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Updated: April 30, 2025
"Oh, I thought of a lot of things to do to show that she, too, loved Turiddu and that she had as much right to love and to be loved as Santuzza had. Santuzza had had her chance, and had failed." Brent was highly amused. "You seem to forget that Lola was a married woman and that if Santuzza didn't get a husband she'd be the mother of a fatherless child."
Santuzza or Lola? Susan debated. Santuzza was the big and easy part; Lola, the smaller part, was of the kind that is usually neglected. But Susan saw possibilities in the character of the woman who won Turiddu away the triumphant woman. The two women represented the two kinds of love the love that is serious, the love that is light.
The full face was kind, if keen; was sympathetic was the man as nature had made him. The profile was the great man the man his career had made. And Susan knew that the profile was master. "Which part did you like Santuzza or Lola?" "Lola," replied she. He paused, looked at her quickly. Why?" "Oh, I don't sympathize with the woman or the man who's deserted.
They spent the afternoon on the one thing Lola coming on, singing her gay song, her halt at sight of Santuzza and Turiddu, her look at Santuzza, at Turiddu, her greeting for each. They tried it twenty different ways. They discussed what would have been in the minds of all three. They built up "business" for Lola, and for the two others to increase the significance of Lola's actions.
I pity, but I can't help seeing it's her or his own fault. Lola explains why. Wouldn't you rather laugh than cry? Santuzza may have been attractive in the moments of passion, but how she must have bored Turiddu the rest of the time! She was so intense, so serious so vain and selfish." "Vain and selfish? That's interesting." He walked up and down several times, then turned on her abruptly.
I saw Duse for the first time in the part of Santuzza, and I remember to this day a certain gentle and pathetic gesture of her apparently unconscious hand, turning back the sleeve of her lover's coat over his wrist, while her eyes fasten on his eyes in a great thirst for what is to be found in them. The Santuzza of Mimi Aguglia is a stinging thing that bites when it is stepped on.
As the sacristan opens its doors, the villagers appear and sing a hymn to the Madonna. A hurried duet follows, in which Santuzza reveals to mother Lucia her grief at the perfidy of Turridu. In the next scene Turridu enters. Santuzza upbraids him, and a passionate duet follows in which Santuzza's suspicions are more than confirmed by his avowal of his passion for Lola.
And experience had taught her why it is that human nature soon tires of intensity, turns to frivolity. She felt that, if she could act, she would try to show that not Turiddu's fickleness nor his contempt of the woman who had yielded, but Santuzza's sad intensity and Lola's butterfly gayety had cost Santuzza her lover and her lover his life.
Her eyes criticized him in this new garb his broad head, and its crisp, dark, shining hair, his air of sturdy, lazy, lovable audacity. He looked well in evening clothes. When he sat down, she could still see just a little of his profile; and, vaguely watching the stout Santuzza and the stouter Turiddu, she wondered whether, by fixing her eyes on him, she could make him turn and see her.
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