn a panther-skin and carried a thyrsus; for the cunning barber had said nothing of the Greek's age or appearance; and among her father's scholarly visitors, she had hardly ever seen any but middle-aged or grey-headed men.
He had never yet done an act of murderous cruelty even to the smallest animal that could utter a cry, but at that moment he would have been capable of treading the breath from a smiling child for the sake of his own safety. "What does this mean, Melema?" said Bernardo Rucellai, in a tone of cautious surprise.
One of these spectators was Tito Melema. Bright, in the midst of brightness, he sat at the window of the room above Nello's shop, his right elbow resting on the red drapery hanging from the window-sill, and his head supported in a backward position by the right-hand, which pressed the curls against his ear.
They do not appear ready-made and finished at the beginning of a story, but, like real human beings amid the struggles of life, they change for the better or the worse. Tito Melema in Romola is an example of her skill in evolving character. At the outset, he is a beautiful Greek boy with a keen zest for pleasure.
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