A Cure for the Blues Part 8
During this interval Leos did some unencouraged courting, but at last,
"choked by his undertaking," he desisted.
Presently "Elfonzo again wends his way to the stately walls and
new-built village." He goes to the house of his beloved; she opens
the door herself. To my surprise--for Ambulinia's heart had still
seemed free at the time of their last interview--love beamed from the
girl's eyes. One sees that Elfonzo was surprised, too; for when he caught
that light, "a halloo of smothered shouts ran through every vein."
A neat figure--a very neat figure, indeed! Then he kissed her.
"The scene was overwhelming." They went into the parlor. The girl
said it was safe, for her parents were abed, and would never know.
Then we have this fine picture--flung upon the canvas with hardly
an effort, as you will notice.
Advancing toward him, she gave a bright display of her rosy neck,
and from her head the ambrosial locks breathed divine fragrance;
her robe hung waving to his view, while she stood like a goddess
confessed before him.
There is nothing of interest in the couple's interview. Now at this
point the girl invites Elfonzo to a village show, where jealousy is
the motive of the play, for she wants to teach him a wholesome lesson,
if he is a jealous person. But this is a sham, and pretty shallow.
McClintock merely wants a pretext to drag in a plagiarism of his upon
a scene or two in "Othello."
The lovers went to the play. Elfonzo was one of the fiddlers.
He and Ambulinia must not been seen together, lest trouble follow with
the girl's malignant father; we are made to understand that clearly.
So the two sit together in the orchestra, in the midst of the musicians.
This does not seem to be good art. In the first place, the girl would
be in the way, for orchestras are always packed closely together,
and there is no room to spare for people's girls; in the next place,
one cannot conceal a girl in an orchestra without everybody taking
notice of it. There can be no doubt, it seems to me, that this is
bad art.
"choked by his undertaking," he desisted.
Presently "Elfonzo again wends his way to the stately walls and
new-built village." He goes to the house of his beloved; she opens
the door herself. To my surprise--for Ambulinia's heart had still
seemed free at the time of their last interview--love beamed from the
girl's eyes. One sees that Elfonzo was surprised, too; for when he caught
that light, "a halloo of smothered shouts ran through every vein."
A neat figure--a very neat figure, indeed! Then he kissed her.
"The scene was overwhelming." They went into the parlor. The girl
said it was safe, for her parents were abed, and would never know.
Then we have this fine picture--flung upon the canvas with hardly
an effort, as you will notice.
Advancing toward him, she gave a bright display of her rosy neck,
and from her head the ambrosial locks breathed divine fragrance;
her robe hung waving to his view, while she stood like a goddess
confessed before him.
There is nothing of interest in the couple's interview. Now at this
point the girl invites Elfonzo to a village show, where jealousy is
the motive of the play, for she wants to teach him a wholesome lesson,
if he is a jealous person. But this is a sham, and pretty shallow.
McClintock merely wants a pretext to drag in a plagiarism of his upon
a scene or two in "Othello."
The lovers went to the play. Elfonzo was one of the fiddlers.
He and Ambulinia must not been seen together, lest trouble follow with
the girl's malignant father; we are made to understand that clearly.
So the two sit together in the orchestra, in the midst of the musicians.
This does not seem to be good art. In the first place, the girl would
be in the way, for orchestras are always packed closely together,
and there is no room to spare for people's girls; in the next place,
one cannot conceal a girl in an orchestra without everybody taking
notice of it. There can be no doubt, it seems to me, that this is
bad art.
posted by Shaq Attaq at 7:41 PM
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