Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
COMEDIES
By
CARLO GOLDONI
LONDON
I 9 2 .2
To
HAVELOCK ELLIS
" """""
^r'^^^-^nvyrJlsuk)(T'7XJLM^
ADDRESS TO THE "READER
GENTLE READER,
DURING k colleagues,
Catullus.
in a certain mysterious
I gallantMajor
Often,
department,a
who
when
was
we
devoted
were
to
on
Virgil and
night duty,
we took hastylunch in a special
our cafe at two or three in
the morning; and I shall always remember with admiration
how zealously, even at those hours and by those darkened
xi
xii Address to the Reader
*
remainder,' so that by acting promptlyto the hint you will
be able to pick it up for a song. Meanwhile, I will take
from these two books a few facts of Goldoni's life.
Grandfather Goldoni was a wealthyand jovial
man. His
joviality, indeed,dispersed his wealth; with the result that
Father Goldoni,althoughhe never went in rags, had to work
for his livingand,in the event, became a doctor. He was, too,
so enthusiastic a lover of the theatre that he presentedhis
four-year-old son with a private puppet-show. Our Goldoni
" Carlo the playwright profited, as we" should expect, by
this encouragement and,at the age of eleven, wrote a comedy.
company strolling of
players; and in The Impresariofrom
'
Smyrna you will find,I think,some recollections of that
company, in particular
" of the ladies with their cats and dogs
and parrots. From his second school he was expelledfor
havingwritten a satire on some worthy townsfolk. A little
later he saw who was
a priest, chargedwith indecency, about
to be executed in public,and the sightimpressedhim so
a tradition. He
tough-rooted was at war with the
famous Commedia dell' Arte. For
althoughshe had little
dramatic literature, all Italy buzzed with plays.An author
devised a plotand pinned it somewhere in the wings of the
theatre. The comedians perusedit,learned the names by
which theywere to address each other, and then,supported
by a few set speechesfor givensituations, walked on to the
stage and improvised the dialogue. The persons in these plays
had long ago solidified into types, and the actors presented
them in conventional masks. Goldoni's theatre, like Moliere's,
arose from thisancient tradition; and intermittently out
through-
the long pageant of his dramatic works (theynumber
about three hundred)its familiar figures recur Harlequin "
CLIFFORD BAX.
CONTENTS
Page
By Clifford Bax
THE FAN
NOTES
317
MINE HOSTESS
A COMEDY
IN THREE ACTS
First produced in
Carnival of
1753
DEJANIRA5 another.
^4
'/^
ia.
^ N i"^.
mi:a(e hostess
ACT ONE
SCENE ONE
the
(Present, marquis of forlipopoli and the
COUNT OF ALBAFIORITA.)
Marquis. Between you and me there is a social difference.
Count. But here at the inn
my money is worth as much
as yours.
favours
the special
Marquis. Still, which our hostess bestows
me are better suited to than
position to
upon my yours.
Count.Why?
Marquis. I am the Marquisof Forlipopoli.
Count. And I the Count of Albafiorita.
this inn ?
Marquis. Well, anyway, you won't succeed. J^'
Count, I shan't and you will ? ^
4 Four Comedies by Goldoni Jet I
apart
from continual presents.
Marquis. I spend " I shan't say how much.
Count. won't say, but every
You one knows.
Marquis. They don't know all.
Count. Marquis they do.
Oh The servants tell.
yes. "
ere ?
Count. (Ajruinedman "
pennilessand proud.)
SCENE TWO
a Count.
Marquis. Bid the hostess attend me. I have somethingto
say to her.
Fabrizio. Very good,your grace. Am I wrong this time ?
Marquis. That will serve. You have known it for three
months, but you're
an fellow.
impertinent
Fabrizio. Certainly,
your grace.
Count. Can't you realize the difference between the Mar-
quis
and me ?
Fabrizio.How, sir?
Count. Why, here's a guinea.Now get another from him.
"gbrizio.Thank you, my lord. (To the Marquis.)Your
grace
Marquis. Oh, I don't throw away my guineas like a fool.
Get along.
J^brizio(toCount).May heaven bless you, my noble lord.
Your grace (Empty! If you want to be well served
. . .
"
SCENE THREE
SCENE FOUR
have money.
Knight.Really, my dear Marquis
Marquis.Come, let us changethe subject.
Knight.But how did you ever arrive at such an argument ?
Count. From the silliest
starting-point possible.
Marquis. There! The Count finds everything silly.
Count. The Marquisloves our hostess. I love her stillmore.
He hopesto win some response as a tribute to his rank:
I, as a reward
for my attentions. Doesn't it seem to
you a argument ?
silly
Marquis. He would need to realize the care with which I
protect her.
Count. He protects her,I spoil
her.
Knight.Why, it'sreally
quiteimpossible
to choose between
Knight. I'd leave her to you were she lovelier than Venus.
.
SCENE FIVE
askingfor me ?
SCENE SIX
yourself of my protection.
Count. And as for any money that you may lose by this,
I'llput that right I'llrefund you the lot. (And if you'll
"
that expense.)
get rid of the Marquis too, I'll cover
Thank thank you. I've spirit
Mirandolina. you, gentlemen,
enough to tell a stranger that I don't want him, and as a
in
pretext I shall say that there is no unoccupiedroom
the house.
SCENE SEVEN
no, no. . . .
for money, I don't care a rap for it. I'll go and see this
^^^'
"'^^"^ IViirandolina.
jewel. Go(53-l)ye, Marquis "
tillwe meet!
(Exit.)
Act I Mine Hostess 1 1
SCENE EIGHT
Mirandolina. And so do I.
SCENE NINE
(mirandolina alone.)
meat, but I've small use for the smoke. If I had married
,^^J!-"r/^
this JC night "
he's as rude as a bear,and he
\\ov^uncivilly
^**^ treats mef He's th~e first vTsitoFwho has stopped at the inn
.*i^^-''*~and
hasn't been^IaJ^todeal with me. I"U6n't say that
one of them is m loVe with me at first sight,but to
I every
despiseme like that! It does make me frightfully
cross.
^has' ever
are
SCENE TEN
(mirandolinaand fabrizio.J
Fabrizio. Oh, "
mistress !
Mirandolina. What is it ?
Fabrizio. That guest who is lodgingin the middle room
and that he
complainsof his linen "
Fabri%io. Very good. Come with me and put out the things
that I'm to givehim.
Mirandolina. Go along. I'll take them in myself.
Fabrizio. You take them to him yourself?
"
before he died ?
Mirandolina. Yes. When I mean to marry, I'll remember
what my father said.
Fabrizio. But I'm a sensitive plant,and there are some
interest "
to maintain the good name of my inn. I don't
want presents and "
one is enough for love-making, and
he's not far to seek. I know desert when I find it,and I
know the man who suits me. And when I come to marry
I'llremember my father. Whoever serves me well shall
H
"
{Exit.)
Fabrizio. It's a clever man indeed who could understand her.
Now she seems to want me, and now she seems not to want
SCENE ELEVEN
'
who is it writing.? My dear the
friend, tender
"
friendship
which binds me to you urges me to inform you that your
return home is imperative.Count MauQ^ is dead. .' . .
'
Poor Knight! I'm sorry. He has left his onlymarriage-
able
daughterthe heiress to one hundred and thousand
fifty
pounds. All your frienHsare eager to see such a fortune
Act I Mine Hostess 1 5
"
in love with an innkeeper! A clever man irke~youto un^
run^
at the heels of a woman !
Marquis. My dear Knight, she has simplyenchained me.
SCENE THIRTEEN
^Jt::sJ^night.
(Now comes the second thrust!)
*
Marquis. And he hasn't sent them. {Drinks.)
Knight. He'll send them some other time.
of it decently
?)
Marquis. Would it be difficult for you to be so kind "
just
for a week
Knight. My dear Marquis,if I could do you a service,
I
should do it with all my heart; if I had them, you should
see them here at once. I'm them, but
expecting I haven't any.
Marquis. You don't mean to tell me that you'requite
without funds ?
Knight. See for
yourself.Here's my whole fortune. It
comes to less than two guineas.{Showsa guineaand some
small coins.)
1 8 Four Comedies by Goldoni Act I
woman.)
obliging
^
Mtrandolina. Oh, I've nothing to recommend me except j
my frankness.
Knight. Still, know
play-act with your suitors.
how to
you
Mirandolina. I ^play-act?Heaven
" keep me from that!
Those two gentlemen who torment themselves about me
"
^ask them if I ever gave them one token of affection,
ever dallied with them in any way that might give them
open. -^
Mirandolina. You have a wife,sir ?
*
many and
things, I sympathizewith men who are afraid
of our sex.
20 Four Comedies by Goldoni Act I
1
Knight.(She's
an odd
one!)
MirandoUna to go). With
{offering your sir
permission, . . .
Knight.Must you go ?
MirandoUna. I don't want to be nuisance.
" Knight.Not at all. You please
me.
a
Mirandolina. (Little
by little the satyr is becoming do- /
mesticated !) -"w
if
Knight.Well, you'vegot thingsto do, don't for
delay me.
Mirandolina. I
Yes, sir, am going to see about the affairs of
the household. They are my passionand my pastime. If
ERRATUM
SCENE SIXTEEN
SCENE SEVENTEEN
(oRTENSiA,
DEJANIRA5 and fabrizio.)
Fabrizio, You will be well looked after here,your ladyship.
Notice this other room. That is for in,this
sleeping one
meals,for receiving
for guests, or indeed to use as you order.
Ortensia. Good, good. Are you the landlord or the valet .?
Fabrizio. The valet,
at your ladyship's service.
'
Dejanira{toOrtensia).(He calls us your ladyship' !)
Ortensia {toDejanira).(We must back him up.) Valet!
Fabrizio. Your ?
ladyship
Ortensia. Tell the landlord to come here. I want to speak
to him about business.
Fabrizio. The shall
landlady come. I will ask her at once.
quality.) {Exit.)
SCENE EIGHTEEN
(dejaniraand ortensia.)
calls '
He
ladyships.' thinks we're
Dejanira^He us your
^grandees.
two
and
chionesses, princesseswon't"
have much difficulty
in playingtheir parts at an inn.
Dejanira. But when our company arrives they'llmake us
drop it at once.
Ortensia. They can't get to Florence to-day.It'lltake them
at least three daysto sail here from Pisa.
got nowhere.
SCENE NINETEEN
also
ladyships with my utmost attention.
your
Ortensia. anythingI will use you.
If I want
Dejanira. (Ortensia!You do these parts beautifully!)
Fabrizio. May I justask you, milady, to be so good as as to
name.
and
(writing) the surname .?
Ortensia. Why " dal Sole,from Rome.
Fabrizio. That's all.botheringyou. The
Excuse my
landlady will be here now. (Didn'tI say theywere two
grand ladies ? I hope it means good business. 'Wiere
^ ought to be tipsenough.) {Exit.)
Dejanira.Baroness your humble servant.
"
SCENE TWENTY
be ladies,
two seeingthat we are really
two commoners.
persons of
quality I shall ask you to let me have this apartment, and
I'll giveyou some good rooms instead.
Dejanira. Of course.
another.
Mirandolina. Oh, Baroness,be so good. . . .
Ah, here's
a gentleman who is lodgingat the inn. Whenever he
sees women, the hunt's up.
Ortensia. Is he rich ?
Mirandolina. I don't know his affairs.
SCENE TWENTY-ONE
my inn.
'
Ortensia.('Excellency! Good gracious
!)
Dejanira. (Ortensiahas booked him already.)
Marquis. And these ladies,who are they?
Act I Mine Hostess 27
illustrious a nobleman.
me
:f
let me know.
Ortensia. If I do, I shall avail
myselfof your courtesy.
Marquis. And you also.Countess,pleasemake use of me.
Dejanira.I shallesteem myselfhappy if I have the honour of
beingenrolled among your most humble servants.
Mirandolina {to Ortensia). (That'sa true comedy-phrase!)
Ortensia. (The title of Countess has givenher the "5u?j)
liberal gentleman.
Marquis. I'm alwayslike that.
Mirandolina. (It's the firstpresent that he's ever givenme,
and I can't think how he came by such a handkerchief)
Dejanira. Marquis, are such handkerchiefs to be had in
Florence ? I should dearly love to possess one like it.
SCENE TWENTY-TWO
to the Count.
Mirandolina. Look, Count " this lovely
present which the
Marquis gave me.
Count.I'm delightedto hear of it. Well done. Marquis!
Marquis. Oh, nothing, nothing. bagatelle.
A Put it away.
I'd rather you didn't mention it. Folk mustn't know
what I do.
Mirandolina. (Not know what he does,and yet he makes L/ .
me show it ?t;^ptl^ynd;gmi^gtysside
by side,)
s '"^ ^A/c^"^
Count {toMiranddima). vVitn permissionof these ladies,
I want to say somethingto you.
beautiful.
generosity.)
MirandoUna. Ah, vvrhat do you say. Marquis? Isn't this a
fine stone ?
he be ?
Count. I am the Count of Albafiorita " ^at your service.
Dejanira{goingover to the Count). My! A famous family!
I know it.
Count {toDejanira).I am yours to command.
Ortensia {toCount). And are you lodginghere ?
Count. Yes, madam.
Dejanira. Is there much to amuse one ?
Count. Oh, I think so.
Marquis. My dear ladies, you must be tired from standing
to attend you in your room
so long. Would you like me ?
Ortensia {contemptuously). Many thanks. From what
country are
you. Count ?
Jet I Mine Hostess 31
Q^^^. I am a l^j^Dolj^fi.^
Ortensia. Then we are almost compatriots. I am a
Palermitan.
Dejanira. And I a Roman but " I've been to Naples,and
it would intrigueme vastlyto talk with a Neapolitan
nobleman.
Count. At your ladies.
service, You are alone ? You have
no menfolk ?
SCENE TWENTY-THREE
(mirandolina alone.)
^ Mirandolina.
never
make
For
me~love
all his riches
Him:
and
neiitReF
all his
will
presents
the Marquis
he will
"
test myself. I'm not confident that I have the skill of those
for"a littklwhilp in
pparPj
and T shall be able frTfjgl^wifb
die Knight at leisure. What if he won't succumb ?
my
SCENE TWO
(The KNIGHT and the servant with meat and another plate.)
Servant. The landladysays that if you don't care for the
fowl she'll send pigeon.
up a
sauce!
Knight. An exquisite I've never tasted a
[Exit.)
better
SCENE THREE
I
Knight. Did
Servant.
he invited them
the Count
I think not:
to lunch.
know
but he'd
them
no
?
sooner seen them than
SCENE FOUR
merelydoingmy duty.
Knight. No, no " I know very well ...
I am not such a
. . .
sop.)
Knight{softly, to the Servant).Listen. Don't you tellany
M one that our hostess has sat at my table.
(^Servant.
Never (Thisnew fear! me.) line amazes
Mirandolina To
{toasting). everything that pleasesthe
!
Knightof Ripafratta
\ Knight.Thank you, my charminglittlehostess.
Mirandolina. The toast I gave doesn't include women.
you
in accordance with your nature. Don't fall into the
frailties
of others. Indeed, if I saw that happening^
shouldn't come here again. I confess that I, too, have
felt something which I can't name; but I don't mean to
bother mvself about men, and mucn less about one who
Hates women, perhaps,
and who
perhaps just to test me
" "
and then have the laugh of me, comes here with a new
^y^f taTIcing_to__beguile me_. May I have a littlemore
Borgogna, Sir Knight ?
Knight. Why ^allyou will. {He fills
"
a glass.)
Knight. What?
IjAirandolina. Touch glasses.{They do so.) Long live
^
good friends!
Good friends !
Knight{alittlesheepishly).
MirandoUna. To those who mean well "
^and have no evil
intent !
Knight. Their health !
SCENE FIVE
SCENE SIX
try my Cyprus.
Knight. But where is it,this Cyprus ?
Marquis. I have it here. I carry it about me, and I intend
that we should enjoy itj but here it is! Look! {He "
bringsout a tinybottle.)
MirandoUna. It seems, Marquis, that you don't like your
winego to to the head.
Marquis.This ? One drinks it in drops "
like Melissa spirits.
Ho some
"
glasses!{He opens the bottle. The Servant
bringsliqueur Those
glasses.) are too big. Haven't you
any smaller? {He covers the bottle with his hand.)
Knight. Bring the rose-oil glasses.
MirandoUna. Surelyit will suffice if we justsmell it ?
Marquis. Ah lovely!It has a most soothingfragrance.
"
absurdity .?
MirandoUna [toKnight).The swilling of old bottles!
Marquis. Don't you worry. I'm not doing this for you.
SCENE SEVEN
4 ^
man's a bounder. I am who I am, and I'll not put up
the bottlewith
with such affronts! {Exit^taking him.)
SCENE EIGHT
w Mirandolina.
Knight.Yes, you are.
Am I one to make men
crazy .?
m
Act II Mine Hostess 45
glassof Borgogna.
MirandoUna. Well, we must be quickabout it,for I'm going.
Knight. Sit down.
MirandoUna. No standing,standing. "
SCENE NINE
SCENE TEN
The Counts Room,
Ortensia. Wait till our company arrives and gets into the
theatre "
then you can count on us making merry over him.
Dejanira. who
playersWe have are there on purpose to
imitate quaintpersonalities.
Count. But if you want us to enjoy ourselves you must
we'll
protector.
enjoy your kindness
together.
Count. I say! I'll speakquitefrankly.I will serve you in
every way that I can, but there's one thingthat will stop
me from frequenting your house.
Ortensia. The Count has some littlelove affair.
Count. I tellyou in confidence
Yes ; it'sthe hostess of the inn. "
Count. As a matter of I am
fact, not much inclined to make
love to peoplelike you. You're here to-dayand gone
to-morrow. .
Count behind
[looking the I
curtain). say ! Did you see who
went downstairs ?
Ortensia. I saw him, yes.
Count. Another fine comedy-part.
Ortensia. Of what kind ?
Count. A fellow who can't bear women.
Dejanira.The brute!
Ortensia. He must have an recollection
unpleasant of some
woman.
E
48 Four Comedies by Goldoni Act II
SCENE ELEVEN
Ortensia. Well, you see. Sir Knight you know " how
sometimes
Knight. Ladies,ladies,
I beg of you, be quick. I'm busy.
Count {going).Of course! I see now
my presence barrasses
em- "
SCENE THIRTEEN
Most honourable do
ladies, not look for advice or tance
assis-
from me.
Knight. Actresses! Talk away, talk away for I'm not "
you, madam?
to
SCENE FOURTEEN
__..
I get the chance,I rail at women with all the will in the
r world. Still,
I yyasn't able to rail at Mirandolina. She has
L
conqueredrne with so much grace thaFI find myselfalmost
-^""^p"'^
compelled^ to love her. All the same, she's a woman. I
woh'^t trustmyseif. I'llgo away. I'llgo to-morrow. But
if I delaytillto-morrow ? If I let myselfsleep in the house
SCENE FIFTEEN
Knight.(What an extraordinary
woman !)
Fabrizio. And you mean to go so soon ?
Knight. Yes. My affairs require it.
Fabrizio. I hope you'll
remember the valet . . .
yes.
present.
Fabrizio. You're right.That bore,the Marquis, is in his
room. The popinjay! He playsat being my mistress's
lover: but he can't move her an inch. Mirandolina must
be my wife.
The
Knight{tartly). bill!
Fabrizao. At once, sir. {Exit.)
SCENE SIXTEEN
wonder "
for even I begin to feel myselfgettingwarm.
But I'll go away. I'll overcome this mysterious
power.
. . .
Who's there? Mirandolina? What does she want
SCENE SEVENTEEN
she
givesit.)
Knight. What's the matter ? Crying?
Mirandolina. sir. Some smoke got into my eyes.
It's nothing,
Knight. Smoke in your eyes? Oh, well how much is the "
crying).
Knight. But what's the matter with you ?
Mirandolina. I don't know whether it's the smoke or
are two crowns. Have a good time with them for the sake
of my love "
and be sorry for me "
{he becomes lost).
fallsin
without speakings
{Mirandolina^ a swoon on one of
the Mirandolina!
chairs.) Goodness! Mirandolina T She's
fainted ! Could she be in love with me ? So soon ? Why
not? Am I not in love with her? Dear Mirandolina "
dear\ Me "
saying'dear' to a woman! But if she's
fainted because of me? How lovelyyou are! Have I
that
anything bringher round? Not being used to
could
of attack by
conquer men, but when
which to they are
obstinate,
a is our
fainting-fit irresistible heavy artillery.
coming. {Shecollapses
He's on to the chair.)
SCENE EIGHTEEN
pullyourself
together,
open your eyes ! Speak to me freely.
SCENE NINETEEN
Marquis. Knight!
Count. My friend !
Knight. (Oh, damn them!)
Marquis. Mirandolina!
Mirandolina {rising). Oh dear ...
SCENE TWO
^^-^itf^want^
There's this^dear Knight, now. . . .
1 FT chose,
^^ I could make him commit the wildest absurdities.
Servant. Madam Mirandolina.
Mirandolina. Well, my friend.?
Servant. My master presents his complimentsand sends to
how
inquire you are.
Mirandolina. Mine ?
Servant. Yes. The master bought it on purpose.
Mirandolina. On purpose for me?
Servant. For you "
but mum's the word!
Mirandolina. Take him the bottle and say that I thank
him.
Servant. What do you mean?
Mirandolina. What I say: take it to him, for I won't have it.
Servant. You mean to offer him this affront ?
Mirandolina. Not so you'retold. Take it.
much talk. Do as
to find one.)
her match
(Exit.)
"
r
SCENE THREE
(mirandolina;then fabrizio.)
Mirandolina. So, then "
he's cooked and toasted and baked!
As for what
interest. I want
I've done
him to admit
to him,
the power
it wasn't
of women
done for self-
without -4-
bemgable to~sayThatnheynare-TenatandjeL^^
FahrtTJo'. Here's the iron.
Mirandolina. Is it
really hot?
Fabrizio. Yes, madam burning,like me. "
SCENE FOUR
Was
Knight{withpassion). I" ^really?
Act III Mine Hostess 6i
my bottle.
Mirandolina Thank
{ironing). you no. "
the iron!
Knight{vehemently). Will you accept it or not?
MirandoUna. Bother it,bother it!
SCENE FIVE
SCENE SIX
Mirandolina. Of course.
{He tries to
so Believe
cruelly.
take her hand.
me, I love you
She scalds him with
"
/
Mirandolina. I'm sosorry. I didn't do it on purpose.
Knight. Pooh " that's nothing. You have given me a
MirandoUna. Fabrizio !
Knight.If that fellow comes here,I swear I'llcrack his skull.
MirandoUna. All very fine! Mayn't I employ my own
servants ?
Knight.Then call some one else. I can't stand the sightof
that chap.
MirandoUna. I think
you'recoming a littletoo near, Sir
Knight. [Shekeepshim at a distance from the table with
the iron.) .
SCENE SEVEN
(The KNIGHT alone.)
night. Damn the moment when I began to_admirp that
r girl!I've fiallenjntojihe
trap^ and th^re'^ no cure.
66 Four Comedies by Goldom Act III
SCENE NINE
^^^'yi
^'
rib one to know. Or perhapshe wants~ho one to know
because he is afraid of me. He hesitates to declare himself
try it.
SCENE TEN
gold;it'spinchbeck.
Dejanira.All the better. I value it more than if it were gold.
Besides, anythingthat comes from your hand is rare.
I'm onlygoing to
Dejanira. Perfectly. show it to Ortensia-
SCENE ELEVEN
Marquis. A littlepinchbeckbottle ?
Servant. No, sir gold. "
Marqui$. Gold?
Servant (hunting for it).Yes, gold,sir. I saw it purchased
for twelve guineas.
Marquis. I?
No, I've seen nothing.
Servant. Well, then. I must tell her that I can't find it.
Her loss. She ought to have put it in her pocket. (Exit.)
SCENE TWELVE
you
adore
do
them
She has paidhim aftg^itinng^thaf
paideither you or me. It'sclear that with women
the less
and run atter
she has never
youl^eive. They~mocIc~at
those
the more
She never did anything so intimate with us. His table the
firstto be served. Dainties made for him by her own hands.
The servants see everything, and they talk. Fabrizio is
boilingwith jealousy.And what of that fainting-fit,
whether real or feigned wasn't it a plainmanifesto of
"
love ?
renounce I shall
absolutely. her leave this unworthy inn
immediately.
Marquis. You're quiteright.You must go.
Count. And you "
a nobleman of such standing "
^you ought
to leave with me.
expenses there.
say no to you.
Count. Let avengedupon this thankless woman.
us go " ^and be
Marquis. Yes let's go. (But how about the bottle,
" then ?
I am a gentleman, and cannot be guilty of a base act.)
Count. Don't repent of this. Marquis. Let's get away from
here. Fall in with me in this, and afterwards I shall be
you paid?
Act III Mine Hostess 71
Count. That's
the way out. I'll pay him And then there's ^\
the Knight, who in
play-acted order to betrayme. I'll ^1
present his bill in another way. {Exit,)
SCENE THIRTEEN
(mirandolina alone.)
Mirandolina. It's dreadful. I'm in a wretched mess. If the
so madly "
^a conceited felUbw Jik^^
1/ women; but that the furies have gat hold of the
now
SCENE FOURTEEN
{He withdraws.)
'
MirandoUna. If you don't come look out'! " I'd have to
SCENE SIXTEEN
the
(fabrizio: marquis and the count by the
entering
middle door.)
Count {atthe door).What's the matter ?
Marquis {withhim). What is this noise?
Fabrizio {softly,so that the Knightshall not hear).Gentlemen,
Knight. The villain! I'll find her. {He stalks about and
discovers the Count and the Marquis.)
Count. With whom is your business ?
Act III Mine Hostess 75
Sh !
Marquis {toFabrizio).
Count {toFabrizio).Go along!
Knight. Out you get! {To Fabrizio.)
Fabrizio {warmingup). I say, sir
Marquis. Away with you !
Count. Away with you !
{Th"hase him out.)
SCENE SEVENTEEN
Knight{turning to Marquis). I ?
say it.
Knight. Who is it,then ?
Count. I say it,and I maintain it,and I won't be put upon
by you.
Knight(toMarquis).You'll let me have your sword ?
Marquis. No.
Act III Mine Hostess 77
SCENE EIGHTEEN
theyswoon, he laughs.
Act III Mme Hostess 79
Knigtr."Who^e ro
you
will. I know now that you tricked me, I know that you
are inwardly congratulating
yourself
upon havingbrought
ine so low, and I see the extremity_to_which
you would
lilce to stretch my forbearance. You deserve a smack in
the tace tor your deception;you"deserve to have^our
heart wrenched out and shown up as an example to all
deceitful and flattering
women. But if I did that,
I should
debase myselfyet further. I flee from your eyes. I curse
your tears,your beguilements, your falsehoods. You have
made me understand the disastrous power which sex
your
can have upon us, and you have taughtme my cost that,
to
SCENE NINETEEN
ask
you.
Count. Just it.
say
Marquis. Speak out.
Marquis. Tell me
did mislay a little gold bottle?
"
you
Mirandolina. Why, sir.
yes,
are
in doubt, whethe^ou ought toyield^qr_^jwithstand,
reflect upon the bitter fruite^oTdcpenence,and remember
theTiostessoTtKe inn.
^^^ ^"-*? ^"-^ ^"-2^ ^^-^ ^"-5^ ^S^ ^Sx^ ^"-^ *5^^
THE IMPTiESARIO
FROM SMYRNA
A COMEDY
IN FIVE ACTS
First produced in
Carnival of 1761
A LI, a Turky a
Rich Merchant from Smyrna.
CARLUCCio, known as the Bit of Bran, a {male) Soprano,
Florentine Singer, known the Lemonader.
LUCREZiA, a as
FABRizio, a Scene-Painter.
BELTRAME, an Innkeeper.
A MAN-SERVANT, /ro"2 another Inn.
A belonging to Lucrezia.
MAN-SERVANT,
SCENE ONE
for your
Lasca. I hear that yesterdaysome musicians arrived at your
inn. Is that so ?
Beltrame. Yes, sir. A soprano
and a lady.
Lasca. Who is the soprano ?
Beltrame. A certain Carluccio . . .
'
Lasca. Who's known as the Bit of Bran' ?
Beltrame. I believe he is.
knock a little sense into him one simply must treat him
harshly "
in fact,humiliate him. Last Carnival time I
her.
Beltrame. She'll respondwith
alacrity. In fact, she did me
the honour I tell you in confidence
"
of asking me to "
'
him this pretty compliment: I am not in Bologna now,
but in Venice. I wash my hands of all Bolognesepeople
and chuck their memory into the canal.' For some time
the poor young fellow motionless,without
remained
'
speaking. Then he said, Ungratefulcreature! But I
deserve no better. You shall never see me again;'and
having said that, he went out like a man in despair,
SCENE TWO
SCENE THREE
me. The
manager knew all about it,but instead of
sympathizinghe justwent on doing his utmost to make
me tire out my lungs. Just think what the dog did! It
was agreed " ^and confirmed by contract that for every
"
SCENE FOUR
(carluccioalone.)
Carluccio. This charming Count ! He actually refused me a
SCENE FIVE
(carluccioand beltrame.)
Beltrame. (I don't know if Signora Lucrezia is yet in a
condition .) . .
Act I The Impresario
from Smyrna 91
Beltrame. sir,
Please, you said . . .
well.)
Carluccio. Barman or innkeeper,whichever you're are,
you
blockhead
if you don't know of
a a man
my position.
Beltrame. I know very well that you are an artist of ability,
and great wealth,but I have no
reputation, to lend
money
to any one.
Carluccio. Blockhead ! I don't ask you to lend the money.
Beltrame. Then giveme the two-pound-ten . . .
SCENE SIX
Carluccio. have
Host, you'll to change SignoraLucrezia's
room.
honest man who looks after his own affairs and doesn't
wish . . .
well served.
Beltra?ne. If you pay . . . off).(Ah!
{looking here's the
Count.)
Carluccio. And don't make me angry, for when I'm roused . . .
SCENE SEVEN
(lucreziaand beltrame.)
Lucrezia. Good-bye,SignorCarluccio. {To Beltrame.)How
quicklyhe vanished!
Beltrame. (Iknow well enough why he vanished. I hear he's
afraid of the Count.) Will you receive the Count ?
Lucrezia. I shall be delighted.
Beltrame. Will you go into your room?
94 Four Comedies by Goldoni Act I
SCENE EIGHT
chair.
{Theysitdown.)
Lasca. You are a Florentine,
theytell me.
Lucrexia. At your service.
Lasca. And your name is Lucrezia ?
Lucrezia. Yes, sir "
'Crezzina,in all obedience.
Lasca. Have you professionbeen
long? in the
Lucrezia. Oh, excuse me it couldn't be for long. Hardly
"
and all the artists " ^and I treat them in the kindly
spirit
which they deserve.
Lucrezia. hope you won't be displeased
I with my talent.
Indeed, I hope that possibly your friends will thank
you.
Lasca. I am perfectly
sure theywill. And are you a soprano
or a contralto ?
Lucrezia. Oh, sir! how can you? I should be ashamed to
singcontralto. I am a
soprano. A very high soprano.
You can't find many voices like mine.
Lasca. I'm immenselyencouragedto hear that. Did you
singfirstor secondsoprano at Pisa ?
Lucrezia. I'lltell you. It was the firsttime I'd out,
come
you sing
or not, I your devoted
am servant; but I tell you for your
own good that I givemost consideration to artistswho are
and
obliging do not require
to be pressed.
Lucrezia. Oh ! I am not of that kind. I pridemyselfon
beingmost obliging.
H
96 Four Comedies by Goldoni Act I
Lucrezia feignedtenderness).
(withsome No, really if you "
sensible of it.
Lasca. (Isee. Young, but she knows her business!)And I
in turn assure you, madam, that I am entirely
at your
disposal.I am a and when
real friend, I like some one
SCENE NINE
mer
98 Four Comedies by Goldon'i Act I
bagful; and because I have such deep respect for the Count,
I herewith make the initialoffer to this ladyfor whom he
has expressed his good feeling and esteem.
Lucrexia. (For me this'd be the best job in the world.)
Lasca. My dear SignorNibio,I thank you vastly. You can
at once.
SCENE TEN
I want nothing out of you nothing from your too ac- commodating
"
SCENE ELEVEN
(lucrezia alone.)
Lucrezia. Plague take you! What a stupid cavalier! The
SCENE ONE
the singers in the place. Tell me, have you visited that
Florentine girlwho arrived here last night ?
Pasqualino. No, I have not.
Tognina. But you know she has come ?
Pasqualino. Yes.
Tognina. I wager you'vepaidher a visit.
Pasqualino [smiling). No, really.
Tognina. You smile,though.
Pasqualino. Yes. You evidently suppose that every girlis
runningafter me.
Tognina. Oh ! I'm not sayingthey're all enchanted by you.
Don't fancyyourself as the darling of Cytherea ! What I
do say is,that you run about everywhere playingthe "
you.
Pasqualino.(And / know that you can't let such women
that know of it,for the Count has made just the same
confidence to me.
secrecy.
Pasqualino.Did the Count say what post they'll giveyou ?
Tognina. Oh, there's no question about that! I am the first
to know of it. I am mistress of the situation. No one
says:
*
Darling,I sighfor thee,'
SCENE TWO
may find
employment.
Pasqualino.Signor Maccario is talking sense. The whole
thingmay be quiteinnocent.
Tognina. Very well if it is,I've no more" to say. With
me for the first and you for the second we shall both
be well pleased.
Annina. Oh ! excuse me, I shall have to be the first.
Tognina. And
why, madam? Of course, I respect your
I have the advantageof you both
talent; but professionally
in experience and reputation.I have been first ladyfor
three years. And a beginner can't come alongand displace
me.
lady.
Tognina. SignerPasqualinohas certainly a great opinionof
SCENE THREE
my "
well known.
Carluccio. chatter,froth,empty hopes! And you,
Mere
SignorMaccario,are you busy? How are you employing
your time and your marvellous, your stupendoustalent ?
Maccario. You shouldn't joke about that. My talent is well
recognized, and I have plenty of practising
of opportunity
it.
Carluccio. Really,
my dear I'm
children, sorry for all of you.
I wager that none of you has work actuallyin hand.
Carluccio, Trumpery !
Annina. If it comes off,as I hope,as I'm sure . . .
. .{they
.
all burst out laughing). What ? laughing ? Yes,
good people,a Turk . . .
Is
Pasqualino. gatheringa company ...
SCENE FOUR
Carluccio. . . .
Smyrna justto see a new country and the turbans and the
intention of
beingheard away from home.
Tognina. (What stuck-upairs! I can't stand her.)
Annina. So you see. Count.
Lasca. I see.
Annina. A say !
pretty answer, I must
SCENE FIVE
Carluccio. Indeed, you are the great man who had the
honour of firstpresenting
me upon the stage, and I fancy
I've made your reputation.
Nibio. I should have made yours if you had conducted
yourself with a littlemore discretion.
Carluccio. My dear Nibio,you'recrazy. But I wish you
no harm, and if I go to Smyrna I'lltake you with me.
Nibio {astonished). To Smyrna?
Lasca. You see, my dear Nibio, how well the secret has
been kept.
Nibio. Who's the idiot that let it out ?
Tognina. The Count himself.
Lasca {hotly to Tognina).What impertinence!
Tognina, Pardon me, I didn't mean that you ...
cisely
^pre-
in order not to giveany offence " he doesn't mean
way there.
/^o"r Comedies by Goldoni Act II
114
me even
the just-something-else of these singers doesn't
ACT THREE
SCENE ONE
ofchairs.
(alismokinga longpipe.To him, one of the Hotel Servants.
ALi sitsdown on the sofa and smokes.)
Servant. Please,sir,
somebody wants to see you.
Ali. He is gentlemanor he is dog ?
Servant. In appearance he seems to be a person of some
standing.
Ali. Let him come. {ExitServant.)
SCENE TWO
Seraglio.
Il6 Four Comedies by Goldoni Jet \\\
mine "
so clear,
so strong, so resonant, so well controlled,
so faultless. I have twenty-seven notes, and each one as
SCENE THREE
SCENE FOUR
Jli [sitting
on the divan). You sit next to me.
Jnnina [doingso).By your gracious command, sir.
Carluccio. She sit and I stand? It's an insult! I won't put
up with it.
[He takes a chair and sitsdown pompously.)
Jli [toJnnina).Say your name.
Ali to throw
(threatening his pipeat Carluccio"s face).If you
want more, if you annoy me, I
more break my pipe.
Carluccio. Good sir,I humbly take my leave. (Exit.)
SCENE FIVE
(aliand annina.)
Ali down). I
(sitting have done much business in my life, but
I no understand " I never understand this business of the
"
SCENE SIX
for nothing.
AH. Tognina is generous. Your speechmuch delights, and
of Ali you shall not regret.
Annina. If I asked for a sum, sir,I did so in obedience to
second.
Annina. My dear lady,you'vecome a littlelate. SignorAli
SCENE EIGHT
Stay .
She is pretty?
. .
SCENE NINE
Annina down).
(sitting I have no intention of standing.
Ali. Ladies . . .
ladies . . .
must respect ladies.
Pasqualino. Sir,take my seat.
Ali. No, no in Turkey we use sofa or cushions. I stand
"
up.
I gladly endure the charminginsolence of beauty.
Lucrezia. If the host is standing,peopleought not to be
Act III The Impresario
from Smyrna 125
SCENE TEN
K
128 Four Comedies by Goldoni Jet III
SCENE ELEVEN
your in
epitaph verse. (Exit.)
1 30 Four Comedies by Goldon'i Act IV
ACT FOUR
SCENE ONE
rage round
by gathering him a whole gang of loafers. I
set to work to calm him. I exerted myselfon his behalf,
and in his lamentable condition he seemed to think that I
haddroppedout of heaven. He trusts in me, puts himself in
my hands,and,giving way to my urgency and my advice,
has promisedthat he will come here to see you this evening.
Lucrezia [pleased). The Turk is coming to see me ?
Lasca. He gave me his word and I am expectinghim.
Lucrezia. Then at least I shall have the pleasure of speaking
to him alone " without the uncomfortable presence o
a littlechocolate "
as we do in my country.
Lasca. Believe me, that's
quiteunnecessary.
Lucrezia. Never mind, I'lljustget it ready.
Lasca. If there must be anything like that,it ought to come
from me.
Tognina. Show
Signora a good face to her. That's worth
more than all the refreshment in the world.
SCENE TWO
Lucre%ia. At disposal.
your
Lasca. Excellent, my dear ladies. I am delighted to see you
good friends and good colleagues.
Tognina (ironically). I should be most lucky if I had the
honour of being in the same company with a lady so
excellent, so good-hearted.
pieces.And you ?
Lucrezia. Justa bit.
Tognina. Oh, you'll be perfect.Are you soprano?
Lucrezia. By your leave.
Tognina.Splendid ! I suppose you can get up to the top C ?
Lucrezia. Oh, even a littlefurther.
you
will hear for yourself.
I have three perfect octaves.
Tognina.The and
girlis a Bolognese, in Bologna theymake
certain pastes out of chestnuts. So they gave her a nick-
name
that fitted her country and her ability.Poor thing "
his teeth.
Lasca. Well,justice all round. If you lessen your age, I've
a rightto lessen mine.
Tognina.(The brute.)
Lucrezia. I think I hear some one.
SCENE THREE
SCENE FOUR
SignoraLucrezia.
Tognina.And you want me toput up with an insult like that r
to go to Smyrna . . .
Annina. Good
gracious! I accept it. "
out?
Ali. Shipis under sail.To-morrow morning we can go. All
the company shall come to my house to-morrow early.
Bringeverything to embark at Peota,and we go on board
to wait good wind.
intend to sign.
Tognina{toAlt). If I were your leading lady,I'd make
your fortune. {Shegoes to the table.)
make a heap of
Annina {toAli).You'd money if you trusted
me. {Shegoes to the table.)
{Aliponders, walks about,passes his hand over his brow,
twists his moustache,taps his feet,
and.,in general.,
shows his
perturbation.)
Lucrezia. What's the matter, SignorAli ? You look upset.
Ali. I not know. I in doubt. I not understand well the
guileof Italians,
but I in doubt. I almost regret to have
done what I have done.
Lucrexia. Why ?
Ali. Because I pay to have good people " ^and I fear the
music at Smyrna shall be bad.
Lucrexia. If you refer
you have my
singers, to those two
Lasca the
{giving papers to Ali).Here are the forms and the
signatures.
Ali. I not know what to do. I not wish them.
Lasca. All
right!I'llkeep them, put them with the others,
and bringthem round to-morrow morning.
Tognina.SignorAli,your servant! To-morrow morning I
and will be with you in good time. Good-bye,
my equipage
sleepwell,and remember to have some chocolate ready
for me to-morrow. {Exit,)
140 Four Comedies by Goldoni Act IV
biscuits. {Exit,)
Lucrezia. By it'sgetting
sir,
your leave, and
late, I'm going
to my room to undress. If you gentlemen desire to stay
here,you'rewelcome. I leave you in possession. Signor
Ali, your servant! I'll be with you earlyto-morrow
SCENE FIVE
{Enternibio.)
Nibio. Gentlemen "
good news! I've booked the first
musician at six hundred guineasand a second at two
hundred.
Lasca. Whom have you as second ?
Nibio. A certain Sganarel. . . .
account.
{Exit.)
Nibio. (Say what he will, the money's A hundred
necessary.
never
wanted to put myself at the head of theatrical
a
opera
earth with the underneath it.
manager
I42t Four Comedies by Goldoni Jet V
ACT FIVE
SCENE ONE
(cARLUCCio in travelling
costume with furs,top-boots,
a
whip,and a travelling
cap. Later,a servant.)
Carluccio. Ho ! look alive,look alive! {bellowingand cracking
the whip). Are theystillasleep? Is it a hoax ? Do they
mean to go or not?
Servant. What's all this row mean ?
Carluccio. I called againand again,and no one answered.
Servant. Speak low,sir. Don't wake the visitors.
Carluccio. Is the Turk up yet ?
Servant. He's up and he's out of the house.
Carluccio. Bringme some chocolate and toast.
SCENE TWO
(carluccio
alone.)
Carluccio. What's become of that creature Nibio ? I bet he's
payingattention to one of the ladies instead of
coming to
me "instead of bringingme my first quarter's pay in
advance as he promised. Confound him! I simplymust
soprano!)
Carluccio. SignorMaccario,my greetings!
L
144 Pf'^^ Comedies by Goldoni Act V
see him. They said he'd gone out before dawn, but I
Nibio either.
Tognina. What impudence! They didn't even send me a
gondola. It's outrageous!Why, in order to get here I
had to spendone-and-threepence of my own.
Pasqualino. Come, come. Don't make a fuss about one-and-
threepence.
Tognina.Quiet ^and look after my boxes.
"
Annina. If there's any call for duets,I may say I have five
or six that superb.
are
SCENE FIVE
get to sea I must have some idea what part of the ship I
shall occupy.
148 Four Comedies by Goldoni Act V
it with you.
Lucrezia, If we're
close,
so much the better.
Carluccio. Undoubtedly.You are my leading lady,you are
SCENE SIX
money.
Tognina.They've waited tillnow ?
Carluccio. It's an insult.
Act V The Impresario
from Smyrna 149
SCENE SEVEN
Nibio. Where ?
is the Impresario
Carluccio. Where's that creature Ali ?
Tognina. Is he coming at all ?
Annina. Does he mean to go or not?
I'm to see this charming
Lasca. delighted company assembled
and ready.The Impresariosalutes you all,pays his com- pliments
you will all be satisfied. {J^hey all put their hands out.)One
moment! Before
I distribute the money, I must inform
thousand ducats.
Carluccio. Five hundred for me.
{Allthree kiss.)
Lasca. Then everything
goes well. I'm
delighted.I hope
remain
you'll at peace, and all contribute to the general
interest. That is the difference between a communal
theatre and one that is
by a manager. Under a pay-
run master,
everybodyis proud,pushing,and presumptuous,
but when the musicians themselves are runningthe affair
Act V The Impresario from Smyrna 151
CATTE, a Laundress
y
Wife of Arlecchino and sister of Bettina.
MESSER MENEGO CAiNELLO, the Marquis*s Boatman, believed
Boatman.
NANNE,
Boatman.
TiTA,
A COFFEE-HOUSE BOY.
SCANNA, Usurer.
SCENE ONE
the stuff )
. . .
156 Four Comedies by Goldoni fm\
SCENE TWO
want.)
SCENE THREE
(ottavioand brighella.)
Ottavio. Devil take her! I can't bear thesightof her,am
she will have it that I am Jealous!I should b"
jealous.
j^ct I The Good Girl 157
back to the house at seven then out half the night; but "
SCENE FIVE
jf Street with view ofa Loggiaannexed to Bettina*s house.
for this loggia.As I'm not one to be out of the house all
day,I should die of melancholy if I hadn't this place.And
here I'm safe from gossips. They do talk so, because Si'or
Pantalone comes to the house. Let them say what they
* That littlepig.
is,to win the last prizein a regatta, which is a
M
i6o Four Comedies by Goldoni Jet I
SCENE SIX
temper.
Bettina. Don't temper. get in a I'll do what you say.
But to-daywill you
Pasqualino. keep me here
standing ?
Bettina. Whatdo you want ?
To be allowed
Pasqualino. to come in.
Bettina. Oh, you can't come into the house.
Pasqualino. No ? Why ?
Bettina. Good girlsdon't receive lovers in the house.
Bettina. If
they do wrong, so much the worse for them.
But I'm a good girl.
Pasqualino. When may I, then ?
Bettina. When you'vegivenme the token.
Pasqualino. I'llgiveit you here and now.
Bettina. Have you asked for me yet?
Pasqualino. Why, no you've neither
" father nor mother.
Bettina. Still,I've a married sister. She stands in the place
of a mother to me.
nor mother, and as you are her sister and married,I ask
for wife.
you to giveher to me
Catte. Tell me, son, your father " Messer Menego " will
approve ?
Pasqualino.
My father wants me to be
boatman, but I'da
young man opens a new one, there are immense expenses "
fine sugar huge items. They all make you put more
"
my sister might find herself another beau. See how hand- some
he is; if he doesn't properly make one lose one's
heart!) [Exity goinginto the house,)
164 Four Comedies by Goldoni Act I
(Present,
bettina and catte.)
Bettina. And then,what did he say ?
Catte. That he you for wife.
wants
brains.
Catte. doctress
Si'ora, of
wisdom, console yourself; here's
SCENE NINE
SCENE TEN
remedy that.)
Bettina. Are you tired? Won't you sit?
Pantalone. Yes, indeed,my daughter. I'll sit. Sit you
down also.
Bettina. Si'or . . .
yes. I'llgo on with my knitting.
Pantalone. You don't need to work. Sit here,and talk to
me a little.
Bettina. I talk with my tongue, not with my hands. I
Bettina. It'sblowing
up a biggale.Please,
my dear friend,
let me close the balcony.
Pantalone. (Isee. No hopefor me.)
Bettina, Ah ! that'sbetter.
Pantalone. So,my child, my talk has givenyou a chill?
What isit? Speakplainly, answer me freely.
Bettina. You wish me to speak plainly, and I will. Until
now I've allowed you to come to the house because you
of it,I warn you that I don't want any old man for
husband.
Pantalone. What I've done I've done out of goodwill, and
I'llgo on doing it.I'llalways be your father,and willlook
on you as my daughter. I am ashamed of the weakness I
showed,and I feellike cryingI don't know whether on
"
"
J
170 Four Comedies byGoldonl Jet I
Bettina. 'Cellency.
Ottavio. What makes you so discourteous?
Bettina. I behave as I'm made.
Ottavio. As you are fair, be also kind.
Bettina. Fair or foul,I'm not for your lordship.
Ottavio. (Herdisdainattracts me.)
*
Bettina. (May he come to grief in his wig.)
Ottavio. Si'oraCatte.
Catte. Excellency?
Ottavio. I should relisha cup of coffee.
Catte, We've no coffee, onlya few dropsof polentina.
Ottavio. The shopis not far;you mightdo me the favour
to go and get some. Here. (Givesher some money.)
Catte. Willingly, Excellency.
Bettina No, no, you're
(toCatte). not to go out.
SCENE THIRTEEN
and bettina.)
(ottavio
Bettina. (My sisterhas preciouslittle
sense!)
Ottavio. Come here;sit down.
Bettina. I'm not tired.
* A malediction in use among the
the lower classesregarding nobility.
Jet I The Good Girl 1 71
Bettina. Your
lordship
can look at your own things.
Ottavio. Don't be so impertinent.
Bettina. I make no and if your lordship
apologies, is not at
your fortune?
Bettina. My poor fortune! Indeed,there are gentlemenwho,
when they've
spent ten think they've
ducats, made a girl's
fortune.
Ottavio. talk like that because you don't know
You me.
Venetian girls
are a treasure
Not to be lightlywon.
affairs.
Ottavio. You see these
earrings ? {Brings out from his pocket
SCENE FOURTEEN
SCENE FIFTEEN
Ottavio. Certainly.
Arlecchino {toBoy). Put there,the biscuits here.
the coffee
Observe and consider the prudenceof man. My sister-in-
law wants nothing,and when a woman wants nothing,
obstinately, she wants nothing.Sendingit away would be
an affront to your lordship, so to taste the quality of the
coffee and the biscuits I'lltake some myself; and that that's
the truth your lordship's here to see, and I leave it for your
lordship to judgeof the spirit in this bit of a man. {Walks
about eating the biscuitsdippedin the coffee.)
Ottavio {toArlecchino). You've a good appetite, my friend.
Arlecchino. You see, now, everything's put straight. Have
littledifferences to settlewith my sister-in-
you any other
law, your lordship? {ExitCoffee-Boy.)
Ottavio (I must
{toArlecchino). speak with you alone.)
Arlecchino. Sister,will you have the delicacyto step out?
We'll
{toOttavio.) find a way of this too.
adjusting We'll
go out ourselves.
Ottavio. As you like. We'll go out.
(bettinaalone.)
Bettina. The misfortunes of us If we're ugly,
poor girls! no
SCENE SEVENTEEN
Street.
(ottaviomeets pasqualino.)
Pasqualino.
My father said your lordship
was for me.
looking
N
176 Four Comedies by Goldoni Act I
Your
Pasqualino. all kindness.
lordship's
Ottavio. Tell me, have you any employ.?
No,
Pasqualino. sir. Up to now
my mother has sent me to
are famous for our wit and for quickness of resource, and
above all we are so faithful and devoted to our country
that we'd shed our blood and defend her against the world
if we heard a word said against our Venice that is Queen
of the Sea.
Pasqualino. It'strue,and well said. You praise your calling,
but I can't follow it.
Menego. If you can't, I'llhave you taught it.No one isborn
a master, and a man makes his way where he willsit.
Pasqualino. But I've something else to tellyou, father.
Menego. Well, boy?
Pasqualino. My patron wishes to see me married.
Menego. You marry!How? On what? The master's pro- tection?
I've seen plenty of those who married on the
dowryof the protector,but what happened? The master
got tired of them, the dowrywent up in smoke,the wife
was illused, and the husband got a sore head. Among us
we don't countenance that sort of matrimony. Our wives
are poor but honest; we eat polenta, but in our own homes;
we work hard, but livein reputation; we wear the red cap,
but without any one's beingable to cast a shadow on us.
Get some sense, and never let me hear again that you want
to get married. Prepare yourself to go on the poop of a
gondola, or to run up throughthe rigging to lash the flag
i
Jail The Good Girl 179
ACT TWO
SCENE ONE
Ho Menego !
"
Donna Pasqua, All well,son, all well. (To the Boatmen^ who
are unloading the freight.) Ohe! take this brown sugar
ashore. {To Pasqualino.) What's your father doing?
Pasqualino. He'll be with the master. Oh, if you knew all
the words we've had!
Donna Pasqua. Why, what's happened? When I'm away,
you alwayshave words.
Pasqualino.He wants me to be a boat-servant. I can't,I've
no geniusfor it.
Donna Pasqua. (Poor child! It's easy to see that he's not
marry
want to. I did the same. Why, at fifteen I'd alreadya
boy-child.
Pasqualino.But father's againstit.
Donna Pasqua. He's mad poor dear. Sons,when
"
theyget
i8o Four Comedies by Goldo7ii JctU
SCENE TWO
SCENE THREE
day.
Tita. But say you are
you Venetian,sir?
Le/io. Certainly.
I am the son of Si'or Pantalone de Bisognosi.
Donna Pasqua. (What do I hear? Good gracious ^allmy
"
blood quivers!)
Lelio. Tell me, which is the best inn in this town ?
Tita. Why not find your father's house instead of an inn ?
Lelio. Oh, I've a passionfor inns.Besides,I don't want
my father to see me tillI've enjoyedVenice in full liberty
for a few days.
Tita. But if your father sees you there'llbe trouble.
Lelio. He doesn't know me " and I don't know him. I
have a go at
listen,I don't want to
pay you yet; we'll
the cards first.
Tita. That's one of your merits that you hadn't mentioned,
sir! and
[Lelio Tita go out)
Donna Pasqua. See what I've come to! I cheated Si'or
Pantalone of his child. I gave himinstead,thinking mine
it would be well broughtup, thinkingto see myself happy
in it,and here he is a rogue! I'm ashamed"
that he
should be my son. If he were good I'd proclaimthe
truth,but as he is bad let Si'or Pantalone enjoyhim!
"
I
love Pasqualino as though he were my very son;
and in
truth,if I didn't make him, I gave him of my milk,and
l82 Four Comedies by Goldoni Jet u
find my husband.
SCENE FOUR
The Street.
(Present,
pantalone, then pasqualino.)
Pantalone. I can't
Nevertheless, get that dear child out of
You
Pasqualino. won't giveher to me?
Pant a giveher to you.
lone. I won't
Pasqualino, that.
I'll tell his lordship
Pantalone. Tell it to the Count, too; I don't care.
You'll
Pasqualino. see what he'll say!
Pantalone. You'll see what happens!
She's
Pasqualino. not your daughter.
Pantalone. And she won't be your wife.
Oh,
Pasqualino. but she will.
Pantalone. Oh, but she won't.
SCENE FIVE
Pantalone. '
Old friend ?' Who are you, sir? The Prince
I of Bothnia ?
Ottavio.
Pantalone.
I am
And
the Marquis of Ripa Verde.
I'm Pantalone de Bisognosi.
Ottavio. Ah! Pantalone de Bisognosi.Aren't you the
protector of that girlBettina ?
Pantalone. At your service.
Ottavio. Oh, then,you'dbetter know that the young woman
is to be my wife.
secretary's
184 Four Comedies by Goldont Act II
(to Fantalone).
Pasqualino That's me.
SCENE SIX
(ottavioand pasquauno.)
Ottavio. The senseless old madman! I'llhave him beaten.
Tell me, are
you in
really love with Bettina?
Am
Pasqualino. I in love ? I've eyes for no one but her.
Ottavio. You want her for wife ?
Pasqualino.The sooner the better. To-night rather than
to-morrow morning.
Ottavio. In that case, go straightto her, marry her,and
take her to my house. Leave everythingelse to me.
But
Pasqualino. you see . . .
pairof doubloons.
Lelio. (In my present state a pairof doubloons would save
(lelioand pantalone.)
Lelio. Can one do less to earn two doubloons ? But here's
our friend. Poor old man, I'm sorry for him.
Pantalone. (That son I wonder
of mine doesn't come.
what's delayedhim ! The post from Florence is in.)
Lelio. (IfI fall on him without warning, I'm afraid he'll
drop dead. I'd better do it with a littleceremony.)
Pantalone [observing Lelio).(What an uglycustomer.)
Lelio. Your devoted servant, sir.
Pantalone. Sir,my respects.
Lelio. I'd like a coupleof words with you.
Pantalone. At your service.
Lelio. I'm gentleman,
a
you understand,sir.
Pantalone. So I thought. (You don't look it.)
Lelio. You know the Marquis of Ripa Verde ?
Pantalone. (Now I see what's up.) Yes, I've had a little
scamp "
irons, and I,his poor father, I shall have the grief of it.
Go, find him,take him to the house. Tell him I'm not
angry. Don't let him slip, friend;don't abandon me.
Quick,hurry!Oh, what a son, what a son ! (Exit.)
Tita. Son and father seem to me a couple of lunatics. I'll
not have anything to do with them. The proverb says:
'
Let him who has the itch do the scratching.'
SCENE TEN
Bettina^sRoom.
(bettina,
then pasqualino.)
ill
Jet II The Good Girl 189
my hand . . .
and now you wish to carry me off to his
house ?
What's
Pasqualino. this you say ? The old villain! Now I
understand the way he takes an interest in me. No, no,
my girl, I don't take you there. Don't you think that for
a moment. Fool that I was, I believed him; but you've
opened my eyes, and father knew what he was saying.
my
Bettina. Yes, indeed,but he might have saved himself the
trouble.
Pasqualino.
I'm afraid of losing
you.
Bettina. There's no fear of that.
Pasqualino. if you
Ah, Bettina, loved me!
Bettina. Thisheart is all yours.
Pasqualino.My love,now is the time for to prove it.
you
We are alone; no one sees us, no one hears us. Take your
and
belongings we'll
together. run
away
Bettina. I,run away? Bettina guilty of an act of that sort?
Pasqualino, you don't know me yet. It's no use your
sayinglet's run away and be married. If you'vedone
wrong, it'sone thingto remedy it by marrying. But it's
not necessary to do wrong in order to be obliged to find the
*
pointa fingerat me and say, That's she who ran
away
from home. Luckily, he married her.'
Pasqualino.But Si'orPantalone will marry you to some one
else.
Bettina. Oh, he can't do that.
Pasqualino. Father will send me away from Venice.
Bettina. You'll have to ""beyhim.
Pasqualino. And Bettina?
Bettina. Bettina will wait.
Pasqualino.Ah, Bettina,
we're both in tears, when we
mightboth be happy.
Bettina. How ?
Pasqualino. If you would come with me.
SCENE ELEVEN
Pasqualino. father.
I beg your forgiveness,
Menego. I'llforgive you soon with both fists.Run away
now,SignorGood-for-nothing.
(PoorBettina! I feel my heart sinking.)
Pasqualino.
{Exity
weeping.)
lit
JctU The Good Gir/ 191
SCENE TWELVE
(bettinaand menego.)
afterPasqualino).
Menego {calling Cry, cry, you miserable
barnacle !
Bettina. (I told him if he came into the house something
terrible would happen.)
Menego. Excuse me, but
Si'ora, what intention have you
towards that boy?
Bettina. He's never been in the house before.
Menego. Go on!
Bettina. No "
on my word.
Menego. Don't lie about it.
Bettina. Dear Messer Menego, I can't be silent. It's true,
son does court me. He loves me and I love him, and
your
we're betrothed,
even and it'sjustbecause of you that he
came "in tears and despair to beg me to run away"
with
him. I wouldn't because I'm a respectable girl.And now
you abuse me, scold me, and hold me in bad esteem. {Weeps.)
Menego. (Poorgirl!I'm weeping,too, now.) If you wanted
him for a husband I ought to have been told.
Bettina. Was it for me to tell you ? We poor girls try to get
married honourably.Be satisfied, Messer Menego, that
you have to deal with a good girl, when another might
have obliged you, by this time,to become a grandfather
before beinga father-in-law.
Menego. My dear child,I don't know what to say. I'm
sorry for you, but you see my son's in no position to get
Menego. (Her face is not ill-favoured, and her wit does not
displease
me. The father beginsto row on his son's oar.*)
Bettina. (He seems to be softening a little.)Dear Messer
Menego, have pityon me, don't let me die of despair.
Permit me to kiss your hand.
*
The father begins to be a rival of his son.
192 Four Comedies byGoldoni Jet II
for me.
Bettina. Your son has more sense than you have,you silly
old man. Go at once. Leave this house ! It'sa fine thing
the way these evil-minded men layeyes on a girl and at
once get smitten, and if theytouch her hand suddenly go
out of their wits. The old ones are worse than the others.
Listen to me sooner
"
or later Pasqualino will be my
"
husband, and you I shallrefuse to recognize as father-in-
SCENE THIRTEEN
(bettina
alone.)
Bettina. No one shall row throughthis house. Here's a
(bettina,
catte,
SCENE FOURTEEN
and pasqualino.)
1
Catte Poor boy! Come
{toPasqualino). here,
my son!
-'ii }
194 Four Comedies by Goldonl Jet II
SCENE FIFTEEN
Catte. It has all been done upsidedown, and for the present
we can't do anything.
Arlecchino (toPasqualino). And theycome into my house to
do things upsidedown ? Nothing to eat ? I'm goingto find
your father. I'm goingto find Si'or Pantalone. I'm going
to call the whole community,so that everybodyshall know
that you, you good-for-nothing, came to my house to
Bettina Hush!
(toArlecchino).
Catte. Hush!
Arlecchino. In my house there's a . . .
the door).
(reaches
Pasqualino.
Hush, for sake
pity's !
Arlecchino. There's a betrothal and no feast.
Bettina. Hush !
Catte. Hush !
Arlecchino. He's marryingmy sister-in-law. It'sPasqua . . .
Here, take
Pasqualino. this ducat,and hush.
Arlecchino. Hush !
Bettina. Are you satisfied?
Arlecchino. Hush !
Jet II The Good GH 195
SCENE SIXTEEN
(bettinaand pasqualino.)
And
Pasqualino. even now you send me
away ?
you know
Bettina. Don't that ?
But haven't I
Pasqualino. givenyou the token ?
Bettina. Well?
Pasqualino.Well, can't I stay with my betrothed ?
yes, you could,if we
Bettina. Si'or, weren't alone,if my
sister were here.
SCENE SEVENTEEN
Where
Pasqualino. is he?
Bettina. I saw him. He's coiningby gondola.He's landing
this minute at the dock.
(Pasqualino
runs to the window and leaps
from it,)
Bettina. Oh, poor me! [runsto the window).
Catte, Let him go. Men are never lacking.
SCENE EIGHTEEN
says?
Catte. Don't you know it,si'or? It's my turquoise.
My
husband got it for me.
Pantalone. Your husband must have assassinated somebody,
then. He never works.
has inherited from his people
Catte. Don't you know ? He
in Bergamo.
Pantalone. Very well. And why is your sister Bettina
wearingit?
Catte. Because my hand's grown too fat,and it doesn't fit
me any more.
SCENE NINETEEN
The Street.
(oTTAVioand brighella.)
Brighella.Dear Si'or
Master, I don't know what to say.
Bettina is obstinate. In a word, you simplycan't get into
her house.
Ottavio. If I can't win by cunning,I'llwin by force. Fll
rape her.
Brighella.That's the easiest method of gettingyour own
way. As Excellency
your commanded, I have found the
men, and they're in the boat waiting. It will soon be
dark. If your Excellency wishes,let us go, and make our
preparations cleverly so she cannot escape.
Ottavio. For a matter like this I'd have willingly taken along
a certain lad from Leghorn. When it comes to fighting,
SCENE TWENTY
company
no!
Ottavio. Signora,
Beatrice. Your is most
lordship disobliging.
Ottavio. Your is most
ladyship gracious.
Beatrice. Then I shall have to go home on foot,alone,
with the boatman.
Ottavio. Where's the Count ? Where are your servants ?
Beatrice. Oh, I know why you refuse to come with me.
my oar.
Menego. And there's my oar fast! {plunges his oar "in the
ooze ofthe canal bed).
Nanne {bending down to speakto persons in his gondola). Your
orders, you say, sir? I must fall back ? Not if
you gave
me ten guineas, sir. If you wish to go ashore,sir,go
ashore,but I don't budge from here.
Menego {also bendingdown to speakwith those he has in his gon-
dola).
But,your Excellency, my reputation's at stake. I can't
let him to get the better of me with that old tub of his.
Nanne. What's that abouttub,old squaretoes ?
an old
Menego. What d'youbet I don't pitchyour rowlock overboard .?
Nanne {againspeaking with passengers in his gondola). As I
said, sir,if you want to go ashore,go ashore. It's all one
to me. I have to settle with this regatta-gentleman.
Menego {also speaking againwith his passengers). Your lord-
ship,
yes! It would be better if your lordship went ashore.
I won't back water, not if it costs me my dailybread.
Nanne. Look, now. Because of you my passengers are embarki
dis-
You'll me for this.
pay
Menego. I'm the man to giveyou full satisfaction.
Nanne. I shall laugh when I've chucked you overboard.
Menego. I'm not afraid of you nor of ten of your strength.
Nanne. O-ha! O-ha!
Menego. Ass !
Nanne. Pig!
Menego. Fool !
SCENE TWENTY-TWO
SCENE TWENTY-THREE
SCENE TWENTY-FOUR
SCENE TWENTY-FIVE
have you
Tita. Si'or Pantalone, made peace with your son ?
Lelio. (Cursehim!)
Pantalone. With which son ?
Tita. With this Si'or Lelio.
Pantalone. This is Lelio?
Tita. Oh, rather! That's he.
Lelio. The furies take you, boatman of the devil. {Exit,)
Pantalone. Oh, the scamp ! You lied to me ? Fll have you
yet,you miserable wretch. And Bettina ? Poor dove. She's
in the clutches of the falcon. And that infamous son of
mine ? Poor father ! Poor Pantalone ! Between love and
rage I feel my heart is splitting. (Exit.)
SCENE TWENTY-SIX
the largest piece would have been an ear. {Jlso moves off
with his gondola.)
Nanne. Braggart! {Draws with his gondola.)
away
ACT THREE
SCENE ONE
(Present,
lady Beatrice and scanna, a Usurer.)
Beatrice. This way, SignerScanna. Come into this room.
We can talk more at our ease here.
Scanna. ladyship
As commands.
your
Beatrice. I need twenty guineas. I lost them at cards on the
pledgeof my word. My husband won't givethem to me,
and as I'm a woman of honour I shall have to pay them
somehow or other.
Scanna. Quiteso. Very proper. And how does your lady-
ship
think of finding
those twenty guineas
?
Beatrice. By pawningsomething.
Scanna. Your ladyshiphas some jewels?
Beatrice, My personal jewellery.
Scanna. On that we can raise twenty guineas.
Beatrice. And in the meantime must I go without them ?
Scanna. If you want the money.
Beatrice. Here " take these. You can have my earrings.
(And falsepearls
are beingworn now.)
Scanna. Ah " the will
earrings not be enough. These "
hundred crowns.
P
2o8 Four Comedies by Goldonl Act III
SCENE TWO
SCENE THREE
Another Room in the House ofthe Marquis,
with two doors.
A table and a candle.
(bettina
alone.)
Bettina. Poor me ! Whatever will become of me ? Where
am I ? Who was it broughtme here ? Where can my
sisterbe? What will Si'or Pantalone say? And my
Pasqualinowhat will he say? If onlyhe knew where I
"
am, he'd throw himself into the fire for me, I know he
would. And who was he that dog,that assassin who
"
! Help!
people Let me out ! {A door isheard being forced.)
What'sthat? Some one's the
breaking door! Help!
Mercy! I'm done for!
\t
Jet III The Good Gir/ 2ii
SCENE FOUR
(bettina and lady Beatrice.)
Beatrice. Who are you ?
Bettina. A poor girl.
Beatrice, What are you doinghere ?
Bettina. Nothing.
Beatrice. Who broughtyou here?
Bettina. I don't know.
Beatrice. Whom are you expecting?
Bettina. No one.
my noble
husband's ladylove!
Bettina. Who is your husband ? / don't know him.
Beatrice. My dear! Don't know him? The Marquis of
Ripa Verde.
Bettina. Is this his house ?
Beatrice. It is,indeed.
Bettina. Now I understand everything. It'she who brought
me here. Then you are the wife of this Marquis?
Beatrice. Yes. What of it?
Bettina. Dear Excellency, don't leave me, I imploreyou.
I'm a respectable girl.Your ladyship's husband has done
everything possible to get me into his power, and as he
couldn't succeed by fair means he has had me carried off.
Beatrice. Can I really believe what you say?
Bettina. On my honour as a good girl, I swear it's true "
Bettina. Oh, but excuse me " I've never been. Girls don't
go to the theatre.
Beatrice. Girls mustn't go to the scandalous plays,
but they
can
go to the the honest
plays.
goodplays,
Bettina. I'lldo what your ladyship commands. But the
Marquis .? . .
SCENE FIVE
forher in
Ottavio (seeking the Bettina!
dark).Bettina,
I
Act III The Good Girl 213
Beatrice Answer
{softly). him.
Bettina. Your Excellency . . .
bashful.
Ottavio. you, where
Where are are you ?
Bettina {asbefore).
Here.
Ottavio. Give your littlehand.
me {Bettinawould refuse^
and Beatrice puts out her own hand.) Dear littlehand!
Do you love me ?
Bettina Oh
{asbefore). yes, sir.
Ottavio. here?
Were you angry because I broughtyou
Bettina No, sir.
{asbefore).
Ottavio. Ah, my dear littleBettina that's better! "
SCENE SIX
then
(BEATRICE, OTTAVIO with a candle.)
Beatrice. What a charming husband! So he'd shut up his
ladylovein his house. But here he comes with the candle.
Ottavio. Well, here I am . . . {hesees Beatrice).
Beatrice. What do you want, sir?
Ottavio {lookinground the room). Oh, nothing.
Beatrice. (He seems somewhat agitated!)
214 Four Comedies by Goldont Act III
it was
positive Bettina I spokewith. And now, where is
she gone to ? Ah ! the Marquisehas stolen her away from
me but before she can
"
be spirited
out of the house I'll
find her again.I'm determined to carry my point,though
the house should fall. . . . [Exit.)
SCENE SEVEN
J Street. The same night.
(Present,
catte in a shawl.)
Catte. Where am I? Where am I going? In this pitch
darkness I don't even the streets.
recognize Oh, there are
(catteand lelio.)
Lelio. How I do love Venice! I've been away so many years
Ja III The Good GH 215
spend it; but when I haven't,I say so, and I'm glad to
take what theygive.
Catte. In Venice you won't find many who give.
Lelto. But you'll giveme your hand!
Catte. Here, then. (I couldn't have found worse!)
SCENE NINE
message.
Pantalone. But what were you doingwith my son ?
Catte. That scamp "
her out. I'llnever stop tillI get the truth;and whoever did
this,I swear, on my honour as a merchant, he will have
to her ladyship.
I
Catte. Who is she ?
Bettina. His wife.
Catte. What?Come, come!
Beatrice {to Bettina).Will you never have done with your
babble?
Bettina. I'm justcoming.Excellency.And what of Si'or
Pantalone ?
Catte. He passedhere a minute ago simplybeside himself.
"
Bettina. thing Fm
Poor "
with my Pasqualino!)
Beatrice. I mean to put an end to Paj
this affairto-night. "
SCENE TWELVE
Menego. I have,mate.
Nanne. And I'm here with a fare a foreigner who came
" "
yarn away. |
Nanne. Let's go to the shop. "
Boy. Right.
Menego. Hurry up. Don't stand there bewitched ^and I'll "
giveyou a penny.
Boy. I'll be there and back in a twinkling. {Exit.)
Menego. You there, mate?
Nanne. I'm here.
Menego, What's he like,your foreigner?
Nanne. Good enough. He gave me a ducat a day for myself
" with food and drink,too and when he wanted two "
SCENE THIRTEEN
SCENE FOURTEEN
it
222 Four Comedies by Goldoni Act III
Tita. Hullo,mates!
Menego. Too haughtyto joinus?
Tita. Not I.
him
Menego {giving a glass).Here you are, then. Fll settle
up later.
good,but it'stwice as good from a
Tita. Wine's friend'shand.
up his glass).
Menego {filling Well, here's how to treat such
fellows as
you.
Nanne. What's on at the theatre ?
Tita. Lord, how we laughed.
Menego. Plentyof folks?
Tita. Packed.
Menego. And theylike it?
Nanne. creatures! You know what this country islike.
Silly
delighted,
First they're and itneeds the
then theyget tired,
back rows to hearten thingsup.
{Applausewithin,and cries of*'
Bravo, bravo.*)
Menego. Ah ! hear that ?
Tita. You see? It's goingwell.
Menego. Many boatmen in there?
Tita. Over a hundred.
Menego. If theylike it,it must be good. It's we who make
the fortunes of comedies. If we like them we go about
everywhere, 'Ah, what a comedy,what a comedy !
saying,
An thing!'And in there,too, if we applaud,
exquisite
and what's more,
applauds; we like the real
every one
for us.
thing.None of your devilriesand intrigues We
like comedies that have sap.
SCENE FIFTEEN
good thing,
too. That's how theykeepan eye on pockets
pick-
Venice!
Lelio. It'sgoodto be with the likesof you. May I sitwith
you?
Menego. Make yourself at home.
SCENE SIXTEEN
J Spygoes to the Police and signs to them that he has discovered
SCENE SEVENTEEN
Beatrice masked and dressed in Catte^sclothes,
Bettina in those
ofBeatrice,
and the Servant zvitha lantern,
come out from
the theatre.
m\
i
224 Four Comedies by Goldoni Jet III
SCENE EIGHTEEN
Pasqualino. The mistress sent for me. They said she pected
ex-
'
ladyship? (Bettina nods Tes.') Yes? You shall be
obeyed. But your hand no? (Bettina"
refuses.) Very
good. Oh, if I don't find Bettina I shall despair!
(Exit.)
Bettina. Unmask? Of course not. Two lovers alone together
at night? If he'd recognized me I don't know what would
have happened. (Exit.)
SCENE TWENTY-ONE ]
A Room
Ground-floor in the House ofthe Marquis. '
(Present,
menego with a and lelio.)
lantern,
Menego. So your father wants to put you in gaol? ^jJ
Lelio. He does. ^^
Menego. But why?
Lelio. Oh, he's mad. He wants to order my but I'm
life,
not that sort.
Menego. Look you, sir,I defended you from the police and
breakinginto a of
gathering honest
insulting us. men and
But take it from me sons must
"
obey their fathers, and,
seeinghow you live,your father was rightto want to
chastise you and stop you from playing the fool,for bad
sons excuse themselves later on by saying that they were
badlybrought-up.
Lelio. But if I detest everything that my father likesr Now,
as you make
if I were your son and had to make my living
be perfectly
yours, I should then happy.
Menego. And yet you might grow tired of it. To go out on
the water for pleasuremay be all very well,but having
to row by day or night,in rain,sleet, or snow, with the
wind blowing,and in the dark, and maybe with bac
customers, that's an amusement we could very well dc
without.
Lelio. Perhaps; but every one has some enthusiasm,anc
this is mine.
Jet III The Good Girl 227
SCENE TWENTY-TWO
jealous?
Donna Pasqua. (You wouldn't say that if you knew who
he is!)
SCENE TWENTY-THREE
{hethreatens Pantalone.)
Menego (tearing him away). Stop,stop !
Pantalone. your father ? You threaten me
This " to ? Quick,
fellows
you police where are you ? My son's
"
assaulting
me!
Donna Pasqua. (My poor boy! And I'm the cause of his
ruin.)
Menego (toPantalone).Let him be, and we'll put all this
right.
Pantalone. I don't
your advice. want When a son loses
respect for his father,
he deserves no sympathy. He shall
go gaol.
to
. . .
enough. The
it'slikely lad has good manners and is
but
respected, this fellow here is a brainless lout. I cognize
re-
SCENE TWENTY-FOUR
(lelio,
menego, and donna pasqua.)
Lelio. Was it the truth told,Signora,
you or did you say
that to save me from prison?
Donna Pasqua. My boy,my boy it was true! "
SCENE TWENTY-FIVE
of it,
the procuring so that no one shall be able to reproach
SCENE TWENTY-SIX
leading
(BEATRICE, bettina by the hand in the dark;
the latter masked.)
SCENE TWENTY-SEVEN
then
(bettina, Beatrice with pasqualino, in the dark.)
Beatrice {aloud^
so that Bettina shallhear).
Stayhere,Pas-
quahnojtillI return. You needn't be anxious. I'lllock
you in.
But why
Pasqualino. here ?
Beatrice. You'll soon know. Good-bye. Good night. {She
goes out and locksthe door.)
Bettina. (PoorBettina! Now, indeed, you're in a fix!)
Pasqualino. This isallvery fine putting me in a dark room
"
SCENE TWENTY-EIGHT
I
^
Beatrice. And you cried out for that? ^
Pasqualino. I found a woman. '\
Beatrice. Well?
Pasqualino. Who is she?
I
234 Four Comedies by Goldoni Act III
LAST SCENE
handful of confetti,
not a dropof chocolate ? And no wine ?
Jam The Good GH 235
And if I showed
myselfa good girlhere,
Let me now to the generalsisterhood
Say these two words (butin their secret ear):
Strongthough Love's urgingis,be you more strong,
And, knowing well the worth of beinggood,
Be readyrather to die than to do
wrong.
{Note. I have included this comedy because it forms an interesting
example of Goldoni's naturalism emerging from the tradition of the
Commedia dell' Arte ; but, with the consent of the Translator, I have
abridged it. The reader will see that it is the earliest of the four plays
in this book. The Translator is not for the rather
responsible loose
verse-paraphrases.
Ed.] "
THE FA3^
A COMEDY
IN THREE ACTS
time in Venice on
Translated by
^^^jSXGNOR EVARISJQ.
^
"^^ "
""'
"
,:^
.
"
r V
^'COUNT DI ROCCA MARINA. ..jla^
^^-TiMOTEO, an Apothecary.
Girl.
^p";p?.iAN.NiNA,"7 Peasant
'^SIGNORA SUSANNA, a Shopkeeper, r.
"
"The fa?^
ACT ONE
SCENE ONE
OMNES.
scene.
Baron. but
Just as you please, she plumes herself on he^ |
as much
protection as as ...
the Count, who sitsreading
there with all the airs of a connoisseur.
Evaristo. caricature
Oh, there you'reright.He is a perfect
But itisunjustto compare Geltrude.
him with Signora
Baron. Well, takingthem all round, I find them hot
" ridiculous.
Evaristo. And what do you find ridiculous in Signoi
Geltrude .?
Baron. Too sententious^
too superior, too self-sufficient.
^
i\
Act I The Fan 243
SCENE TWO
my gun.
Geltrude. I trust will
enjoyyourself.
you
Candida. Good sport and good luck.
Evaristo {toCandida, busyinghimself with his gun and equip-
ment).
Favoured by your good wishes,I am sure of good
luck.
Candida {toGeltrude). How courteous SignorEvaristo is!
Geltrude. Yes, he is certainly he has polish. But
gallant,
trust no whom
one, niece, you do not know through and
through.
244 Four Comedies by Goldoni Act I
t^ ears in love.) i
(Calls.)Tognino! "
Tognino(toGeltrude).Madam?
Geltrude. Take that fan. \
Tognina(toEvaristo). By your leave, sir.
Evaristo. Since theywill not permitme. There, take . . .
\
Act I The Fan 245
SCENE THREE
adjustit.)
Evartsto. (I am much distressed that the fan should have
been broken on account. I w^illsee if I can replace
my
SignoraSusanna!
it.){Softly.)
Susanna. Sir?
Evartsto. I wish to speakwith you. Let us go into your shop.
Susanna At
{rising). your service.
Evaristo. Moracchio !
Moracchio. Sir?
Evaristo. Go on ahead. Wait edge of the wood till
at the
I come. {Goesinto the shopwith Susanna.)
Moracchio. If he wastes any more time,we shall lose the birds
and onlybag the salad ! {Exitwith dog.)
Giannina {spinning). (Good riddance to my brother! I'm
dyingfor a word with Crespino;but I don't want that
miracle!)[Bangsaway.)
Geltrude. Is it by iEsop?
Count. No.
Geltrude. Is it by M. de la Fontaine?
Count. I do not knov/ the author "
but that isof no account.
Would you care to hear it?
{Scansthe page.)
Candida {to Geltrude). Do you, with your taste for literature,
like listeningto fables ?
*
Count {toCrespino). So ! hammering again!
Crespino{still banging, to the Count). Don't you want any
heels on your shoes ?
poundingagainin
{Timoteobegins his mortar.) J
A is impossible
I will come
to read ! It isunendurable!
amuse me.
SCENE FOUR
to SignoraCandida?
Susanna. Because I saw her break hers.
Evaristo. Well, you wrong. The fan isfor some
are one else.
Susanna. All right,
all right,giveit to whom you please.
I'm not the sort to pry into other affairs. {Sits
people's
down and
beginssewing.)
Evaristo {approachingGiannina).(Perhaps not, but she'd like
to know. However, she'll be off the scent this time.)
Candida. (Secretswith the shopkeeper! What does it
mean?) {Advancesa little.)
248 Four Comedies by Goldoni Act I'
Evartsto Gianni
{whispering). na!
Giannina Sir?
[spinning).
Evaristo. I want to ask a favour.
Giannina. What can I do for you ?
Evaristo. I know that Signora Candida is fond of you.
Giannina. she does
Yes, sir, me that honour.
Evaristo. She has told me so, seeingthat I interest myself
in your brother.
Giannina. Oh, what a life I lead! Here I am, with no
J Giannina (spinning
impudently).Speak away. Spinning
^;;^^ doesn't make me deaf.
Evaristo (Her brother may
(ironically). be a handful,but I
notice a familylikeness!)
^
yj^^Susanna. (Can he have boughtthe fan for Giannina? FU
yy never believe it!)
Candida. with
(Conspiracies the shopwoman! conspiracies
r with Giannina
Evaristo (toGiannina).May
! I can't make
I
it out
beg a
!)
favour ?
Giannina. Haven't I said you may ? Haven't I said I'm at
your service ? If my distaffupsets you, there itgoes ! (Gets
up and flingsdown distaff impatiently.)
Evaristo. (I'vehalf a mind not to say another word. But
I need her help.)
Candida. (What'sall this fuss about ?)
Crespino. (Flingingdown her distaff?) (Getsup, shoe and
hammer in hand, and edgesnearer.)
Coronato. (The discussion seems to be gettingrather heated !)
Glannina her
{changing tone and throwingaside the distaff).
She asked you ?
Evaristo. Yes, and I have pledgedmy word to do so.
any
see.
-^ Crespino his
{craning ^(He'sgivingher something!)
neck).
I Coronato {craning his neck):{Whzt has he givenher?)
n^ Susanna. (I'm blessed^he hasn't givenher the fan!)
^
-^ Candida. (Yes,yes, Evaristo is false to me! The Count
"sr- was right!)
Evaristo {toGiannina).But I enjoin
you to secrecy.
Giannina. Leave it to me. Make your mind easy.
Evaristo. Farewell !
Giannina. Good luck!
Evaristo. Ideeplyobliged
am to you.
^-^
T/n^-ButI must put, an end to this secrecy, I must speak to
\ Y SignoraGeltrude,and obtain from her the preciousgift
of her niece. {Exit.)
Giannina {spinning). Truly,I am obliged to Signora Candida
for taking so much trouble about me. I can do no less for
her. It is onlyright that we girlsshould helpone another
in our littleaffairswithout spite.
IAct I
addresses
Fan
business!
Coronato. If it were not my I shouldn't interfere.
business,
(Crespino behind
stealsvery quietly Coronato to listen.)
Giannina. You are nothingto me, and you'veno rights
over me.
crazy !
Crespino {toGiannina).Once and for all,I will know!
Coronato. You will, will you ? Go and command those you've
a right
Crespino.
from
to.
And
Giannina
she is
is promisedto me by
prornised to me by
the sister is \y^ortK^more than
her
herself
brother.
One word
hundred from the
t
a
brother. I
Coronato. That remains to be seen.
Crespino What
{toGiannina). did SignorEvaristo giveyou ?
Giannina. Go to the devil!
Coronato. All all right!I
right, saw him come out of the
shop. Susanna will tell me. {Runsover to Susanna.)
Could
Crespino. he have been buyingsome trinket? {Runs
over to Susanna.)
252 Four Comedies by Goldoni Act I
a word of truth ?
Coronato(^sharply
to Giannina). Let me see that fan !
Coronato a push). It's nothingto do
Crespino{giving with
shakes
{Coronato his fist
at shakes
Crespino.Crespino his fist
at Coronato.)
Giannina {toSusanna).It^s your fault!
Susanna (disdainfully).
My fault?
Giannina. You chatterbox! j
Susanna {advancing
threateningly). Chatterbox! Me!
Giannina. Be off,or I swear to heaven {brandishes . . .
the distaff).
Susanna {retreating).I wouldn't soil my littlefingeron you!
Giannina. Soil ?
Susanna. only a low peasant. Consort with your
You're
own kind! {Runs into the shop.Giannina is about to follow
her, but Crespino
prevents her.)
Giannina. Let me be!
Crespino Show
{furiously). me the fan!
Giannina. I have no fan.
Coronato (toGiannina).Then what did SignorEvaristo give
you.?
Giannina (toCoronato).Oh, stop your impudence.
Coronato {advancing
on her). I will know.
Crespino{pushinghim back). And / say it's none of your
business.
Act I The Fan 253
with
SCENE FIVE
--\
(I
(Those present, timoteo, scavezzo, lemonado, an 10
the COUNT.)
removed.
Timoteo. Honest men are not to be removed
easily. so
yc
who, but for my would be in your grave.
pills,
Count. Insolent knave!
Timoteo. And those have
pills not yet been paidfor ! (Exii)
Act I T^he Fan
255
{going).
Count him).No!
(detaining Come here!
Coronato. Believe me, this is no laughing matter.
beauty .' . .
Crespino. (Psha!)Excuse me . . .
your shoes.
Count. Ah, yes, go! And see that theyare done by to- y
morrow morning.
Coronato. And mind you don't mend them with old
leather !
Crespino If
{toCoronato). I want any new I'llapply
leather, 1^
to you! N
. . .
S
256 Four Comedies by Goldoni Act I
-i r
Count. One of the consequences
in love with Giannina?
of of rivalry!
passion, Soi
you are
Coronato, Yes, sir,and I was about to beg your protection.
^: ount.
see.
My protection
Are
? [Patroni Well, well,we shall
singly,)
you certain that she returns your love?
Coronato. To tell you the truth,I suspect that she prefers
that fellow.
Count. That's bad!
Coronato. But I have her brother's promise.
Count. Do not place too much reliance on that.
Coronato. His solemn
promise.
Count. So far,
so good,but {emphatically)
you cannot coerce
a lady.
Coronato. She's at her brother's disposal.
V {warmly). Not at all! She is not at the brotlier'
Count
disposal.
Coronato. But, backed by your protection . . .
years ago!)
"
two
ACT TWO
SCENE ONE
patronize her now ana then, she gets her head turned.^
She's been givena fan,has she ? What does a peasant-girl
want with a fan ? A fine figure she'll cut! Fanningherself
this way fanningherself that way
. . .
I wish her ...
SCENE TWO
chair).
Candida. But you ?. . .
Susanna. I know
nothingat all,it's\notmy way to meddle
in other people's
affairs,I never think illof anybody; but
if the innkeeperand the cobbler are jealous of him nc "
he is my aunt's friend.
Susanna. Then I will tell you the truth. (Idon't think sh(
can take it amiss.)
I half thoughtthat there was some sor :
Oh, quiteas it should be,of course ; but after his visitt( "
buy a fan.
Candida {anxiously). He boughta fan ?
Susanna. Just so; and as I had seen how yours had bee;
broken, partlyon SignorEvaristo's account, I said t "
somebodyelse.
Candida. And what did he do with the fan ?
Susanna, What did he do with it! He it to
presented Giar "
nina.
Candida (Allis lost! I am undone!)
{agitated).
Susanna {observing
her agitation). SignoraCandida !
Candida. (False!
faithless!and for whom? A mere peasan -
girl!)
,f
Act II The Fan 261
Susanna SignoraCandida!
(with concern).
Candida. (The insult is past all bearing!)
Susanna. (Mercy! now I've done it!) Signora,
compose
There
yourself. may be some mistake.
Candida. You believe he gave the fan to Giannina ?
Susanna. Oh, as to that,I saw it with my own eyes.
Candida. And yet you say there may some be mistake ?
Susanna. I don't know I shouldn't ...
like to be the
cause of *V-=-.
. . .
^^
SCENE THREE
shop.)
Geltrude herself
{seating to Candida). Have you heard any-
^ thing
about this quarrelbetween the innkeeperand the
shoemaker ?
\
262 Four Comedies by Goldont Act II
SCENE FOUR
SCENE FIVE
To
to be delivered?
my mansion.
To whom
my
shall I deliver it?
steward,if he is about.
i
Coronato. Your steward ! H m ! And suppose he isn't about ?
Count. Then deliver it to whoever is about.
Coronato. Very good. :R5^'^F^^'^ c"c:^
Scavezxo. Isn't the Count goingto giveme somethingfor
myself?
Count (toScavezzo).Mind you don't drink the wine, and
mind you don't water it. {^ToCoronato.)Don't let him
go by himself.
Coronato. No fear, no fear,I'm goingwith him. (Exit.)
Scavezzo. (Yes,yes, no fear ! the master and I have doctored
it already.) (Exit.)
the
havingpaid^approaches
(Geltrude, Count. Susanna sits
down to her work. Candida remains seated,whispering
with Susanna.)
Geltrude. At your service.Count. What is your will ?
Count. In two words. Will you giveme your niece ?
I
266 Four Comedies by Goldonl Jet II
I will explain
my view briefly.
sA^^titl^stablishe
)ur of a house,but not of an individual.^^Siia^ri
think my ^Tece li ambitious,PwiTTnot naveher
^ the^altSTot
vamty. "
Count Ah, it'seasy
{banteringly). to see who has been reading
fables!
Geltrude. Mj_.jeiitiments^
ave been instilledneither by
fables nor by romances. Thq^^^y^ei^nspired by nature
and developedby oilture.
Count. iNlature, or culture,
or whatever you please.The
^
suitor I propose is the Baron del Cedro.
Geltrude. The Baron in love with my niece ?
Count. Ouiyma da me.
Geltrude. I know him, and have every respect for him.
Count. You see what a prizeI offer you.
Geltrude. A of parts
gentleman . . .
^ for that.
Count. Come, then,what is your answer ?
Geltrude. Gently, gently. Count; matters of this kind are
not decided in a moment. If the Baron will be so good
as to speakto me himself . . .
Geltrude. The
Very well,it is a certainty. Baron desires.
C ^
Your
Candida
demands. It onlyremains to be seen if
Excellency
consents.
quiteundisturbed there.
Geltrude. Yes, that will do for
admirably, I must return
^
Count. It would be justlike her to keep me waitingfor an V^
hour. LuckilyI have this book to divert me* A wonderful
SCENE SIX
what
not a
a
bit!
I am in this village
?
you power
Giannina. You may be able to do whatever you pleasein
this but
village, you can do nothingat all in my monial
matri-
affairs.
Count. Nothing at all?
Giannina (laughing softly). No, nothing, nothingat all!
Count. You are in love with Crespino.
Giannina. Well, he suits me all right.
Coufit. And you preferhim to our honest,our well-to-do
our admirable Coronato ?
Jctll The Fan 269
I "
'
Giannina. Oh, preferhim to others besides Coronato.
V^
Count. You would preferhim to others? \yK
Giannina {laughing and indicating the Count). If you onlj^^Hf*
f
knew to whom I'd preferhim!
Count. And to whom would you preferhim ?
Giannina. What's the use? Don't insiston knowing.
Count. I won't. It would be justlike you to
say something
impertinent.
Giannina. Any further orders ?
Count. Come !I am your brother's protector ; your brother
has promisedyou to Coronato,and you ought to marry
Coronato.
Giannina. Your Honour
Count. Excellency. y .
Gtannina. Anythingelse?
Count. Go to the devil!
^Ci"'
y
^^Giannina.Show me the way.
Count. I swear to heaven,if you were not a woman . . .
K Betterjban^at
jun^ai^iither.
effect of
one.
^
He shall s^e^wthall
SCENE SEVEN
Geltrude Sir?
{inquiringly).
Count. Nothing,nothing. Go on. x
Candida. Ientirely
am in the hands of my aunt. (I shall
die,but I shall die avenged.)
Count. I fly.Await us. We will attend on you (Tc . . .
X SCENE NINE
Geltrude. I am
sorry that you have been so mortified ; but
my niece is a girlof judgment,and if she has treated you
harshlyshe must have her reasons.
Giannina (raising her voice). What reasons can she have?
I'm amazed at her!
Geltrude. Come, come, remember your don't
place, raise
your voice.
^
274 Four Comedies by Goldoni Act II
Baron. Pistols,then!
Count. Agreed,pistols. I will go and fetch my pistols.(Going.)
Baron. No, stay. Here are two. One for you, one for me.
1 (Takes them from his pocket.)
M Giannina. Pistols? Hi, hi! help!pistols! They'remurdering
Q^\^^
each other! (Runs into her house. The Count stands em-
\ barrassed.)
SCENE ELEVEN
Baron. You are right.I thank you for your warning. And I^^
as a token of good friendship,allow me to present themo^f^
to (Takes them out and presents them to the C'yunt.)
you.
A present
Count (nervously). to me? "
theyloaded?
Baron. What a ! Do
question you imagineI carry unloaded
?
pistols
Count. One moment. Ho! waiter!
Lemonado (coming out ofthe cafe).What can I do for you ?
Count. Take these pistols, and keep them tillI send for them.
Lemonado (taking pistolsfrom Baron). Very good,sir.
Count. Take care ! They are loaded !
Lemonado (flourishing pistols).Oh, I know how to handle
them!
Count (nervously).Now, now, don't playthe fool!
Lemonado. (There'sa brave Count for you !) (Exit.)
Count. I thank you. I shall alwaystreasure them. (I'll
sell them to-morrow.)
Tognino[fromthe villa). My mistress awaits you, gentlemen.
Count. Let us go.
Baron. Let us
go.
Count. Ah, what do you say now? Am I,or am I not?
Aha, dear colleague!We oflhfiuapbility!
Dur protection
stillcounts for sometlnngi^ thijik! [T.*
heygo up to the vi
SCENE TWELVE
with SignorEvaristo.)
Moracchio. If you come, you come; if you don't,I can eat
Giannina, I
onlyknow I had done nothingwhatever. And
I'm certain, I received all this ill-treatment
I'm positive,
on
your account. .
Giannina Oh yes, I
{sarcasticjaKy). assure you she loves you A/
'^
dearly,
very very dearly!
Evaristo. You fillme with agitation! i
/
Giannina. Go, go and seek
your lovely
one, your adored A
one.
(Evartsto
goes on knocking
furiously,
Togninoappears at the
door.)
Evaristo. Well ?
Tognino.Excuse me, I'm to admit nobody.
Evaristo. Have
you told them it is I ?
Tognino.I have.
Evaristo. You told
SignoraCandida?
Tognino.I told SignoraCandida.
Evaristo. And SignoraGeltrude w^on't admit me?
Tognino.On the contrary, SignoraGeltrude was willing to
A SCENE THIRTEEN
suppose
if I do see her she won't listen to me "
with
(CrespinOy hag of shoeSyleather etc., on his shoulder,
a
y
my love.
Crespino. (Hullo!I've come in the nick of time.)
Giannina. If I onlyknew how to comfort you!
Crespino.(I ndeed !)
Evaristo. Well, at all costs I must put my fate to the test.
I shall never forgive myselfif I do not make some effort
to clear my character. I go to the cafe,Giannina,I go,
and I go trembling. Let your love and your good wishes
respectable
man and earn my bread honestly.
Giannina. But I don't want to be called Madam Cobbler.
Crespino.When ?
Giannina. When I'm your wife.
Crespino.H'm !
Giannina. H'm ! Why h'm ! What d'youmean with your
h'm?
Crespino.I mean that Madam Giannina will be neither
Madam Cobbler nor Madam Shoemaker. I mean that
she has mighty fine ideas of herself.
Giannina. Are you mad, or have you been drinkingthis
morning?
Crespino.I am not mad, and I have not been but
drinking;
I'm neither blind nor deaf.
Giannina {going
up to him). What the devil do you mean ?
Speak out, if you want to be understood.
Crespino.Can I be sure ?
Giannina. Oh, goodness, stop pestering!
Crespino. You are reallyfond of me ?
Giannina. Yes, I am reallyfond of you.
SCENE FOURTEEN
Crespino.Not true?
Coronato {toGiannina).Yes, yes, and I know what the
present is.
Giannina. Whatever it is,it'sno business of yours. I love
SCENE FIFTEEN
. . .
!
it
Giannina. Curse you ! here it is. {Pulls out.)
Crespino.Give it to me, giveit to me! {Triesto take it.)
/ want
Coronato [furiously). it! {Triesto take it.)
Giannina. Let me alone,you devils.
Moracchio. Give it to me at once ! I want it.
Giannina. No, young master. I'd sooner giveit to Crespino.
Moracchio. Give it here,will
you?
Giannina. To Crespino. {Givesthe fan to and
Crespino,
runs into the house.)
Coronato. Give it here!
Moracchio. Give it here!
Crespino.It's not for you.
; he
{Theyfallon Crespino runs away ; theypursue him.)
SCENE SIXTEEN
ACT THREE
SCENE ONE
"
the inn^looking very woebegone, and goes in. Susanna comes
out of her shop,arranges her wares, then sits down and
begins to work. Togninogoes into the villa, shutting the door
from under his coat, so that the audience can see it. He goes
over to his bench and puts the jug on the ground. Giannina
comes out ofher house,sitsdown, and begins to spin. Crespino
sits down, takes out the fan,hides it underneath his leather
commiserate yourself.
Baron. I you I have no reason
assure to congratulate myself.
Count.
c^ If Signora Candida did come over faint it was a mere
-^ coincidence. You
subject
must be patient.You know how
ladiesare to the vapours, to sterileaffections . . .
^ secret
Evaristo.
understandingbetween SignoraCandida and
mediator of my standing?
Jam The Fan 287
Baron. May not that have been the very reason why she
said yes her will? And
against why, after readingthose
letters,
was SignoraGeltrude lesscordial to me than before ?
In a way, she even seemed anxious for our departure.
Count. Listen to me. Our onlypossible cause of complaint
againstSignoraGeltrude is that she did not ask us to
stay to dinner.
Baron. I don't care a straw about that.
Count. I threw
gleamof intelligence.
Baron.
out
get out
not
of it.
a
^
Count. I am distressed on your account. Where do you
dine ?
to-day j
Baron. I have ordered dinner for two at the inn.
Count. For two ?
Baron. I expect Evaristo,who has gone shooting.
Count. If you would care to dine with me . . .
SCENE TWO
,
Baron. What shall I do? I promisedto wait for him.
Count. Waiting is all very well up- to a point.But, my
dear friend, one should never wait for a social inferior.\V
Civility, politeness, by all means, but, dear colleague, let "
u
288 Four Comedies by Goldoni Act III
Count. My steward ?
Coronato. No, sir.
Count. My valet?
Coronato. No, sir.
Count. My lackey ?
Coronato. No, sir.
Count. Who, then?
Coronato. That man of yours who sells your fruit and
vegetables . . .
him, I showed him the barrel, and he went on with the lad.
Count What
{curtly). is it?
Coronato. Have spoken for me to Giannina ?
you
Count. I have.
Coronato. What did she say ?
Count {embarrassed). all right.
All right,
290 Four Comedies by Goldoni Jet III
^: that
Giannina,
to you?
How
It didn't
do you know
cost you much, anyhow!
what it cost me?
Susanna Oh,
[drily). as to what it cost you, I know nothing,
I'm sure . . .
And nothingof the giver's
obligations
to
you . . .
Giannina [spinning
viciously).I'm not of you.
talking
No, she's
Susanna [hanteringly). not talkingof you, she's
talkingof me.
What
Crespino. a fuss about nothing!It's impossible
to get
a moment's peace in this square.
Giannina. Not with all these spiteful
tongues wagging . . .
Crespino.Be ! You
quiet ought to be ashamed of yourself!
Susanna. Insults everybody, and mustn't be answered back!
Giannina. I onlysay what I've good groundsfor saying.
Susanna. Oh, I'd best hold my tongue and say nothing.
Giannina. better ta hold one's tongue than to
It's certainly
talk nonsense.
Jet III The Fan 291
Candida. ^g^-
Susanna. Poor SignoraCandida! si^
What's
Crespino. the matter with her?
Giannina. How should I know what's the matter with her,
you fool?
Susanna.Ah, / know what's the matter with SignoraCandida.
Crespino{toSusanna).What?
And
Susanna {pointedly). Giannina ought to know as well
as I.
Giannina. I ? What's it got to do with me ?
Susanna. A good deal,seeingthat you'rethe cause of her
illness.
Giannina {jumpingup). Me?
Susanna. There you go! there's no talking
to you.
Crespino{getting up). I should much like to know
very
what all this trouble's about.
Giannina {toSusanna).You can't talk anythingbut dirt.
Susanna. Now, now, don't get so excited.
Crespino {toGiannina).Let her speak.
Giannina {toSusanna).What groundshave you for saying
that ?
292 Four Comedies by Goldoni Act III
SCENE THREE
[Crespino
comes from the inn.) *
Geltrude. Well?
Crespino.He is not there,madam. They expectedhim to
Crespino.I'll go at once.
^ do.? Throw
that !
girl How's
her over? Perhaps. Perhaps not.
it all goingto turn out ? {Going.)
I adore
SCENE FOUR
on
any account. {Calling.) Ho, Master Innkeeper!
Coronato {atthe door).What is it?
Lemonado. SignorEvaristo sends word to my Lord Baron
not to wait dinner, as he is engagedand can't come.
Coronato. Tell him
his message comes too late,
as my Lord
Baron is half through dinner already.
Lemonado. Very good. I'lltellhim when I see him. {Going.)
Coronato. Hi! v^^iter!
Jet 111 The Fan 295
Lemonado. Well ?
Coronato. Have you by chance heard of any one a fan
finding ?
Lemonado. Not I.
Coronato, If you should,pleaselet me know.
Lemonado, By all means. Have you lost one?
Coronato. Yes, I have. Some rogue has got hold of it, and
those dolts in there can't even tell me v^ho has been in for
wine. But if I catch him . .
! if I catch him . . .
!
Do your best for me. {Goesin.)
Lemonado. I'll do what I can. (Going.)
SCENE FIVE
SCENE SIX
in the world!
Giannina. Well,that'sa comfort. Now, perhaps,
you'll
see that
amends are made for all the insultsI've had to put up with.
Evaristo. Yes, anythingyou like. Did you know, dear
Giannina,that you were under suspicion .? SignoraCan-
dida
knew that I had givenyou the fan; she believed that
I had bought it for you; she was jealous of me, she was
jealous of you.
Giannina. Jealousof me ?
Evaristo. Yes, actually!
Giannina {imprecating the villa). Fury take you !
Evaristo. She bestowed her hand on another out of anger,
^ revenge, desperation.
she swooned.
She caughtsight
For awhile I was
of me,
unable to see
left the house.
she
her.
swayed,
At last
Evaristo. Well ?
Coronato. The fan is nowhere to be found.
Evaristo. Nowhere to be found ?
Coronato. In a moment of abstraction I put it down on a
SCENE SEVEN
SCENE EIGHT
A
Crespino. razor?
Giannina. A razor?
Evaristo {raising feebly).Who
himself wants to assassinate
me with a razor?
Giannina. SignorTimoteo.
Timoteo. I'm a respectableman, I assassinate no one, and
when a man's doing his best,it's nobody's placeto blame
him. (Next time theycall me, let them call!){Goes into
shop.)
Moracchio. Come along with me, SignorEvaristo, and lie
down my bed.
on
into it?
Giannina. Through that accursed fan. {Goesin.)
Crespino. Accursed fan! Fan! fan! I'm sick of the sound of
the word. It's a good thingCoronato hasn't got it,any-
how.
He's alwaysputtinga spoke in my wheel, and if I
don't look out I shall end by losingGiannina. I'd better
wind's and
blowing, I shouldn't like to lose what littleI've
got. {Goes to his bench and takes out the fan.)
{Approacheswith fan.)
Count. Ah, good day to you, Crespino.
Crespino.Your Excellency's humble servant.
5 V^ ^ I }
. . . . . .
\ Count. No, no, it has its points,it's quitea nice littM fan.
Thank you, my good man. Should the occasion arise,
count protection.(I will give it away.
on my It will
add to my lustre.)
Crespino. I onlybeg one favour of you.
Count. (There, I knew it! Fellows of this sort never give
somethingfor nothing.)What favour? Tell me.
Crespino.I beg you to let no one know that you had it
from me.
Crespino.That is all.
Count. (Well,well,that's moderate.)If that is all but ...
tell me, pray, why do you want no one to know that I had
it from you ? Did you, by chance,steal it?
Crespino. Excuse me, your Excellency, I'm not the sort . . .
Crespino Oh,
{laughing). there's reason enough.
Count. Well, what is it?
marry her.?
to
Crespino.To
I
tell you
wish
really
the truth
to
...
her.
I confess my ness
weak- "
...
marry
Count. In that case, fear nothing. She shall marry you
if you like.
to-day,
Crespino.Seriously?
Count. Do you realize who I am? Do you realize the \^
value of my ?
protection "*^
^'i^rGhUnt.
Coronato ? . . .
Coronato is a fool. Does Giannina
I love you ?
Crespino.Well enough !
Count. Very good,then. You are loved,Coronato is not;
count my protection.
on \
Crespino.So far,so good. But there's her brother.
Count. Brother? What brother? If the sister is satisfied,
what has it to do with the brother? Count on my tection.
pro-
(Good Lord!
Crespino. I'd quite SignoraGeltrude
forgotten.
sent me to look for SignorEvaristo. I found him here,
and I never told him. What with his sickness . . .
and
the fan ...
it went clean out of my head. I'd go and
tell him now, but Moracchio won't allow me to set foot
Count. No, no, I don't like that fellow. Go and write your
letter;I will remain here tillthe servant bringsword.
Baron. Very well. I will come the moment you call.
\ Count. Count on nothing.
me, and fear
""^^-JBaron. (H'm! count I him, stillless on the aunt,
littleon
A and least of all on the niece.){Goesinto apothecary^ s.)
I Count. I will divert myselfwith my book,with my exquisite
J "Collectionof miraculous fables. (Takesout his book and sits.)
SCENE TEN
But the hope of recovering the fan has put new life into
me . ) Count, your devoted servant.
. .
littletoo late.
Evaristo. Why too late ?
Count. The longerin my possession.
fan is no
Evaristo (distractedly).No longerin your possession?
Count. No, I gave it to a certain person. . . .
To what person?
Evaristo (excitedly).
Count. That is precisely what I will not tell
you.
Evaristo. Count, I must know! I must have that fan! I
insist on knowing who has it!
Count. I shall tell you nothing.
Evaristo (beside himself). By heaven,you shall tell me!
Count. What! Do you remember to whom you are
speaking ?
Evaristo (fiercely).I say, and I will maintain it : this is not
the action of a gentleman.
y
Count. Do know that I have pair of loaded pistols?
you a
^y
Evaristo. Hang your pistols! My fan,sir! ^A
Count. Fie,fie! all this potherfor a bit of a fan,not worth
more than five shillings.
Evaristo. Only I can judgeits value. You don't know what
308 Four Comedies by Goldoni Act III
I
My friend, assure you that I am extremelyperplexed.
Evaristo. Listen,Count. Here is a goldsnuff-box,which
in weightalone is worth fifty-four guineas.The work-
manship
doubles itsvalue,but that's nothing.To recover
that fan I gladlyoffer it in exchange.Take it. {Givesit
him.)
Count. Are there diamonds in that fan ? I didn't notice any.
Evaristo. There diamonds,it is worth nothing; but
are no
to me it is priceless.
Count. Then I must see if I can gratifyyou.
Evaristo. I beg you, I entreat you, I shall be everlastingly
indebted to you.
Count. Wait here. (This is rather a ticklish business!)
I
will do my utmost for you . . .
And I am really
to give
Evaristo. Absolutely.
Count, (Afterall,the Baron is a gentlemanand my friend.)
Wait here. (Ifit were a question guineasI would
of fifty
SCENE ELEVEN
well too?
Evaristo. I believe so.
Crespino.She's a Giannina.
good girl,
Evaristo. She is indeed j and loves you tenderly.
Crespino.I love her too, but . . .
{Countcomes
ofthe apothecary^
s.)
out
i'
Crespino. Yes,sir. {Going.)
I'm sure of it.){Passing
(I'm sure there's nothingwrong,
the Count.) Don't forget about
Giannina.
Count. Count on myprotection,
This
Crespino. suspense keeps me on tenterhooks. {Goes
into Susannahs shop.)
Evaristo. Well, Count?
Count. Here is the fan. {Produces
it.)
Evaristo. Oh, joy! How shall I ever repay you.? {Takes
it eagerly.)
Count. See if it is yours.
'
Count Wait.
(toCrespino). {To Giannina.)I wish you to
SCENE TWELVE
SCENE THIRTEEN
Giannina. As the
sayinggoes.
4- Count {to Crespino).
Behold the effect of my protection
!
Coronato. Your Honour, I've sent the other barrel of
wine.
Count. Bringme the billand I will pay you. {As he speaks^
draws forththe goldsnuff-boxand takes a pinch.)
Coronato. (A gold snuff-box! He'll pay all right!)
{Exit.)
Moracchio [toGiannina). You've got your way, then.
Giannina. It looks like it.
Moracchio. If you regret it,that's your look-out.
Count. She will regret it; she is under
B^ never my tection.
pro-
SCENE FOURTEEN
. . .
satisfaction.
long-sighed-for fan.?
Giannina. What a
fan! it has turned all our
heads from
highest to
lowest.
piecehad a brilliantsuccess
.
The ^at least double "
. .
...
As for me, I said nothing.They were squabbling over
as of the other.'
he had finished the second
Elsewhere he says that when
act he did not know what he should do in the third. It is
in this act, however, that we find the Ironing scene "
the
territory, those
excepting at Bologna. Goethe defends the
maintainingthat
practice, a man-playerpresents not an dividua
in-
but an essence of the many women whom he has
studied. Of 'Mine Hostess' itselfhe says :' . . .
The cluding
con-
represented
scenes, by a lady, will alwaysgiveoffence.
The expressionof that invincible coldness, of that sweet
indignation. I accordingly
... repeat that peoplehere (at
Rome, where the part was done by a man) had the pleasure
of seeingnot the thing itself but an imitation, of being
entertained not by nature but by art, of contemplatingnot
*
an individualitybut a result.' (Goethe^s Travels in Italy.')"
'
the
speakingof Zeno and Metastasio, says that Italyowes
reform of opera to these two illustriouswriters.'
at Venice
firstproduced
'
'
THE FAN in itspresent form was
of r Even tail,' a
'
comedy (byGoldoni), which was
producedin Paris on May the 27th,1763. No trace of the
French version exists, but Goldoni refers to it, in a letter of
endurance "
but I want to see if I can make a hit with this
new method.'
On Julythe 13th he writes to the same correspondent:
'
It has not made the that
impression I It was
anticipated.
too intricate for the skill of these comedians.'
The editor of Italian edition adds that,although
a recent
I
Recent Books by Clifford Bax
(With H. F. Rubinstein.)