No More Learning

They looked at each other, astonished at his firmness, and cast
ferocious glances at the old man.
"Did you hear what I said, you old fool ? ” cried the one-eyed
zaptié.
"I've nothing to think about — let me go home,” he answered
hoarsely.
The zaptiés could not contain themselves.
Mayor, throw the old fool down,” cried the one-eyed ruffian,
seizing his kourbash or Circassian whip.
The mayor and Tsanko begged for mercy for the old man.
The only reply was a kick which felled Stoïko to the ground.
Then blows followed fast on his body. Old Stoïko groaned
heavily for some time, then became silent: he had fainted; his
forehead was drenched with a cold sweat,- he was worn out by
his day's work.
They undressed him to bring him to his senses.
When he comes to himself, let me know; — I'll make him
speak. ”
“For God's sake, Hajji Aga, I entreat you, have pity on the
poor old man! He can't stand any more pain,- he'll die,” said
Tsanko entreatingly.
"Long live the Sultan, you rebel! ” cried the short zaptié
in a passion. “You deserve to be hanged yourself for harboring
rebels in your house; you're very likely hiding the shepherd here
somewhere. Let's search the house! ”
Tsanko's face fell involuntarily. Although frenzied with drink,
the one-eyed zaptié saw his confusion. He turned at once to
the short one: -
“Youssouf Aga, there's something wrong here — let's search
the ghiaour's house. ”
And he arose.
"At your service,” said Tsanko hoarsely, showing the way
with a lantern.
He led them all over the house, leaving the closet to the
last. Finally he lighted them there too. In the blackened ceiling
there was a trap-door which led to the rafters, and so outside
on to the roof. When it was closed it could not be noticed.
(CC
((
>


## p. 15285 (#229) ##########################################

IVAN VAZOFF
15285
C
»
Tsanko knew that Ognianoff had climbed up through it to the
rafters and replaced the cover. So he led the Turks in with the
utmost confidence.
His first glance was towards the ceiling. What was his sur-
prise to find the trap-door open!
Tsanko remained petrified where he stood. The Turks
searched the closet.
“Where does that opening lead to ? ”
“To the rafters, muttered Tsanko. His legs trembled under
him, and he had to cling to the wall for support.
The short zaptié noticed his terror.
"Just give a light here while I get up, will you ? ” he said;
I
but a sudden thought crossed his mind, and he called to his
comrade: -
“Hassan Aga, you're taller than I am: get on the mayor's
back. ”
Hassan Aga knew no fear when he had got his skinful; drink
made a hero of him. He at once climbed up over the mayor's
shoulders.
“Now then, bring the light, confound you! ”
Tsanko, white as a sheet, handed him the light mechanically.
The zaptié first held the lantern in front of him, then put
his head within the opening. From the motion of his body one
could see he was searching with the light on every side.
At last he reappeared, jumped down, and said:-
“Who is it you've been hiding there? ”
Tsanko looked blankly at him. He did not know what
answer to give. He had suffered so much that evening that he
had almost lost his senses; his thoughts became confused. The
question was repeated: he stammered out some meaningless re-
ply.
“The rebel will give a proper answer at Klissoura. There's
a better prison there; he can stop here for the night. ”
And the zaptiés locked him up in the dark and chilly closet.
Tsanko was so overwhelmed with terror and confusion that it
was some minutes before he could collect his thoughts. He
clasped his head with both hands, as if to retain his presence of
mind. He was lacking in determination, and suffering had at
once crushed him. He sobbed and groaned in despair.
There was a knock at the door, and Deïko's voice was heard:-
“What are you going to do now, Tsanko ? »
(C
((


## p. 15286 (#230) ##########################################

15286
IVAN VAZOFF
“I don't know, Deïko. Tell me what's best. »
“ Come, you know the Turks' weakness. You must give them
something; it's the only way to get out of it: else they'll drag
you from one court-house to another till you're utterly ruined.
Poor old Stoïko could have spared himself this with a trifle.
Give, Tsanko! give 'em your white silver to keep off black sor-
row. ”
His wife came too, weeping bitterly:-
“Let's give them what we can! Never mind, Tsanko: it's
the only way to get out of the murderers' hands. They've killed
poor old Stoïko. Dear, dear! to think I should live to see it. ”
« But what are we to give, wife ? You know we haven't
any money. ”
"Let's give the necklace! ”
Donka's necklace, with the coins ? »
“Yes, yes! it's all we have,- it's the only way to get rid of
them. Why, they're asking for Donka now - the cursed brutes ! »
“Do what God thinks best, wife. I'm all in a muddle,” mut-
tered Tsanko from his prison.
His wife and Deïko went away.
Soon after, a light shone through the chinks in the boards of
the closet, and the door was unlocked.
"Come out, Tsanko: you're free,” said Dečko.
« The Agas
were good fellows after all. They've given you back the knife
as well; so there's no cause for fear. You've got off cheap. "
And bending to his ear, he whispered low:-
"It can't last much longer: either they'll finish us off, or we
must them. This life can't go on like this. ”
« What!
(
»


## p. 15286 (#231) ##########################################



## p. 15286 (#232) ##########################################


高​。
LOPE DE VEGA.


## p. 15286 (#233) ##########################################

{ { { {! ' ; ; 1 ji
; ܝܺܝ ;'1.
;
ܙ
.
. . !
"?
܃ ܃ ܃ ܃ ) v£
܀ "" °1
>
1
:.
܂ 1' ;»
}!
!
܃ ܃ ܃ ܃ : ; ' ܂
ܠܐ
{. ܀ . ,. . ; 1,1
7
111:
.
܂ ܂ ܕ
! !
'1« 1
ܕ ܙ ܝ ܀ ܝܰܝܢ
i_? " 1 : 1
; "! ; ' ܢ ܀
i
'
t
,
I
. * . ; : '܂ r } }
' 1.
: ܢܠܐ ܢ: . f
܀ ;, »' ' . 1
;-
ܕ
,ܪ
ܕ °i
ܬ
:
3
1:1 ܀
fܢ
I. . : :
ܢܢ ܙܢ ܀. .


## p. 15286 (#234) ##########################################


$


## p. 15287 (#235) ##########################################

15287
LOPE DE VEGA
(1562-1635)
BY MAURICE FRANCIS EGAN
He comedies of Lope de Vega — of which three hundred still
exist, but difficult to obtain are worth serious study by
06
the sociologists, and the modern maker of plays who may
need to revive a jaded imagination. The material used in these
dramas is enormous; it is rich, suggestive, often rare and poetical.
Sismondi (Literature of the South of Europe') says of Lope:
«In order to have written 2,200 theatrical pieces, he must every eight days,
from the beginning to the end of his life, have given to the public a new
play of about three thousand verses; and in these eight days he must not
only have found the time necessary for invention and writing, but also for
making the historical researches into customs and manners on which the play
is founded, - to consult Tacitus, for example, in order to compose his Nero”:
while the fruits of his spare time were twenty-one volumes in quarto of
poetry, among which are five epic poems. )
He was called the Phænix of Poets; and Calderon justly named
him “the prodigy of nature” (el monstruo de naturalelza). The fecund-
ity of Alexandre Dumas père is in our time a matter of wonder, in
spite of the fact that he had co-laborers; the ease with which Lope
de Vega turned out comedies, tragi-comedies, tragedies, moralities,
autos sacramentales, interludes, and even epics, beats the very record
of the author of Monte Cristo. Lope was pressed into continuous
action by the hungry theatrical managers, and a continual flood of
gold poured into his caskets; but like Dumas the elder, he was gen-
erous and extravagant. It is easy to understand the non-morality of
Dumas, who seems to have been a creature of emotion and imagi-
nation; and one feels that the reader who could take Aramis or
D'Artagnan so seriously as to copy their moral laxity, must not
only be as unstable as water, but already corrupt. In the case of
Lope we find, especially in the cloak and sword” dramas, an amaz-
ing disregard for the crime of murder, and the constant assumption
that «love excuses all things. ” And yet he was intensely religious
and moral in those dramatic legends of the saints, and in those
sacred spectacles called “autos,” which were usually performed in
honor of the Blessed Sacrament on the Feast of Corpus Christi.
There is in his 'Lives and Legends of the Saints,' and in his (Autos,'
the same strange mixture of mythological and Christian personages,
)


## p. 15288 (#236) ##########################################

15288
LOPE DE VEGA
(
which, even under the magic touch of his friend Calderon, shocks
us; but his essential Christianity would satisfy even the most exact-
ing. Frederick Bouterwek (History of Spanish Literature'), from
whom Sismondi has borrowed largely, tells us that Lope, though
wildly romantic in his spirit, was a realist in his method; he pre-
sented “the morals and manners of his time”: and when one has read
the memoirs of De Retz, — Dumas's “coadjutor,”. - one may explain
the modern king of romancers in the same way. But Lope de Vega,
who was in holy orders when he did most of his dramatic work,
must have either felt that he might exhibit anything on the stage in
which God permitted the Devil to have a hand, or he looked upon
his productions as without the teaching quality. The dramas (the
term comedy” is more elastic in Spanish than in English) — of man-
ners, of the cloak and sword — are not constantly licentious as those
of the Restoration period are; but Shakespeare is an ascetic and the
sternest of moralists in comparison with Lope as a depicter of the
life of the sixteenth century, with whom love always gets the better
of duty. According to the law of society, a man might kill his wife
for infidelity, but his intrigues with any wandering damsel might
be regarded leniently, even with amusement. And the virtues of the
erratic gentlewomen in many of the plays pass for perfect virtue,
unless by some mischance their declension is publicly exposed. , The
king, in one of the heroic comedies, (The Certain for the Doubtful,'
resolves to kill his brother because he believes that Don Henry has
possessed Doña Juana. He coolly says:-
(
«« This night will I assassinate Don Henry,
And he being dead, I will espouse thee. Then
Thou never canst compare his love with mine.
'Tis true that while he lives I can't espouse thee,
Seeing that my dishonor lives in him
Who hath usurped this place reserved for me. ”
This peculiar and delicate sense of honor, which demands a broth-
er's murder to keep it stainless, may well make modern men marvel.
Still it is not more absurd than the Continental sense of honor, which
asks a duel for a misstep, requiring blood for an injured corn!
In analyzing some of the dramas, one is rather more surprised
that the Church showered honors on Lope than that the Spanish
clerics — as George Ticknor clearly points out - objected strenuously
in the beginning to the secularization of the drama, which com-
menced as a conveyance for religious instruction. It had been in
fact a theological object lesson, which in the “autos” it still continued
to be. In the third part of the sixteenth century, the division of
the Spanish drama into Divine and human” was first made. The
human” comedies were either comedias heroyeas) or comedias
(


## p. 15289 (#237) ##########################################

LOPE DE VEGA
15289
»
a
de capa y Espodas”; the Divine” comedies either « Vidas de San-
tos or "Autos Sacramentales. ” There were prologues called “loas,"
and «intermeses,” — which were, when dance and song were intro-
duced, called “saynetes. ” “Coplas” were short strophes sung during
the saraband, or other dance.
Lope de Vega's invention was inexhaustible, and he is seldom
uninteresting. He pushes one breathless from complication to com-
plication; he has in perfection the art of conversation; he rushes
from episode to episode with the agility of Dumas. He is not above
cutting with one blow of his sword the Gordian knot he has tied;
and some of his climaxes are as sudden as the conversion of the
wicked brother and the marriage of Celia in As You Like It. '
In fact, there is much similarity between the methods of the Span-
ish and the English drama. And Lope made the methods of the
Spanish drama, though he did not invent them. He disregarded
unities and classic traditions; he mixed up grave with gay, the hor-
rible and the ludicrous, in a manner which afterwards horrified the
French critics, and drove them to outbursts as violent as that of Vol-
taire against Shakespeare. The arrangement of scenes is dependent
not, as in French, on the entrance of a new personage, but on
change of locality. The influence of Lope de Vega was far-reaching.
France felt it upon Corneille and Molière and groups of lesser drama-
tists; Italy, Germany, and England were saturated with it. It has
been said, perhaps with a little exaggeration, that Lope de Vega
made the stage of Europe romantic by his dramatized novels; thus
undoing the work of Cervantes, which was to moderate romanticism.
So quickly were the dramas of Lope composed, that in diction they
are often crude. Thrown together at white heat, they have the fire
still in them after a lapse of centuries. the thirty that Sismondi
read, ten or twelve are easily obtainable; and any of them will prove
that Lope had wonderful talent. A study of them will not give an
insight into dramatic laws, but it will greatly help the social psy-
chologist. Complete editions of Lope de Vega's works are very rare;
the original editions most rare. He has not had the good fortune of
Calderon in the way of English translators, but he deserves it. He
is full of poetry and patriotism: the hastiest of his pieces answers
to the description of the typical Russian noble of the time of Catha-
rine,—"all splendor without, all squalor within ;” but the lyrical splen-
dor is always there, though the poverty of thought is evident upon
close examination. Lope de Vega at his worst and best is Spain
of the sixteenth century,- grand, superb in the Latin sense, - poor,
glorious, coarse, faithful, and sublime. He invented an olla podrida
in which one finds dropped rubies that are priceless and the herbs
of the field, - all incongruities, - side by side! His metres alone are
worth careful analysis: they are of Spain Spanish.


## p. 15290 (#238) ##########################################

15290
LOPE DE VEGA
-
All critics agree in pronouncing valueless his epics: Jerusalem
Conquered”; The Beauty of Angelica'; 'The Tragic Crown' - Mary
Stuart the heroine; one on Circe and the “Dragontea,” in which
Queen Elizabeth's favorite pirate, Drake, is made Satanic. Satires,
sonnets, novels (among them The Stranger in his Own Country'),
and compositions of all kinds, appeared from his pen, making twenty-
five large volumes.
The most characteristic of Lope's comedies - this, however, must
be said with all possible reserves - are (The Widow of Valencia
and "The Peasant Girl of Xetalfi. These are well known because
Bouterwek has analyzed them. The heroic comedies, (The Discreet
Revenge' and 'The Battlements of Toro,' have been analyzed by both
Bouterwek and Sismondi, — to which George Ticknor in his History
of Spanish Literature) has added admirable comments.
To appreciate the amazing energy of Lope de Vega, one must
glance at his biography. He — born De Vega Carpio - appeared on
this world's stage at Madrid, in 1562. He was two years younger
than Shakespeare, and fifteen years younger than his rival dramatist
Cervantes. His parents were poor and noble, not unusual in Spain.
They began his education well, but they died early; and it was com-
pleted through the kindness of the Bishop of Avila. While secretary
to the Duke of Alva, he married. A duel and exile, followed by the
death of his wife, induced him to join the Invincible Armada. The
Armada failed; but Lope never lost his hatred of the islanders who
had defeated it. He reached Spain in safety, took up the quiet trade
of secretary again, and married again. On the death of his sec-
ond wife he received holy orders. Henceforth he devoted himself
entirely to literature.
Lope de Vega was certainly not the hero of Browning's 'As Seen
by a Contemporary. ' He did not pass through his Spanish town un-
noted. On the contrary, he was praised by all classes; a celebrity
of the first order. Pope Urban VIII. showered every possible mark
of regard upon him. Both populace and nobility hailed him as the
"Spanish Phenix. ” When he died in 1635, both Church and State
united to honor him with ceremonies worthy of a king.
The main fault of modern criticism is that it lacks full sympa-
thy. Lope de Vega and his time will never be understood until they
are judged by an English writer who for the moment can put him-
self in the place of a man who cannot be judged by the standard of
nineteenth-century opinions and morals.
And the critic who does
this will be repaid by the gratitude of those who long for the key of
that splendid civilization which gave color to the genius of Shake-
speare and Corneille.
manne francis Egan


## p. 15291 (#239) ##########################################

LOPE DE VEGA
15291
SANCHO THE BRAVE
From the (Estrella de Sevilla)
[The King of Castile sees Estrella, called for her beauty the Star of Seville,
during a visit which he makes to that city, and becomes enamored of her.
He summons her brother, Busto Tabera, to the palace, and offers to confer
on him various dignities and honors; which Tabera's independence of spirit,
and later his suspicions of the King's motives, make him slow to accept. The
same night the King, with the connivance of a slave-girl, obtains entrance to
Tabera's house during the latter's absence; but is surprised at the moment
of his entrance by Tabera, who returns unexpectedly. Tabera challenges the
King; and dissatisfied with his answers, draws upon him. The King, to avoid
fighting, reveals himself ; but Tabera refuses to credit his word, and the King
is compelled to draw in self-defense. The noise brings the servants, with
lights, to the scene; and in the confusion the King escapes.
Irritated and humiliated by what has passed, the King sends for Sancho
Ortiz, and requires him to avenge his outraged honor on a man who has been
guilty of the crime of lèse-majesté, and whose name is written in a folded
paper which he hands Ortiz. At the same time the King hands Ortiz another
paper, relieving him of responsibility for the deed. This paper Ortiz destroys,
saying that honorable men require no bond to hold them to their plighted word.
On opening the other paper, after leaving the King, Sancho finds to his dis-
may that the name written in it is that of Tabera, his dearest friend, and the
brother of Estrella, to whom he is betrothed. After a cruel struggle with him-
self, he provokes a quarrel with Tabera and kills him. Estrella petitions the
King to deliver up to her for punishment the slayer of her brother. The
King grants her prayer, hoping meantime to save Sancho's life without dis-
closing his own instrumentality in Tabera's death. Estrella goes veiled to the
prison, and with the King's ring which he has given her, obtains Sancho's
release. Leading him out of the prison, she shows him a horse which she has
provided for him, and tells him to mount it and escape. Sancho refuses, and
asks her to unveil herself. She does so, and attempts to shake his resolution,
which is however only the more confirmed when he sees who his liberator is.
Sancho returns to the prison and Estrella to her house. The play ends with
the scenes given. ]
Present: A Servant, the King; afterwards the Alcaldes
SERY
ERVANT
- My lord,
The two Alcaldes on your Highness wait.
King - Bid them with their wands of office enter.
(Exit Servant.
King — The promise that to Sancho Ortiz I gave,
If in my power it lie will I fulfill;
But of my part in this most cruel deed
Repented truly, letting no hint escape.
Enter the two Alcaldes


## p. 15292 (#240) ##########################################

15292
LOPE DE VEGA
Don Pedro - Great King, the crime being fully proved,
The law demands the sentence.
King -
Pronounce it.
Only, being fathers of the country,
I charge you see to it that it be just.
And clemency than justice is ofttimes
More wise. Sancho Ortiz is of Seville
A magistrate, if he who at his sword
Met death a magistrate of Seville was.
Mercy the one demands, if the other justice.
Farjan- Alcaldes are we of Seville, my lord;
In us you have reposed your confidence,
In us your honor have reposed. These wands
Do represent your Highness; and if false
In aught they prove to their most sacred trust,
They do yourself offend. Straight they do look
To heaven, whence they derive their powers;
But bending to the corrupt desires of men
They turn from their high source away.
King – Thus they should bend, but only thus; nor would I
That, in the sentence, law shall serve the ends.
Of justice.
Don Pedro-
My lord, your Highness is for us
Justice and law; and on your judgments hang
Our welfare. Bid him live and he shall live;
For from the King's decree is no appeal.
Kings are by God appointed; God from the brow
Of Saul the sovereign crown doth take, to place it
On that of lowly David.
King -
Go; find what the sentence is,
What the defense, and let Ortiz be led
Forth to the punishment the law ordains.
[Exit Farfan.
Don Pedro de Guzman, a word with you
Apart.
Don Pedro -
What are your Highness's commands ?
King - The death of Sancho, friend Don Pedro,
Will not restore the man he killed to life;
And thus, 'twere my desire, a punishment
Less harsh imposing, that to Gibraltar
Or to Granada we should banish him,
Where in my service fighting he may find
A voluntary death.
What say you ?
Don Pedro -
This:
That I am called Don Pedro de Guzman,


## p. 15293 (#241) ##########################################

LOPE DE VEGA
15293
King -
And hold myself, my liege, at your command.
My life, my fortune, and my sword are yours.
A close embrace, Don Pedro de Guzman.
Nor less from your true heart did I expect.
Go now, and God be with you; send me hither
Presently Farfan de Ribera. (Aside. ] Thus
]
Flattery doth level mountains. [Exit Don Pedro.
Enter Farfan
Furfan -
King - -
Farfan —
My lord,
Your orders I await.
It troubled me,
Farfan de Ribera, that Sancho Ortiz
Should die; but milder counsels now prevail, —
That death be changed to banishment, which is
Indeed a death prolonged, a living death.
Your voice alone is wanting to confirm
The sentence.
Command Farfan de Ribera,
My lord, something of weightier import;
Nor doubt but that my loyalty no doubt
Shall hold from serving you in all things.
So
Do you prove yourself Ribera, adorned
With all the virtues of an earlier day,
Your constant, true companions. Go, and God
Be with you.
[Exit Farfan.
The business was well managed.
Sancho Ortiz from death escapes: my pledge
Is thus redeemed; and none doth aught suspect.
As general of some frontier shall he go;
With which at once I banish and reward him.
King -
Enter Alcaldes
Don Pedro - The sentence now, great King, is signed
And only waits your Highness's approval.
King - Doubtless the sentence such as I desired
That it should be, such noble lords have made it.
Farfan- 'Tis such as doth our loyalty approve.
King (reads] –
“We do decree, and so pronounce the sentence,
That Sancho Ortiz be in the public square
Beheaded. ” — Is this the sentence, caitiffs,
That you have signed! Thus, caitiffs, to your King
Your pledge you keep. God's death!
(


## p. 15294 (#242) ##########################################

15294
LOPE DE VEGA
Farfan-
The pledge he gives
The least of us is ready, as you have proof,
My lord, descended from the judgment seat,
With his life to redeem; but seated there,
No human power, nor earth and heaven combined,
Can make him from the right one jot to swerve
In word or deed.
Don Pedro -
As vassals our obedience
You command: as judges your authority
Extends not over us; to conscience only
Our fealty, as such, being due. In this
Its rights the council of Seville will know
How to maintain.
King -
'Tis well. Enough. You all
Do shame me.
Enter Don Arias, Estrella
Don Arias
King –
Estrella is here.
What course
To take, Don Arias? What counselest thou,
In this so great perplexity ?
Enter the Warden with Don Sancho
My lord,
IVarden
Sancho Ortiz here waits your pleasure.
Don Sancho
Great King,
Wherefore with death dost thou not end my woes ?
Wherefore, the rigor of the law applying,
My cruel sufferings dost thou not end?
Busto Tabera at my hand met death:
Let death be my award; let him who slays
Be slain. Show mercy, meting justice.
King
Stay:
What warrant hadst thou for Tabera's death?
Don Sancho -
A paper.
King -
Signed by whom?
Don Sancho -
That would the paper
Most clearly tell, did it speak; but papers torn
Confusèd accents utter. All I know
Is, that I slew the man I held most dear,
For that I so had pledged my word. But here
Estrella at thy feet the sentence waits
To death that dooms me,- vengeance all too slight.


## p. 15295 (#243) ##########################################

LOPE DE VEGA
15295
King -- Estrella, with a noble of my house,
A gallant youth, and in Castile a prince
And powerful lord, we have betrothèd you;
And in return the favor of Sancho's pardon
We ask, which 'tis not just that you deny.
Estrella - If that I am betrothed, my sovereign liege,
Let Sancho Ortiz go free; nor execute
My vengeance.
Don Sancho -
Thy pardon thou dost grant me, then,
For that his Highness has betrothed thee?
Estrella -
Yes:
Therefore it is I pardon thee.
Don Sancho
And thus
Thou art avenged for my offense ?
Estrella -
And satisfied.
Don Sancho
I accept my life, that so thy hopes attain
Fulfillment; although to die were sweeter.
King – You are free.
Farfan -
This to Seville is an offense,
My lord. Sancho Ortiz must die.
King (to Don Arias) -
What now
To do? These people humiliate me,
And put me to confusion.
Don Arias -
Speak
King -
Seville,
I to the law will answer for Tabera's death,
For I did cause it; I did command the deed.
To exonerate Sancho this suffices.
Don Sancho
For this exoneration only did
My* honor wait. The King commanded me
To kill him. So barbarous a deed I'd not
Committed, had he not commanded it.
King – He speaks the truth.
Farfan —
Seville is satisfied.
For since thou didst command the deed,
Doubtless he gave thee cause.
King –
Amazed the Sevillian
Nobleness of soul I contemplate.
Don Sancho
I
To fulfill the sentence of my banishment,
When thou another promise dost fulfill
Thou gavest me, will depart.
King -
I will fulfill it.


## p. 15296 (#244) ##########################################

15296
LOPE DE VEGA
Don Sancho -
The boon I asked, that thou for bride shouldst give me
The maid that I should name.
King -
The boon is granted.
Don Sancho -
The hand of Doña Estrella then I claim;
And here a suppliant at her feet I crave
Pardon for my offense.
Estrella
Sancho Ortiz,
I am another's now.
Don Sancho -
Another's!
Estrella –
Yes.
Don Sancho
Then is the sentence of my death pronounced!
King - Estrella, I have given my royal word,
And should fulfill it. What answerest thou ?
Estrella - That as thou willest so be it. I am his.
Don Sancho-
And I am hers.
King -
What wants there further, then ?
Don Sancho
Accord.
Estrella
And this there could not be between us,
Living together.
Don Sancho
'Tis true; and therefore
I do absolve thee from thy promise.
Estrella -
So
From thine I do absolve thee. The slayer
To see forever of my brother, in bed,
At board, must needs afflict me.
Sancho- And me, to be forever with the sister
Of him I slew unjustly, holding him dear
As my own soul.
Estrella -
So then we are free?
Don Sancho
Yes.
Estrella - Then fare thee well.
Don Sancho
Farewell.
King -
Stay.
Estrella
My lord, the man
Who slew my brother, though I do adore him,
Can never be my husband.
[Exit.
Don Sancho
Nor I, my lord,
Because I adore her, do count it just
Her husband that I should be.
[Exit.
Translation of Mary J. Serrano.


## p. 15297 (#245) ##########################################

15297
GIOVANNI VERGA
(1840-)
BY NATHAN HASKELL DOLE
Ne of the chief representatives of so-called “realistic fiction
in Italy is Giovanni Verga, who was born in Catania, Sicily,
in 1840. His youth was spent in Florence and Milar; and
after living a number of years in his native district, he returned to
Milan, where he still resides. He has himself acknowledged that
his best inspiration has come from the places which he knew as a
boy. He has painted the Sicilian peasant with a master hand. The
keen jealousy that leads too frequently to the sudden flash of the sti-
letto; the grinding poverty which is in such contrast to the beauty of
the Sicilian landscape; the squalid sordidness that looks with greater
sorrow on the death of an ass than the death of wife or child; the
pathetic history of the girl who must go to her shame because life
offers no aid to the virtuous poor; the father deprived of his son
who must serve his time in the army,— all these motives are used by
Verga with consummate power. He understands the force of contrast.
He has a rapier wit; the laugh, sardonic too often, follows on the
heels of pathos. But it is pathos that is most frequently brought
into play,– pathos and the tragic. Few of his stories are not tragic.
There is no glamour of triumphant virtue. The drama always ends
with death and defeat.
The best known of Verga's works is the “Cavalleria Rusticana,'
which by reason of Mascagni's genius has become familiar to opera-
goers all over the world. The story is short; there are no words
wasted: for a moment the sky is bright, then the swift tropic storm
comes; one blinding flash, and all the ruin is accomplished. Verga's
Aights are generally short. His longest story — 'The Malavoglias).
is in reality a welding into one of a number of short stories. But
throughout there is the same minute study of the reality,-- the hard,
gloomy life of the peasant. Verga, in the introduction or proem to
one of his Sicilian tales, gives his notion of what fiction should be:
« The simple truth of human life,” he says, “will always make us thought-
ful; will always have the effectiveness of reality, of genuine tears, of the fevers
and sensations that have afflicted the flesh. The mysterious processes whereby
conflicting passions mingle, develop, and mature, will long constitute the chief
fascination in the study of that psychological phenomenon called the plot of 3
story, and which modern analysis tries to follow with scientific care through
XXVI-057


## p. 15298 (#246) ##########################################

15298
GIOVANNI VERGA
the hidden paths of often contradictory complications. We replace the
artistic method, to which we owe so many glorious masterpieces, by a differ-
ent method, more painstaking and more recondite: we willingly sacrifice the
effect of the catastrophe, of the psychological result, as it was seen through
an almost divine intuition by the great artists of the past; and we employ
instead a logical development, inexorably necessary, less unexpected, less dra-
matic, but not less fateful. We are more modest, if not more humble; but the
conquests that we make with our psychological verities will be none the less
useful to the art of the future.
I have a firm belief that the tri-
umph of the Novel, the completest and most human of all the works of art,
will increase until the affinity and cohesion of all its parts will be so perfect
that the process of its creation will remain a mystery like the development of
human passions themselves. I have a firm belief that the harmony of its
forms will be so absolute, the sincerity of its reality so evident, its method
and justification so deeply rooted, that the artist's hand will remain absolutely
invisible.
« Then the romance will seem to portray a real event; and the work of art
will apparently have come about by itself, spontaneously springing into birth,
and maturing like a natural fact, without any point of contact with its author.
It will not have preserved in its living form any stamp of the mind in which
it originated, any shade of the eye that beheld it, any trace of the lips that
murmured the first words of it as the creative fiat: it will exist by its own
reason, by the mere fact that it is as it should be and must be, palpitating
with life, and yet as immutable as a bronze statue, the author of which has
had the divine courage to eclipse himself, and disappear in his immortal
work. )
Verga's earlier stories show decidedly the influence of the French
school of fiction. His society novels are conventional and rather
vapid, with little native power manifested. Such stories as Helen's
Husband,' or 'Eros,' or 'Royal Tiger,' are no more valuable than the
average run of French novels. Some of them are over-sentimental,
as for instance the 'Storia di una Capinera. But his Sicilian stories
have an entirely different character. They smack of real life, and
take hold of the imagination. The little story here presented as a
specimen of Verga's realism may perhaps be regarded as morbid;
but at the same time it fulfills to the letter the programme laid down
in his literary creed quoted above. The story-teller has completely
effaced himself. You forget that you are reading fiction: it seems
like a transcript from life. Its dramatic power is none the less be-
cause it is so repressed. Much is left to the imagination; but the
effect of the passions here contrasted — love and jealousy — is clearly
seen by the desolation that follows, all the more pathetic because of
the relationships of the three protagonists.
119. 86


## p. 15299 (#247) ##########################################

GIOVANNI VERGA
15299
HOME TRAGEDY
ASA
all
at
.
C* Countess Bice was in a slow decline. Some attributed the
disease to constitutional feebleness; others to some deep-
seated disorder.
In the large bedroom where the lights were turned low,
although all that part of the town was illuminated as if for a
festival, the mother, pale as a sheet, was sitting beside the sick-
bed waiting for the doctor to come. She held in her feverish
hand her daughter's thin and glowing hand, and was talking to
her in that caressing accent and with that put-on smile where-
with we try to reply to the anxious and scrutinizing look of those
who are seriously ill. Melancholy conversations were these, which
under a pretended calmness concealed the dread of a fatal dis-
ease which was hereditary in the family, and had threatened
the countess herself after Bice was born; which brought back the
recollection of the hours of anxiety and worry attendant on the
infancy of the delicate little girl, and the worry caused by the
cruel presentiments which had almost choked down the woman's
natural mother-love, and palliated the husband's first steps astray
— that husband who had died young of a wasting illness, during
which he had suffered for years confined to his easy-chair.
Later, another passion had caused the widow to bloom out
in fresh youth. She had faded somewhat prematurely, what with
the cares of the feeble infant, and of that husband who was the
embodiment of a living death: it was a deep and secret affection,
a cause of uneasiness and jealousy, mingling itself with all her
mundane joys and apparently thriving upon them, and refining
them, rendering them more subtile, more intense, like a delicate
delight perfuming everything -a festa, a society woman's tri-
umph.
Then suddenly this other threatening cloud had arisen — her
daughter's illness darkening the bright skies of her happiness, and
seeming to spread over the heavy curtains of the sick girl's bed,
and to stretch out until it met with those former dark days;
her husband's long death struggle; the grave and anxious face of
the very same physician who had been in charge of the other
case; the tick-tock of the same clock which had marked the
hours of death, and now filled the whole chamber, the whole
house, with a gloomy presentiment. The words of the mother


## p. 15300 (#248) ##########################################

15300
GIOVANNI VERGA
and of the daughter, though they tried to seem calm and gay,
died away like a sigh in the shadow of the infinite vault.
Suddenly the electric bell echoed through a long suite of
brilliant but deserted rooms.
A silent servant walking on his tiptoes preceded the doctor,
who was an old family friend, and seemed to be the only calm
person, while all the rest were full of anxiety.