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Read Ebook: Representative Plays by American Dramatists: 1856-1911: Francesca da Rimini by Boker George H George Henry Moses Montrose Jonas Editor
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Ebook has 480 lines and 33562 words, and 10 pages
Phillips as a dramatist has the fault of being diffuse; Boker's style is prosaically plain. Were it not for over-elaboration, D'Annunzio's play might supplant all others because of its spirit. Could we take from Phillips his simplicity, from D'Annunzio his Italian intensity, and from Boker his proportion, and could we add these to Crawford's realization of situation, toned away from his melodramatic tendencies, an ideal drama on "Francesca da Rimini" might be constructed.
But the revitalizing power that was given Shakespeare, has been bequeathed to none who have followed Dante. The one beauty of the Francesca story is the simple element that permeates the dark motive. The genius required to deal with it lies in this: to make one conscious of the tragedy in a touch that recalls the beauty of spring.
It is strange that no other poet than Dante has succeeded in catching this beauty. No poet, writing directly on the theme, has the subtle feeling which may be compared with that of the Italian. Richard Le Gallienne is infinitely superior to Hunt; Lowell and Gilder beyond the lesser poets,--but all fade before the master. They treat of the vision of Hell, with its whirling wind; of the two in close embrace; there is the kiss that ends the reading of a self-same love; there is the flash of a dagger that joins them eternally in death. These are the themes for the songs. The artists have done with brush and pencil, what the poets have tried in sonnets and verse. But it is Dante who dominates them everyone.
To me, after tracing in part the development of this Italian tragedy, there remains the charm of Dante's simplicity, and were one to ask, who, among the moderns, have partially reflected his passion, I should turn to Keats' insatiable thirst for beauty in his sonnet, "A Dream, After reading Dante's Episode of Paolo and Francesca," and his account of it in a letter to George and Georgiana Keats , and to Carlyle's appreciation of tragedy and love, in "The Hero as a Poet."
Boker's "Francesca da Rimini" will stand largely because, in structure and in directness, it is strikingly effective for the stage.
BROADWAY THEATRE
LESSEE MR. E.A. MARSHALL STAGE MANAGER MR. W.R. BLAKE
SECOND WEEK OF THE REGULAR SEASON!
CONTINUATION OF THE ENGAGEMENT OF THE EMINENT
MR. E.L. DAVENPORT
FIRST TIME ON ANY STAGE OF
by G.H. BOKER, Esq., author of "Calaynos," "Betrothal," &c called
Will appear in an entirely ORIGINAL CHARACTER!!
This production of a popular and most talented Native Author will be brought forward with the efficient aid of
ESTABLISHED PERFORMERS! NEW AND APPROPRIATE SCENERY!! COSTUMES, PROPERTIES, DECORATIONS!!! APPOINTMENTS, MUSIC and PAGANTRY!!!!
WEDNESDAY EVENING, SEPT 26, 1855 Will be presented the Tragedy, in five acts, by G.H. BOKER, Esq., entitled
CHARACTERS REPRESENTED.
Malatesto, Mr. Whiting LANCIOTTO Mr. E.L. DAVENPORT Paolo Mr. Lanergan Pepe, Mr. C. Flaher Rosalvi Mr. Walters Malvechi Mr. Harcourt Civanti Mr. Cutter Rene, Mr. Vincent Nobles, Soldiers, Pages, Troubadours, Attendants, &c, &c.
Guido da Polenta, Mr. Canoll The Cardinal Veechino Mr. Hodges Florensi Mr. Willet Beppo Joraike Henrico, Mr. Fordyck Antonio, Mr. Wright Nobles, Dignitaries of the Church, Soldiers, Pages, Banner Bearers, Messengers, &c.
Francesca da Rimini, Mme Poniat Ritta, Miss J. Manners
TO-MORROW EVENING--A NEW TRAGEDY, in which
Doors open at three quarters past 6 o'clock--Performances will commence an half past 7, precisely.
FRANCESCA DA RIMINI
DRAMATIS PERSONAE
McVicker's Theatre, Chicago, November 6, 1882
Grand Opera House, Chicago, August 26, 1901.
FRANCESCA DA RIMINI
PAOLO. I prithee, Rene, charm our ears again With the same song you sang me yesterday. Here are fresh listeners.
RENE. Really, my good lord, My voice is out of joint. A grievous cold--
Alack! you hear, I've caught poor Rene's cough.
FIRST NOBLEMAN. That would not be, if we wore petticoats.
Sweet Count! sweet Count Paolo! O! Plant early violets upon my grave! Thus go a thousand voices to one tune.
Why do you laugh?
PEPE. I'm laughing at the world. It has laughed long enough at me; and so I'll turn the tables. Ho! ho! ho! I've heard A better joke of Uncle Malatesta's Than any I e'er uttered. Ho!--
PAOLO. Peace! peace! What tongue dare echo yon fool's laugh? Nay, never raise your hands in wonderment: I'll strike the dearest friend among ye all Beneath my feet, as if he were a slave, Who dares insult my brother with a laugh!
How, gossip, how?
PEPE. I, being the court-fool, Am lord of fools by my prerogative.
LANCIOTTO. Who told you of my marriage?
PEPE. Rimini! A frightful liar; but true for once, I fear. The messenger from Guido has returned, And the whole town is wailing over him. Some pity you, and some the bride; but I, Being more catholic, I pity both.
LANCIOTTO. Still, pity, pity! Ha! whose knell is that?
PEPE. Lord Malatesta sent me to the tower, To have the bells rung for your marriage-news. How, he said not; so I, as I thought fit, Told the deaf sexton to ring out a knell. How do you like it?
LANCIOTTO. Varlet, have you bones, To risk their breaking? I have half a mind To thresh you from your motley coat! Some one has changed my music. Heaven defend! How the bells jangle. Yonder graybeard, now, Rings a peal vilely. He's more used to knells, And sounds them grandly. Only give him time, And, I'll be sworn, he'll ring your knell out yet.
LANCIOTTO. Pepe, you are but half a fool.
PEPE. My lord, I can return the compliment in full.
LANCIOTTO. So, you are ready.
PEPE. Truth is always so.
LANCIOTTO. I shook you rudely; here's a florin. Ha, ha! you bluster well. Upon my life, You have the tilt-yard jargon to a breath. Pepe, if I should smite you on the cheek-- Thus, gossip, thus-- what would you then demand?
PEPE. Your life!
LANCIOTTO. Ha, ha! there is the camp-style, too, A very cut-throat air! How this shrewd fool Makes the punctilio of honour show! Change helmets into coxcombs, swords to baubles, And what a figure is poor chivalry! Thanks for your lesson, Pepe. Here is a leg and camel-back, forsooth, To match your honour and nobility! You miscreated scarecrow, dare you shake, Or strike in jest, a natural man like me?-- You curs?d lump, you chaos of a man, To buffet one whom Heaven pronounces good! There go the bells rejoicing over you: I'll change them back to the old knell again. You marry, faugh! Beget a race of elves; Wed a she-crocodile, and keep within The limits of your nature! Here we go, Tripping along to meet our promised bride, Like a rheumatic elephant!--ha, ha! Brother! what is this? Lanciotto, are you mad? Kind Heaven! look here-- Straight in my eyes. Now answer, do you know How near you were to murder? Dare you bend Your wicked hand against a heart I love? Were it for you to mourn your wilful death, With such a bitterness as would be ours, The wish would ne'er have crossed you. While we're bound Life into life, a chain of loving hearts, Were it not base in you, the middle link, To snap, and scatter all? Shame, brother, shame! I thought you better metal.
LANCIOTTO. Spare your words. I know the seasons of our human grief, And can predict them without almanac. A few sobs o'er the body, and a few Over the coffin; then a sigh or two, Whose windy passage dries the hanging tear; Perchance, some wandering memories, some regrets; Then a vast influx of consoling thoughts-- Based on the trials of the sadder days Which the dead missed; and then a smiling face Turned on to-morrow. Such is mortal grief. It writes its histories within a span, And never lives to read them.
PAOLO. Lanciotto, I heard the bells of Rimini, just now, Exulting o'er your coming marriage-day, While you conspired to teach them gloomier sounds. Why are you sad?
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