LIBRARY 
 
 UNIVERSITY OF CALIFORNIA 
 RIVERSIDE 
 
 That place that does contain my books, 
 
 the best companions, is 
 To me a glorious court where hourly I 
 Converse with the old sages and phil- 
 osophers. 
 
 NOYES REYNOLDS 
 HIS BO OK
 
 J 
 
 frafW
 
 IL VENTAGLIO 
 
 (THE FAN) 
 
 A COMEDY IN THREE ACTS 
 
 BY 
 
 CARLO GOLDONI 
 
 TRANSLATED FOR 
 
 THE YALE UNIVERSITY 
 DRAMATIC ASSOCIATION 
 
 (INCORPORATED) 
 
 By KENNETH MCKENZIE 
 
 Assistant Professor of Italian in Yale University 
 
 WITH AN INTRODUCTION 
 
 <i 
 
 NEW HAVEN, CONN. 
 
 PUBLISHED UNDER THE SUPERVISION OF 
 ALLEN SKINNER HUBBARD, ign
 
 Copyright, igio, 
 Bv THE YALE UNIVERSITY DRAMATIC ASSOCIATION. 
 
 THE TUTTLE, MOREHOUSE & TAYLOR COMPANY 
 NEW HAVEN, CONN.
 
 THIS VOLUME IS RESPECTFULLY DEDICATED TO 
 
 PROFESSOR WILLIAM LYON PHELPS 
 
 WHOSE ASSISTANCE TO THE YALE UNIVERSITY 
 
 DRAMATIC ASSOCIATION HAS OFTEN BEEN 
 
 REQUESTED AND HAS NEVER 
 
 BEEN REFUSED
 
 INTRODUCTION. 
 
 In the year 1907 Italy celebrated with genuine enthusiasm 
 the two-hundredth anniversary of the birth of her most 
 famous dramatist, Carlo Goldoni. Great as was his fame 
 during his lifetime, it has since increased. His plays, pub- 
 lished in countless editions, still hold their place on the 
 Italian stage. Books and articles concerning the man and 
 his work have appeared by the hundred. Comparatively 
 few of his plays, however, have been translated into for- 
 eign languages, or are known outside Italy. The Yale 
 Dramatic Association is, therefore, performing a real ser- 
 vice to literature and to dramatic art in producing one of 
 his representative comedies before American audiences. 
 
 Not only did Goldoni enrich dramatic literature with 
 some two hundred plays of various kinds, but also, finding 
 the drama in Italy in a deplorable condition, he reformed it, 
 still keeping it thoroughly Italian, and laid foundations for 
 future development. Like Shakespeare and Moliere, he 
 was a theatrical director, and wrote his plays for immediate 
 production on the stage. An amiable spectator of the life 
 around him, a keen observer of the weaknesses of human 
 nature, he gives us a vivid picture of his age the eight- 
 eenth century on the eve of the Revolution. In calling him 
 a reformer we do not mean that he had any literary pre- 
 tention, any purpose of preaching morality or of improving 
 social conditions, any interest in the contemporary intellec- 
 tual movements. Whatever moral effect might come from 
 his good-natured satire was incidental. On the other hand, 
 he devoted himself to reforming the theatre for its own 
 sake. While in other respects he was not a great man, his
 
 Vi INTRODUCTION. 
 
 theatrical genius compels the highest admiration. Many 
 critics, in praising his wonderful ability to observe and 
 reproduce the types of character and the everyday events 
 that he saw around him, have failed to point out another 
 characteristic his extraordinary technical skill in dramatic 
 construction. Inferior to Moliere in intellectual grasp of 
 character and motive, he is at least his equal in inventiveness 
 and in theatrical dexterity. Just as Moliere was greatly 
 influenced by the Italian drama of the seventeenth century, 
 so Goldoni in turn looked to Moliere as his master. His 
 style is not, however, an imitation; it is his own, and 
 formed chiefly from Italian influences. In him we have, 
 then, a genuinely Italian dramatist who gives a delightful 
 picture of the society of his day, and who at the same time 
 is a great master of the technique of the drama. 
 
 Not only his comedies, but the incidents of his personal 
 history are entertaining. Indeed, his Memoires, written 
 in French when he was eighty years of age, read like the 
 scenes of a play, and have been called his most amusing 
 comedy. They concern chiefly his theatrical experiences, 
 and give an excellent idea of the condition of the stage in 
 Italy and France during his life, while at the same time 
 they bring out his kindly and enthusiastic disposition, his 
 straightforward character, and his cheerful optimism. In 
 short, his historical importance has made him famous; his 
 personality has made him beloved wherever he is known. 
 
 CARLO GOLDONI was born in Venice, February 25, 1707, 
 and died in Paris, February 6, 1793. Although he engaged 
 in various occupations in many different places, the really 
 important part of his career is connected with these two 
 cities, in which he wrote between 1748 and 1763 his most 
 noteworthy plays. All through his life, however, he was 
 actively interested in the theatre, as his father and grand-
 
 INTRODUCTION. Vll 
 
 father were before him. At the age of eight, he tells us, 
 he wrote his first comedy. Soon after this he went with his 
 parents to Perugia, and at the age of twelve he was sent 
 to Rimini to school; he gives an amusing account of 
 running away with a company of actors, and joining his 
 mother at Chioggia. After trying his hand at his father's 
 profession, medicine, he studied law in various schools, and 
 finally was made Doctor of Laws at Padua in 1731. Going 
 to Genoa in 1736 with a theatrical company, he there 
 married Nicoletta Connio, with whom he lived happily 
 all the rest of his life. For two years he acted as Genoese 
 consul in Venice, which was still an independent republic. 
 From 1744 to 1748 he practised law at Pisa, having gone 
 there chiefly for the purpose of perfecting himself in the 
 literary language of Tuscany. One day he received from 
 a strolling actor a request for a new comedy, and he gladly 
 entered into negotiations. The result was that in 1748 he 
 made a contract with the manager Medebac, and returned 
 with him to Venice as purveyor of comedies to the Sant' 
 Angelo Theatre. Having acquired a knowledge of the 
 world and human nature by years of wandering, and having 
 tried his hand at various forms of dramatic composition, 
 he now entered seriously upon his life-work. 
 
 In order to understand the importance of Goldoni's work, 
 we must bear in mind the condition in which he found 
 Italian drama. It seems strange, when we consider how 
 passionately fond the Italians are of the theatre, and what 
 admirable actors they often make, that their dramatic 
 literature should not be richer than it is. During the six- 
 teenth century great writers like Ariosto and Machiavelli 
 amused themselves by writing a few comedies in imitation 
 of Plautus and Terence ; but these remained without 
 permanent influence, and the literary drama gradually faded 
 away into the pastoral. Then a style of drama became
 
 Vlll INTRODUCTION. 
 
 prominent which had doubtless for centuries formed the 
 amusement of the uneducated classes, the commedia del- 
 I'arte, or comedy of professional actors. The actors wore 
 masks, and played certain conventional characters in every 
 play, the important characters in northern Italy being 
 Pantalone, a Venetian merchant ; the Doctor, a learned man 
 from Bologna ; and two valets from Bergamo, Brighella the 
 quick-witted, and Arlechino (Harlequin) the stupid. The 
 dialogue in these plays was improvised by the actors, who 
 developed extraordinary skill in this kind of acting; the 
 author furnished merely an outline of the plot scene by 
 scene, a scenario. No literary merit was possible in such 
 plays, which by the time of Goldoni had become little better 
 than buffoonery. The masks prevented any variety of 
 facial expression, and character-drawing was out of the 
 question. Nevertheless, this was the only style of comedy 
 to which Italian actors were accustomed ; it was immensely 
 popular with the public, which liked to see the familiar 
 figures in every new play, and it had great influence on 
 French comedy in the seventeenth century. Moliere's 
 Scapin is a descendant of Brighella, as his Geronte is of 
 Pantalone. In Italy, however, in spite of a few ineffectual 
 attempts, no one before Goldoni was able to evolve from 
 this essentially inartistic comedy one that should preserve 
 its good features quick and lively action, natural and 
 colloquial dialogue, well-constructed plot, thoroughly Italian 
 spirit while giving it artistic form. By personal instruc- 
 tion Goldoni succeeded in training his actors according to 
 his own ideas; and he tactfully began his reform by 
 gradually making the masks less and less important, until 
 he was able to eliminate them completely, and have the 
 entire play written out and memorized. 
 
 His fame rapidly spread from Venice all over Italy and 
 France, and he was invited to many cities to produce plays.
 
 INTRODUCTION. IX 
 
 In every case he found that the actors still clung to their 
 old methods, and were unwilling to adopt his new style. 
 This was particularly true in Rome, where in the midst of 
 Goldoni's play, the audience clamored for their favorite 
 Neapolitan mask, Pulcinella. Even in Venice Goldoni met 
 with bitter opposition and hostile criticism. He broke off 
 his relations with Medebac, for whom he had written many 
 comedies sixteen of them in a single season; and in 
 1752 he made a contract with Francesco Vendramin, a 
 patrician of Venice, to furnish eight comedies a year for 
 ten years, for the San Luca Theatre. Most of his important 
 productions date from this period. Some of the best are 
 partly or wholly in the Venetian dialect, as / Rusteghi, 
 "The Rustics" ; Le Baruffe Chiozzotte, "Brawls at 
 Chioggia." Others, like La Locandiera, Pamela, II Teatro 
 Comico, La Bottega del Caffe, Un Curioso Accidente, II 
 Vero Amico, are entirely in the literary language of Italy, 
 the Tuscan. The language of Goldoni is, to be sure, 
 criticised by purists; but he justified himself by saying 
 that he drew his style from actual conversation, not from 
 dictionaries and grammars. 
 
 Meanwhile rival playwrights appeared in Venice Pietro 
 Chiari, who attempted to diminish the success of Goldoni's 
 pieces by imitating them as well as his mediocre talents 
 would allow; and Carlo Gozzi, an eccentric genius who 
 attracted crowds by his fantastic dramatizations of familiar 
 fairy tales, and who, like Goldoni, has left amusing 
 Memoirs. Weary of opposition, Goldoni accepted an invi- 
 tation to go to Paris for two years as director of the 
 Comedie Italienne. He left Venice with mingled pleasure 
 and regret in April, 1762, and arrived in Paris in August; 
 he never saw Italy again. 
 
 Once established in Paris, Goldoni found that the fight 
 against the masks had to be fought all over again. The
 
 X INTRODUCTION. 
 
 Italian actors had been in Paris for nearly two hundred 
 years, the famous company called / Gelosi having come 
 there in 1577, to be followed by other companies until 1697. 
 Driven from France in that year, the Italians were invited 
 in 1716 to return and occupy the theatre of the Hotel de 
 Bourgogne, where they remained until the Revolution. 
 They gave plays in French, as well as opera comique (after 
 1762), beside the regular commedia dell' arte in Italian. 
 They had invited Goldoni from Venice in the hope that his 
 prestige would save them from financial ruin. The 
 conditions, however, were not favorable for success; and 
 at the expiration of his contract he was ready to return 
 to Italy, when he received an appointment as tutor in Italian 
 to the royal princesses, the daughters of Louis XV. He was 
 much esteemed at court, and knew the most prominent men 
 of the day. In 1771 he wrote in French for the Comedie 
 Franchise, the rival of the Comedie Italienne, one of his 
 best known plays, Le Bourru Bienfaisant, which remained 
 for many years in the repertory, and is also well known in 
 Italy as // Burbero Benefico. He was granted a pension, 
 but lost it at the beginning of the Revolution, and for a 
 time was in poverty. On a motion by the poet Chenier, 
 the Convention voted to restore his pension, but he had 
 died on the previous day, February 6, 1793. 
 
 Before leaving Venice, Goldoni had contracted to send 
 to Vendramin for the San Luca Theatre a number of 
 comedies ; these might include those intended primarily for 
 Paris, if rewritten with a view to production in Italy. 
 // Ventaglio was produced in accordance with this contract, 
 as appears from the following letters : 
 
 "I have determined upon a new kind of comedy, to see 
 if I can get good results from these actors. They do not 
 memorize their parts, they cannot perform long, well-
 
 INTRODUCTION. XI 
 
 constructed scenes ; accordingly I have made a comedy 
 with many short, sparkling scenes, full of movement, in 
 which the action is more important than the words. A 
 large number of rehearsals will be required, as well as 
 patience and care; but I desire to see whether I can make 
 a hit with this new style. The title of the comedy is 'The 
 Fan.' A lady's fan opens the comedy, brings it to an end, 
 and is the motive of the entire plot. The scene of the three 
 acts is a village square, with several houses and shops, and 
 with roads leading off. At the rising of the curtain, all the 
 characters are discovered on the stage, absorbed in various 
 occupations. Each one has something to do. In order 
 to be better understood by the audience, I have made four 
 of the characters speak French. I have read the play to 
 the company, and all were pleased with it. If it is acted 
 with spirit, I am confident that it will make a good effect." 
 
 This letter was written in April, 1763. Two months 
 later Goldoni wrote that the comedy had been performed, 
 but without the hoped-for success; it proved to be too 
 difficult for the actors. Apparently it never was printed 
 in its original form, with some of the characters speaking 
 French. Goldoni rewrote it in Italian throughout, and in 
 accordance with his contract with Vendramin, sent it to 
 Venice in September, 1764. He was an excellent critic of 
 his own work, and the following words in a letter which 
 he sent with the comedy are particularly interesting in 
 connection with the production by the Yale Dramatic 
 Association : 
 
 "This grand comedy, which has cost me much labor, will 
 likewise require much labor on the part of the actors, 
 labor of preparation and of extra rehearsals; but it is one 
 of those comedies that best display the talent and ability 
 of the actors. You will understand when you read it what 
 sort of a work it is, but you will understand better if you 
 imagine it as being acted. You have seen other comedies 
 of mine which were similar, but this is the most carefully
 
 X INTRODUCTION. 
 
 constructed of all ; the characters are consistent throughout, 
 and the stage never remains empty. The tableau at the 
 first rising of the curtain, and the scene in pantomime at 
 the beginning of the third act, with the action of the 
 different characters going on simultaneously on all parts 
 of the stage, ought to produce an excellent effect. Urge 
 them to have sufficient rehearsals. The success of the 
 comedy depends upon the actors, and I feel sure of the 
 result." 
 
 Goldoni's skill in technical construction is shown by the 
 continuous series of amusing situations which follow one 
 another naturally, and by the deft way in which he 
 manages his crowd of characters; without any tiresome 
 speeches of exposition and without ever allowing the conver- 
 sation to become general, he makes each individual in turn 
 the centre of interest, and yet none of the actors is ever idle ; 
 we get a lifelike, realistic picture of the leisurely business 
 of a country village, with its ordinary occupations and its 
 social distinctions. Occasionally the action becomes far- 
 cical, and the ingenuity of the plot suggests the influence 
 of the commedia dell' arte; but after all, the chief interest 
 of the comedy depends much less upon its plot than upon 
 its strongly individualized types of character. Goldoni's 
 reform consisted essentially in making the action of a play 
 grow naturally out of the characters. On the other hand, 
 he did not attain the comedy of character, as we find it in 
 Moliere ; and with all its ingenious plot, // Ventaglio is not 
 so much of a comedy of intrigue as a comedy of manners, 
 in which the characters, if slightly caricatured, are never- 
 theless types drawn from actual life. 
 
 Many collective editions of Goldoni's plays appeared, 
 from 1750 on. In commemoration of the two-hundredth 
 anniversary the municipality of Venice has begun the publi- 
 cation of a monumental edition. The most comprehensive
 
 INTRODUCTION. Xlll 
 
 collection published during Goldoni's life was that of Zatta, 
 in forty-four volumes, at Venice, 1788-95 ; in the fourth 
 volume (1789) 77 Ventaglio was printed for the first time. 
 Two plays, Pamela and II Padre di Famiglia, were trans- 
 lated into English by J. Nourse, 1756-57; several operas 
 by Goldoni were adapted for the English stage in the 
 eighteenth century. Le Bourru Bienfaisant (1849), 
 another play which had followed it in French, entitled 
 L'Avare Fastueux (1805), and Un Curioso Accidente 
 (1814) appeared separately in English, and were published 
 in one small volume together with an anonymous translation 
 of II Ventaglio and an introduction by Helen Zimmern, in 
 a series called Masterpieces of Foreign Authors, London, 
 1890, and Chicago, 1892. This volume is now out of print, 
 and the translation is so stilted as to be entirely unsuitable 
 for presentation on the stage. Three of the plays in the 
 volume, with the titles The Fan, An Odd Misunderstanding, 
 The Beneficent Bear, were reprinted in a de luxe edition 
 at New York in 1907. 
 
 Mr. H. C. Chatfield-Taylor, who is now writing a life 
 of Goldoni, kindly furnishes the information that II Ven- 
 taglio, translated into English by Mr. Henry B. Fuller, was 
 performed at Chicago in 1898 and again in 1909. The 
 present writer has not seen Mr. Fuller's translation. Un 
 Curioso Accidente, in the translation mentioned above, was 
 produced in 1907-8 by Mr. Donald Robertson. Plays by 
 Goldoni have been presented in this country in the original 
 language by Eleonora Duse, Ermete Novelli, and other 
 Italian actors. Annotated editions of several plays have 
 appeared in America, England and Germany, as well as 
 in Italy; they are admirably suited for students of the 
 Italian language. The Memoires were first printed in Paris, 
 1787; an English translation by J. Black has been pub- 
 lished in various editions. Since Goldoni is a comparatively
 
 XIV INTRODUCTION. 
 
 unfamiliar name in America, the present introduction has 
 been made more comprehensive than would otherwise have 
 seemed necessary. Further information may be obtained 
 from Vernon Lee's Studies of the Eighteenth Century in 
 Italy, P. Monnier's Venice in the Eighteenth Century, and 
 many other works. 
 
 In preparing the translation which is now offered to the 
 public, the effort has been made to reproduce as faithfully 
 as possible, and at the same time in conversational style, 
 the literal meaning and the spirit of the original. In 
 the performance most of the "asides" are omitted, or are 
 indicated in pantomime, since they no longer seem natural 
 on the stage. Considerable "stage-business" is introduced, 
 and of this Goldoni would unquestionably have approved. 
 It is hoped that in this new dress the dainty eighteenth- 
 century comedy will not fail to interest a modern audience. 
 
 Kenneth McKenzie. 
 YALE UNIVERSITY, December, 1910.
 
 THE YALE UNIVERSITY DRAMATIC 
 ASSOCIATION 
 
 (INCORPORATED) 
 
 (Founded February 28th, 1900, by Harry D. Wescott.) 
 
 OFFICERS 
 
 President, 
 EDGAR MONTILLION WOOLLEY, 1911. 
 
 Vice President, 
 ARTHUR MOWRY HARTWELL, 1911. 
 
 Secretary, 
 FRANCIS BAYARD RIVES, 1911. 
 
 Manager, 
 WILLIAM ARCHIBALD McAFEE, 1911. 
 
 Assistant Manager, 
 ALEXANDER CAMPBELL TENER, 1912. 
 
 Press Manager, 
 ROBERT COLEMAN WALKER, 1911. 
 
 Assistant Press Manager, 
 PAUL MACK WHELAN, 1912. 
 
 HONORARY MEMBERS. 
 
 MISS MAUDE ADAMS. 
 
 PROFESSOR WILLIAM LYON PHELPS. 
 
 PROFESSOR EDWARD BLISS REED. 
 
 PROFESSOR JOHN M. BERDAN. 
 
 MR. FRANK LEA SHORT.
 
 ACTIVE MEMBERS. 
 
 1911. 
 
 JAMES LENOX BANKS, JR. 
 ARTHUR AMORY GAMMELL. 
 
 HAVENS GRANT. 
 
 EDWARD HARRAH. 
 
 ARTHUR MOWRY HARTWELL. 
 
 CHARLES VIRGIL HICKOX, JR. 
 
 ALLEN SKINNER HUBBARD. 
 
 WILLIAM ARCHIBALD McAFEE. 
 
 JOHN VINCENT McDONNELL. 
 
 WILLIAM DEFOREST MANICE. 
 
 SAMUEL JOHNSON NEWMAN. 
 
 FRANCIS BAYARD RIVES. 
 
 ROBERT COLEMAN WALKER. 
 
 EDGAR MONTILLION WOOLLEY. 
 
 1911 S. 
 IRVING GOODS PEED BEEBE. 
 
 1912. 
 WILLIAM CHRISTIAN BULLITT, JR. 
 
 JOHN CHANDLER. 
 JOHN RUSE LARUS, JR. 
 
 EDWARD STEVENS. 
 
 ALEXANDER CAMPBELL TENER. 
 
 DANIEL GRANT TOMLINSON. 
 
 PAUL MACK WHELAN. 
 
 1913. 
 
 JOSEPH EPES BROWN. 
 
 HENRY AUCHINCLOSS COLGATE. 
 
 ROBERT DRISCOLL. 
 
 I9HL.S. 
 ROBERT ERNEST DWYER. 
 
 1912 L.S. 
 THOMAS HEWES. 
 
 G. S. 
 LOOMIS HAVEMEYER.
 
 FRANK LEA SHORT, 
 Stage Director.
 
 THE YALE UNIVERSITY DRAMATIC ASSOCIATION 
 
 (INCORPORATED) 
 TWELFTH ANNUAL PRODUCTION 
 
 IL VENTAGLIO" 
 
 (THE FAN) 
 
 A COMEDY 
 
 Translated from the Italian of Carlo Goldoni 
 
 BY 
 PROFESSOR KENNETH McKENZIE 
 
 Revised for the Stage by Mr. Frank Lea Short 
 
 BRIDGEPORT-Jackson's Theatre, December 22d, WO* 
 ALBANY-Harmanus Bleecker Hall December 23d, WO, 
 BUFFALO-Star Theatre, December 27th, WO* 
 ERIE-Majestic Theatre, December 28th, WO* 
 PITTSBURGH-Nixon Theatre, December 29th, WO* 
 WASHINGTON-Columbia Theatre, December 30th, WO* 
 BROOKLYN- -Academy of Music, December 31st, \ 9 JO. 
 NEW YORK-Waldorf -Astoria, January 2d, J9JJ 
 NEW HAVEN-Hyperion, January 14, WJ. 
 NORTHAMPTON-Academy of Mask, January 27th, W J* 
 HARTFORD-Parsons' Theatre, January 28th, J9Jt.
 
 FORMER PRODUCTIONS 
 
 May 23d, 1900. 
 
 "The Pardoner's Tale" of Chaucer and "The Second 
 Shepherd's Play." 
 
 April 23d and 24th, 1901. 
 Thomas Heywood's "The Fair Maid of the West." 
 
 October 22d, 1901. 
 
 Bicentennial Campus Celebration Under Auspices of the 
 Yale Dramatic Association. 
 
 April 23d and 24th, 1902. 
 
 Sheridan's "The Critic" and Townley's "High Life Below 
 Stairs." 
 
 April 2?th and 28th, 1903. 
 Oliver Goldsmith's "The Good-Natured Man." 
 
 April I9th and 20th, 1904. 
 Tom Taylor's "New Men and Old Acres." 
 
 April 4th and 5th, and Carnegie Lyceum, New York, April 7th, 1905. 
 A. W. Pinero's "The Magistrate." 
 
 April 3d and 4th, 1906. 
 "Shakespeare's "Henry IV, Part I." 
 
 First Promenade Performance, January I9th, 1907. 
 A. W. Pinero's "The Amazons." 
 
 April ist, Parsons' Theatre, Hartford, Conn.; April zd and 3d, 
 Waldorf-Astoria Hotel, New York, and April 5th and 6th, 1907, 
 Hyperion Theatre, New Haven. 
 
 Henrik Ibsen's "The Pretenders."
 
 IL VENTAGLIO. XIX 
 
 November i8th, 1907, College Street Hall. 
 
 "El Doctor y El Enfermo," "Einer Muss Heiraten," and 
 
 "Le Pretexte." 
 
 Second Promenade Performance, January i8th, 1908. 
 Oscar Wilde's "The Importance of Being Earnest." 
 
 April 2Oth, 1908, Waldorf-Astoria Hotel; April 2isl, Parsons' 
 Theatre, Hartford, Conn.; April 22d, Poll's Theatre, Waterbury, 
 Conn.; April 24th and 2$th, Hyperion Theatre, New Haven. 
 Nikolas V. Gogol's "Revizor." 
 
 First Christmas Vacation Trip. 
 Charles Selby's "The Fire-Eater" and Richard Brinsley Sheridan's 
 
 "The Critic." 
 
 December soth, 1908, Parsons' Theatre, Hartford; December 3ist, 
 Smith's Theatre, Bridgeport; January ist, 1909, Poll's Theatre, 
 Meriden; January 2d, Pali's Theatre, Waterbury; January 4th 
 and 5th, Waldorf-Astoria Hotel, New York; January i6th, 
 Hyperion Theatre, New Haven. 
 
 First Commencement Performance. 
 Shakespeare's "The Merry Wives of Windsor." 
 June 26, 1909, The Yale Campus, New Haven. 
 
 Second Christmas Vacation Trip. 
 Dion Boucicault's "London Assurance." 
 
 December 236,, 1909, Pali's Theatre, Meriden; December 27th, New 
 National Theatre, Washington, D. C.; December 28th, Albaugh's 
 Theatre, Baltimore; December 29th, Bijou Theatre, Orange, 
 N. /.; December 30th, Jackson's Theatre, Bridgeport; Decem- 
 ber 3ist, Pali's Theatre, Waterbury; January ist, 1910, Hart- 
 ford Theatre, Hartford; January 3d and 4th, Waldorf-Astoria 
 Hotel, New York; January 8th, Collingwood Theatre, Pough- 
 keepsie, N. Y.; January i5th, Hyperion Theatre, New Haven; 
 January 2 ist, Academy of Music, Northampton. 
 
 Second Commencement Performance. 
 
 Shakespeare's "Taming of the Shrew." 
 
 June 18, 1910, The Yale Campus, New Haven.
 
 LOCAL MANAGERS 
 
 Bridgeport BRONSON M. WARREN, 1904. 
 Albany DR. ERASTUS CORNING, 1903. 
 Buffalo NORMAN P. CLEMENT, 1907. 
 Erie MATTHEW GRISWOLD, JR., 1888 S. 
 Pittsburgh CLINTON L. CHILDS, 1901 S. 
 Washington G. GOULD LINCOLN, 1902. 
 Brooklyn ROBERT MALLORY, 1909. 
 New York GEORGE S. CHAPPELL, 1899. 
 Hartford PHILIP ROBERTS, 1910.
 
 COMMITTEES 
 
 Stage Manager. 
 LAWRENCE MARSHALL CORNWALL, 1912. 
 
 Property Man. 
 HENRY AUCHINCLOSS COLGATE, 1913. 
 
 Costume Committee. 
 CHARLES VIRGIL HICKOX, 1911. EDWARD STEVENS, 1912. 
 
 Book Editors. 
 ALLEN SKINNER HUBBARD, 1911. CAVOUR HARTLEY, 1912.
 
 CAST OF CHARACTERS 
 
 EVARISTO, William DeForest Manice, ipn. 
 
 COUNT OF ROCCA MARINA, 
 
 Edgar Montillion Woolley, 1911. 
 
 BARON DEL CEDRO, John Palmer Parsons, 1912. 
 
 CRESPINO (shoemaker), William Christian Bullitt, Jr., 1912. 
 CORONATO (innkeeper), Johnfritz Achelis, 1913. 
 
 TIMOTEO (druggist), Earle Richmond Cummings, 1914. 
 MORACCHIO, Ramon Aloysius Conroy, 1913 S. 
 
 LIMONCINO, Edward Stevens, 1912. 
 
 TOGNINO, Lawrence Cornwall, 1912. 
 
 SCAVEZZO, Barnes Newberry, 1914. 
 
 GIANNINA (peasant girl), Arthur Mowry Hartwell, 1911. 
 GERTRUDE, Charles Virgil Hickox, 1911. 
 
 CANDIDA, Rufus Frederick King, 1914. 
 
 SUSANNA (shop keeper), Joseph Epes Brown, Jr., 1913.
 
 IL VENTAGLIO 
 
 ACT FIRST 
 
 SCENE I. 
 
 All the characters of the play discovered, as follows: 
 GERTRUDE and CANDIDA sitting on the balcony of the palace, 
 embroidering. EVARISTO and the BARON in hunting-costume 
 with their guns, sitting in front of the cafe drinking coffee. 
 The COUNT, a country gentleman with a frock coat, straw 
 hat and cane, sitting near the door of the apothecary's shop, 
 reading. TIMOTEO, in his shop, pounding in a mortar. 
 GIANNINA, near the door of her house, spinning. SUSANNA, 
 sitting in front of her shop, sewing. CORONATO, sitting on 
 a bench near the Inn, with a notebook and pencil. CRESPINO, 
 on his seat, working on a shoe. MORACCHIO, in front of 
 GIANNINA'S house, holding a hunting dog by a leash and 
 giving him bread to eat. SCAVEZZO, in front of the Inn, 
 plucking a fowl. LIMONCINO, with a tray in his hand, wait- 
 ing for the gentlemen to finish their coffee. TOGNINO, 
 sweeping in front of the palace. At the rising of the cur- 
 tain all remain for some time without speaking. 
 
 EVARISTO. ( To the BARON.) What do you think of this 
 coffee ? 
 
 BARON. I like it. 
 
 EVA. I find it delicious. Good for you, Limoncino ; this 
 morning- you have done well.
 
 2 IL VENTAGLIO. 
 
 LIMONCINO. Thanks for the compliment, but I beg you 
 not to call me by that name "Limoncino." 
 
 EVA. Oh, nonsense. Everybody knows you by that 
 name. You are famous under the name of Limoncino. 
 Everybody says, "Let's go to the Case Nuove to drink 
 coffee at Limoncino's." Are you offended at that? 
 
 LIM. But, sir, it's not my name. 
 
 BARON. Oh, very well; from now on we'll not call you 
 "Limoncino," the "Little Lemon"; we'll call you "Little 
 Orange," or "Little Pear." 
 
 LIM. I tell you, I'm not the man to be made a fool of. 
 
 (CANDIDA laughs.) 
 
 EVA. What do you say about it, Signora Candida? 
 
 CANDIDA. (Fanning herself, then putting her fan on the 
 railing of the balcony.) What should I say? This is too 
 ridiculous, really. 
 
 GERTRUDE. Come, gentlemen, let that poor fellow alone. 
 He makes good coffee, and he is under my protection. 
 
 BARON. Oh, if he is under the protection of Signora 
 Gertrude, we must show him respect. (Aside to EVARISTO.) 
 Listen ; the widow protects him. 
 
 EVA. (To the BARON.) Don't you say anything against 
 Signora Gertrude. She is the most worthy and honorable 
 lady in the world. 
 
 BARON. Whatever you like. But speaking of protection, 
 do you see the Count sitting there and reading with the air 
 of a magistrate? 
 
 EVA. So far as he is concerned, you are quite right; 
 he's a ridiculous creature. But it is not fair to compare him 
 with Signora Gertrude. 
 
 BARON. Each in his own way. For my part, I find them 
 both ridiculous.
 
 IL VENTAGLIO. 3 
 
 EVA. What do you find ridiculous in Signora Gertrude? 
 
 BARON. Too much affectation, too much dignity, too 
 much self-sufficiency. 
 
 EVA. I beg your pardon, but you don't know her. 
 
 BARON. I think a hundred times more of Signora 
 Candida. 
 
 ( The BARON and EVARISTO finish their coffee, rise, and give 
 the cups to LIMONCINO; both wish to pay, but EVARISTO 
 is anticipated by the BARON. Exit LIMONCINO into the 
 inn. TIMOTEO pounds harder in his mortar.) 
 
 EVA. Yes, it is true, the niece is a fine girl. (Aside.) 
 I should not like to have this man for my rival. 
 
 COUNT. (With dignity.) Oh, Timoteo! 
 
 TIMOTEO. What is it, sir? 
 
 COUNT. Your pounding annoys me. 
 
 TIM. -(Still pounding.) I beg your pardon, sir; I am 
 sorry. 
 
 COUNT. I can't read, you deafen me. 
 
 TIM. (Still pounding.) Pardon me; I shall finish in a 
 moment. 
 
 CRESPINO. (Working and laughing.) Oh, Coronato! 
 
 CORONATO. What is it, Crespino? 
 
 CRES. (Pounding on a shoe.) The Count wants every- 
 body to keep quiet! 
 
 COUNT. The devil take your impertinence! Are you 
 going to pound all the morning? 
 
 CRES. Sir, don't you see what I am doing? 
 
 COUNT. (Scornfully.) What are you doing? 
 
 CRES. I am mending your old boots. 
 
 COUNT. (Beginning to read again.) Keep quiet there, 
 and stop your nonsense ! 
 
 CRES. Coronato !
 
 4 IL VENTAGLIO. 
 
 COUNT. (Getting uneasy.) I can't stand this any 
 longer. 
 
 SCAVEZZO. Moracchio ! 
 
 MORACCHIO. What is it, Scavezzo ? 
 
 SCA. (Imitating the COUNT.) Just look at the Count ! 
 
 MOR. Be quiet, be quiet. He's a gentleman. 
 
 SCA. He's a half -starved gentleman ! 
 
 GIANNINA. Moracchio ! 
 
 MOR. What do you want ? 
 
 GIA. What did Scavezzo say? 
 
 MOR. Nothing, nothing. Mind your own business, and 
 go on working. 
 
 GIA. Oh, how polite my brother is ! He always treats 
 me that way. (Aside.) I can scarcely wait till I'm married. 
 
 SUSANNA. What is it, Giannina? What is the matter 
 with you? 
 
 GIA. Oh, if you knew, Susanna ! I don't think there is 
 a more disagreeable man than my brother in all the world ! 
 
 MOR. I am all right. What do you mean? So long as 
 you are under my authority .... 
 
 GIA. (Angrily.) Under your authority! I hope I 
 shall not be very long under your authority. 
 
 EVA. (To MORACCHIO.) Come, what is the matter? 
 You are always tormenting that poor girl. She really 
 doesn't deserve it. 
 
 GIA. He drives me crazy. 
 
 MOR. She always wants to know everything. 
 
 EVA. Come, come, that's enough ! 
 
 BARON. (To CANDIDA.) Evaristo is very sympathetic. 
 
 CAN. I agree with you perfectly! 
 
 GER. (To CANDIDA.) Nonsense! He does nothing but 
 criticise other people, and isn't at all careful about what 
 he does himself!
 
 IL VENTAGLIO. 5 
 
 BARON. (Aside.) There, those are the speeches that I 
 cannot endure. 
 
 CRES. (Aside.) Poor Giannina; when she is my wife 
 that fellow will no longer torment her. 
 
 COR. (Aside.) Yes, I should want to marry her, even 
 if it was only to get her away from her brother. 
 
 EVA. (To the BARON.) Well, Baron, shall we start? 
 
 BARON. To tell you the truth, this morning I don't care 
 particularly about going to hunt. I got so tired yesterday. 
 
 EVA. Just as you like. You don't mind if I go ? 
 
 BARON. Certainly not. (Aside.) So much the better 
 for me. I shall have a chance to try my luck with Candida. 
 
 EVA. Moracchio ! 
 
 MOR. Sir? 
 
 EVA. Has the dog eaten enough? 
 
 MOR. Yes, sir. 
 
 EVA. Then get your gun and come along. 
 
 MOR. I will go for it at once. (To GIANNINA.) Here, 
 take this. 
 
 GIA. What shall I take? 
 
 MOR. Take this dog until I come back. 
 
 GIA. Give him to me, stupid! 
 
 (She takes the dog and pets him. Exit MORACCHIO into 
 the house.) 
 
 COR. (Aside.) She is certainly a good-hearted girl. I 
 can scarcely wait until she is mine. 
 
 CRES. (Aside.) How charming she is when she gives 
 caresses ! If she pets the dog, how much more will she pet 
 her husband ! 
 
 BARON. Scavezzo ! 
 
 SCA. Sir ? 
 
 BARON. Take this gun and carry it up to my room.
 
 IL VENTAGLIO. 
 
 SCA. Yes, sir. (Aside.) He, at least, is rich and gen- 
 erous. Quite different from that beggar of a Count. 
 
 (Exit into the inn.) 
 
 EVA. (To the Baron.) Do you intend to stay here all 
 day? 
 
 BARON. Yes, I will rest in the inn. 
 
 EVA. Give orders for dinner, I will come and dine with 
 you. 
 
 BARON. With pleasure. I will wait for you. (To the 
 ladies.) Ladies, au revoir! (Aside.) I will withdraw, so 
 as not to raise suspicion. (To CORONATO.) I am going to 
 my room; get dinner ready for two. (Exit.) 
 
 COR. Certainly, sir. At your orders. 
 
 ACT FIRST. SCENE II. 
 
 Enter MORACCHIO from the house with his gun; he takes 
 the dog from GIANNINA. 
 
 MOR. (To EVARISTO.) Here I am, sir, all ready now. 
 
 EVA. (Taking his gun.) Let us be off. (To the ladies.) 
 Ladies, if you will excuse me, I am going to amuse myself 
 a little while with my gun. 
 
 GER. Certainly, I hope you will have a good time. 
 
 CAN. Good luck to you, and good hunting ! 
 
 EVA. (To CANDIDA.) I am certain to be lucky if I am 
 favored by your good wishes. 
 
 CAN. (To GERTRUDE.) He is certainly very polite. 
 
 GER. Yes, that is true. He is polite and well mannered ; 
 but, my niece, do not trust anyone whom you do not know 
 thoroughly. 
 
 CAN. Why do you say that, aunt ?
 
 IL VENTAGLIO. 7 
 
 GER. Because for some time I have had reason to say it. 
 
 CAN. I do not think you can have any reason for critici- 
 sing me. 
 
 GER. No, I do not complain of anything" you have done, 
 but I warn you to be careful. 
 
 CAN. (Aside.) Oh, her warning is late! I am already 
 as much in love as I ever can be. 
 
 EVA. (To MORACCHIO.) Well, we are all ready. Let 
 us start. (To the ladies.) Once more, I am your servant. 
 
 GER. (Rises to salute him.) I am your servant. 
 
 CAN. I am your humble servant. (She rises and knocks 
 the fan from the railing; it falls to the ground.) 
 
 EVA. (Picking up the fan.) Oh, what a shame! 
 
 CAN. It's nothing, it's nothing! 
 
 GER. Don't trouble yourself ! 
 
 EVA. The fan is broken. I am terribly sorry. 
 
 CAN. Oh, it doesn't matter. It is an old fan. 
 
 EVA. But I am the cause of its being broken ! 
 
 GER. You must not be troubled on that account. 
 
 EVA. Allow me to have the honor .... 
 
 GER. Don't trouble yourself. Give it to the servant. 
 (She calls.) Tognino! 
 
 TOGNINO. Signora ! 
 
 GER. Take the fan. 
 
 TOG. (To EVARISTO.) If you please. 
 
 EVA. If the ladies will not allow me, take it. (Gives the 
 fan to TOGNINO, who goes with it into the house. ) 
 
 CAN. (To GERTRUDE.) Just see how much trouble he 
 takes because the fan was broken ! 
 
 GER. No gentleman could do anything else. (Aside.) 
 I am afraid that love has something to do with it !
 
 o IL VENTAGLIO. 
 
 ACT FIRST. SCENE III. 
 
 TOGNINO, on the balcony, gives the fan to the ladies, who 
 examine it. 
 
 EVA. (Aside.) I am terribly sorry that the fan was 
 broken through me; I must try to make up for it. (To 
 SUSANNA.) Signora Susanna! 
 
 Sus. Sir? 
 
 EVA. I should like to have a word with you. Let us go 
 into the shop. 
 
 Sus. Certainly, sir. At your orders. 
 
 EVA. (To MORACCHIO.) Moracchio, you may go on 
 ahead. Wait for me at the edge of the woods, and I will be 
 with you in a few minutes. (He goes into the shop with 
 SUSANNA.) 
 
 MOR. If we use up our time in this way, we may catch 
 pumpkins, but we won't catch any game! (Exit with dog.} 
 
 GIA. (Aside, spinning.) Thank heaven, my brother has 
 gone. I can scarcely wait till I have a chance to say a few 
 words to Crespino, but I don't want that horrid Coronato to 
 be present. He persecutes me, and I cannot endure him. 
 
 COUNT. (Reading.) Oh, oh, fine, fine, beautiful. (He 
 calls.) Signora Gertrude! 
 
 CRES. What have you found that is so fine, Signor 
 Count ? 
 
 COUNT. What business is it of yours? What do you 
 know, you ignoramus ? 
 
 CRES. (Pounding on his shoe. Aside.) I will wager 
 that I know more than he does ! 
 
 GER. What have you to say, Count ? 
 
 COUNT. You, who are an intelligent woman, if you could 
 only hear what I am reading ! it is a masterpiece. 
 
 GER. Is it history ?
 
 IL VENTAGLIO. 9 
 
 COUNT. (Scornfully.) Eh! 
 
 GER. Is it a treatise on philosophy? 
 
 COUNT. Oh ! 
 
 GER. Is it some fine piece of poetry? 
 
 COUNT. No, no ! 
 
 GER. What is it, then? 
 
 COUNT. It is something stupendous, marvelous ; a trans- 
 lation from the French. It is a short piece of fiction, ordi- 
 narily called a fable. 
 
 CRES. How ridiculous ! A fable, stupendous ! Marvel- 
 ous ! 
 
 GER. Is it by JEsop ? 
 
 COUNT. No. 
 
 GER. Is it by Monsieur de La Fontaine? 
 
 COUNT. I don't know the author ; but never mind, would 
 you like to hear it ? 
 
 GER. I shall be very happy. 
 
 COUNT. Wait a moment. Oh, I have lost the place. I 
 must find it. 
 
 CAN. (To GERTRUDE.) You, who read good books, do 
 you like to hear fables ? 
 
 GER. Why not? If they are cleverly written, they are 
 instructive and amusing. 
 
 COUNT. Oh, I have found it. Now listen. 
 
 CRES. (Pounding.) The deuce! He reads fables ! 
 
 COUNT. (To CRESPINO.) Why do you pound so hard? 
 
 CRES. Don't you want me to put the heels on ? 
 
 (TIMOTEO begins again to pound in his mortar.) 
 
 COUNT. There is that other idiot, who is pounding 
 again. Won't you stop? 
 
 TIM. (Still pounding.) Sir, I am doing my work.
 
 10 IL VENTAGLIO. 
 
 COUNT. (To GERTRUDE.) Listen! "There was once 
 upon a time a maiden of such rare beauty . . . ." (To 
 TIMOTEO.) But do be quiet, or go and pound somewhere 
 else! 
 
 TIM. (Still pounding.) Excuse me, sir; I pay my rent 
 and I have no better place than this to work. 
 
 COUNT. Oh, go to the devil with that damned mortar! 
 I can't read. I can't endure it. Signora Gertrude, I will 
 come into the house. You shall hear what a fine fable this 
 is. You never heard anything like it ! 
 
 (Exit into the house.) 
 
 GER. That apothecary is certainly a little impertinent. 
 (To CANDIDA.) We must go and receive the Count. 
 
 CAN. Go, if you like. You know that I don't enjoy 
 fables. 
 
 GER. Never mind, you must come for the sake of polite- 
 ness. 
 
 CAN. (Scornfully.) Do I have to be polite to the 
 Count ? 
 
 GER. My dear niece, you must respect others if you 
 wish to be respected. Come along. 
 
 CAN. (Starts to follow.) Very well; I will come, to 
 please you. 
 
 ACT FIRST. SCENE IV. 
 (EVARISTO and SUSANNA enter from shop.) 
 
 CAN. What? Is Evaristo still here? Didn't he go 
 hunting? I wonder why! 
 
 Sus. (To EVARISTO.) You have nothing to complain 
 of. I assure you that I have given you the fan at the 
 lowest possible price.
 
 \V. Di-:F. MAN ICE, 1911, 
 as Evaristo.
 
 IL VENTAGLIO. 1 1 
 
 EVA. (Aside.} Candida is no longer there. (To 
 SUSANNA.) I am sorry you have nothing better. 
 
 Sus. I have nothing either better or worse. This is the 
 last and only fan that I have in the shop. 
 
 EVA. Very well, I shall have to take this one. 
 
 Sus. I suppose you are going to give it to someone? 
 
 EVA. Certainly, I didn't buy it for myself. 
 
 Sus. To Signora Candida? 
 
 EVA. (Aside.} Susanna is rather inquisitive ! (Aloud.) 
 Why do you suppose that I am going to give it to Signora 
 Candida ? 
 
 Sus. Because I noticed that hers was broken. 
 
 EVA. No, no ; I have something else to do with the fan. 
 
 Sus. (Sits down and begins to sew.) Very well, give 
 to whomever you like. I don't bother about other people's 
 affairs. 
 
 EVA. (Aside.) She doesn't bother about them, but she 
 wants to find them out. This time, however, she did not 
 succeed. 
 
 CAN. (Coming forward on the balcony.) Great secrets 
 with the shopkeeper! I should like very much to know 
 what it is about ! 
 
 EVA. (To GIANNINA.) Giannina! 
 
 GIA. (Seated, spinning.) Yes, sir? 
 
 EVA. I should like to ask you to do me a favor. 
 
 GIA. Why, certainly ! command me if I can be of use 
 to you. 
 
 EVA. I know that Signora Candida is fond of you. 
 
 GIA. Yes, sir, she is so kind as to be a friend of mine. 
 
 EVA. In fact, she has asked me to take an interest in 
 your brother. 
 
 GIA. (Scornfully.) How unfortunate I am! Left 
 without father or mother, it is my fate to be under the
 
 12 IL VENTAGLIO. 
 
 authority of a brother who is a beast. Yes, sir, he is really 
 a beast! 
 
 EVA. Now, listen to me. 
 
 GIA. Go on. Spinning doesn't stop up my ears. 
 
 EVA. (Aside.) Her brother is a queer chap, sure 
 enough ; but she has her peculiarities, also, it seems to me. 
 
 Sus. (Aside.) Is it possible that he bought the fan 
 for Giannina? I don't believe so. (CORONATO and CRES- 
 PINO show curiosity to hear what EVARISTO is saying to 
 GIANNINA, and come forward.) 
 
 CAN. (Aside, coming further forward on the balcony.) 
 Private interview with the shopkeeper? Private interview 
 with Giannina? I don't understand it at all. 
 
 EVA. (To GIANNINA.) May I ask you to do me a 
 favor ? 
 
 GIA. Didn't I tell you that you could? Didn't I tell 
 you to make use of me? If my distaff embarrasses you, I 
 will throw it away. (She rises and throws away her 
 distaff. ) 
 
 EVA. (Aside.) I feel like saying nothing more, but I 
 have need of her. 
 
 CAN. (Aside.) What does this all mean? 
 
 CRES. (With boot and hammer in his hands, comes for- 
 ward a little. Aside.) She throws away her distaff? 
 
 COR. (Holding book, comes forward a little. Aside.) 
 It seems to me that the conversation is getting warm ! 
 
 Sus. (Aside.) If he made her a present, she would 
 not be so angry. 
 
 GIA. (To EVARISTO.) Well, here I am; what do you 
 want? 
 
 EVA. Do be kind, Giannina. 
 
 GIA. I did not know that I had ever been unkind. 
 
 EVA. Do you know that Signora Candida broke her 
 fan?
 
 IL VENTAGLIO. 13 
 
 GIA. (Sullenly.) Yes, sir. 
 
 EVA. I have bought another one from Susanna. 
 
 GIA. Very good. 
 
 EVA. I don't want Signora Gertrude to know it. 
 
 GIA. Quite right. 
 
 EVA. But I should like to have you give it privately to 
 Candida. 
 
 GIA. That is something that I cannot do for you. 
 
 EVA. What an ugly reply! 
 
 CAN. (Aside.) He told me he was going to hunt, but 
 he is still here. 
 
 CRES. (Coming further forward, and pretending to 
 work.) What wouldn't I give if I could hear! 
 
 COR. (Comes forward, pretending to write in his book.) 
 I am getting more and more curious ! 
 
 EVA. (To GIANNINA.) Why are you not willing to do 
 me this favor? 
 
 GIA. Because I haven't learned that business yet ! 
 
 EVA. You take the thing in the wrong way. Signora 
 Candida is so fond of you ! 
 
 GIA. That is true, but I do not choose to be mixed up in 
 such affairs. 
 
 EVA. She told me that you wanted to marry Crespino. 
 (He turns and sees the two men listening.) What are 
 you two doing ? What insolence is this ? 
 
 CRES. (Sits down again.) I am working, sir. 
 
 COR. (Sits down again.) Can't I walk up and down 
 while I am writing? 
 
 CAN. (Aside.) They have important secrets. 
 
 Sus. (Aside.) What in the world is there about that 
 girl, that makes all the men run after her? 
 
 GIA. (Picking up distaff.) If you have nothing else 
 to say to me, I will go to work again.
 
 14 IL VENTAGLIO. 
 
 EVA. Listen. Signora Candida begged me to take an 
 interest in your behalf, and to see about getting a dowry 
 for you, so that you may marry Crespino. 
 
 GIA. (Changes her tone and throws away the distaff.) 
 She asked you that? 
 
 EVA. Yes, and I am doing my best to bring it about. 
 
 GIA. Where is the fan? 
 
 EVA. Here in my pocket. 
 
 GIA. Give it to me, give it to me; but don't let anybody 
 see it! 
 
 EVA. (Giving it to her.) Here it is. 
 
 CRES. (Stretching his neck.) He is giving her some- 
 thing ! 
 
 COR. (Aside.) What can he have given her? 
 
 Sus. (Aside.) He certainly gave her the fan! 
 
 CAN. Oh, yes, Evaristo is deceiving me! What the 
 Count told me is true. 
 
 EVA. (To GIANNINA.) I recommend secrecy. 
 
 GIA. Just leave it to me. Don't be afraid. 
 
 EVA. Good-bye ! 
 
 GIA. Till I see you again! 
 
 EVA. I recommend myself to you. 
 
 GIA. (Takes the distaff and begins to work.) And I to 
 you. 
 
 EVA. (About to go, he sees CANDIDA on the balcony.) 
 Oh, there she is again on the balcony. I wish I could tell 
 her about the fan. Signora Candida ! 
 
 (CANDIDA turns her back toward him without replying.} 
 
 EVA. What does this mean? Does she intend to insult 
 me? Impossible! I know that she loves me and she 
 knows that I adore her, and yet .... Oh, I see what it 
 is ; her aunt must have been watching her, and she did not
 
 IL VENTAGLIO. 15 
 
 want to let her aunt see. Yes, yes, that is it ; it cannot be 
 anything else. But I must break this silence. I must speak 
 to Signora Gertrude, and obtain Candida's hand. 
 
 GIA. Certainly, I am very much obliged to Signora 
 Candida for remembering me. Can I do any less for her? 
 We girls do favors for each other without malice. 
 
 COR. (To GIANNINA.) Great affairs, great secrets with 
 Signer Evaristo! 
 
 GIA. What business is that of yours? What do you 
 care? 
 
 COR. If I didn't care, I wouldn't speak of it. 
 
 (CRESPINO comes behind CORONATO to listen.) 
 
 GIA. You have nothing to do with my affairs. You 
 have no authority over me. 
 
 COR. I have nothing to do with your affairs, but I shall 
 have very soon. 
 
 GIA. Who says that? 
 
 COR. The one who has authority over you has said it, 
 he has promised it, and he has given me his word. 
 
 GIA. (Laughing.) My brother, I suppose? 
 
 COR. Yes, your brother; and I shall tell him the confi- 
 dential secrets, and the presents .... 
 
 CRES. (Coming between the two.) Hold on there, my 
 dear sir. What intentions have you in regard to this girl? 
 
 COR. I don't have to render an account to you ! 
 
 CRES. (To GIANNINA.) See here, what secret have 
 you with Evaristo? 
 
 GIA. Leave me alone, both of you, and don't bother me 
 any more ! 
 
 CRES. I will know it. 
 
 COR. What is that? "I will"? Go and give your com- 
 mands to those who are under your authority. Giannina 
 has been promised to me by her brother !
 
 1 6 IL VENTAGLIO. 
 
 CRES. And she herself has given her promise to me! 
 A word from the sister is worth more than a hundred 
 words from the brother. 
 
 COR. (To CRESPINO.) We shall see about that. 
 
 CRES. (To GIANNINA.) What did Evaristo give you? 
 
 GIA. I wish he would give you the devil. 
 
 COR. Now, see here! (Aside.) I saw him come out 
 of the shop. The shopkeeper will tell me. 
 
 CRES. I suppose he bought a present. 
 
 GIA. I will say nothing about it. I hope that Su- 
 sanna .... 
 
 COR. (To SUSANNA.) Tell me, I beg of you, what did 
 Signor Evaristo buy of you? 
 
 Sus. (Smiling.) A fan. 
 
 CRES. Have you any idea what he gave to Giannina? 
 
 Sus. Why, the fan, of course. 
 
 GIA. Nothing of the sort ! 
 
 Sus. (To GIANNINA.) What, nothing of the sort? 
 
 COR. (To GIANNINA, roughly.) Show me that fan! 
 
 CRES. (Pushing CORONATO aside.) It's none of your 
 business! (To GIANNINA.) I want to see that fan. 
 
 (CORONATO and CRESPINO are about to strike each other.) 
 
 GIA. (To SUSANNA.) All your fault! 
 
 Sus. (Angrily.) My fault? 
 
 GIA. You are a tattle-tale! 
 
 Sus. You dare to call me a tattle-tale ? 
 
 GIA. (Raising her distaff.) Look out, or I swear .... 
 
 Sus. (Drawing back.) I will go, for fear I may lose 
 my temper. 
 
 GIA. Lose your temper? 
 
 Sus. You are nothing but a peasant girl, and you act 
 like one! (Exit into shop. GIANNINA tries to follow, 
 CRESPINO holds her back.)
 
 IL VENTAGLIO. I? 
 
 GIA. Leave me alone! 
 
 CRES. (Roughly.} Let me see that fan! 
 
 GIA. I haven't any fan ! 
 
 COR. What did Evaristo give you ? 
 
 GIA. I tell you that you are impertinent ! 
 
 COR. I want to know it! 
 
 CRES. (Pushes him aside.) None of your business, I 
 tell you! 
 
 GIA. (Going toward her house.) This is no way to 
 treat respectable girls ! 
 
 CRES. Please tell me, Giannina. 
 
 GIA. I will tell you nothing. 
 
 COR. (Pushes CRESPINO aside.) I am the one who 
 must know! 
 
 GIA. Go to the devil, both of you! (Goes into her 
 house and shuts the door in their faces.) 
 
 COR. This insult to me ? It is all your fault ! 
 
 CRES. You are impertinent! 
 
 COR. Don't make me get angry. 
 
 CRES. I am not afraid of you. 
 
 COR. Giannina is to be my wife. 
 
 CRES. No, she never will, or I swear to Heaven .... 
 
 COR. What do you mean by these threats? Whom do 
 you think you are dealing with? 
 
 CRES. I am an honest man, and everybody knows me. 
 
 COR. And how about me? 
 
 CRES. I know nothing about you. 
 
 COR. I am a respectable inn-keeper. 
 
 CRES. Respectable ? 
 
 COR. What ! do you doubt it ? 
 
 CRES. I am not the only one who doubts it. 
 
 COR. Who, then? 
 
 CRES. Everybody in the village.
 
 1 8 IL VENTAGLIO. 
 
 COR. See here, my friend, I am not the one they talk 
 about ; I don't sell old second-hand leather for new ! 
 
 CRES. And I don't sell water for wine, nor old sheep for 
 mutton ; and I don't go about at night stealing cats to sell 
 them for lamb and rabbit ! 
 
 COR. (Raising his hand.) I swear to Heaven .... 
 
 CRES. (Raising his hand.) What's this? 
 
 COR. (Putting his hand in his pocket.) Corpo di bacco! 
 
 CRES. (Going to get his hammer.) His hand in his 
 pocket ? 
 
 COR. (Picking up a stool.) I have no knife with me! 
 
 (CRESPINO drops his hammer and picks up a chair; they 
 are about to strike one another.) 
 
 ACT FIRST. SCENE V. 
 
 Enter TIMOTEO from his shop, with pestle; LIMONCINO 
 from the cafe, with a stick of wood; SCAVEZZO from the 
 inn, with a poker; and the COUNT, from the palace, trying 
 to separate them. 
 
 COUNT. (Keeping at a safe distance.) Hold on, hold 
 on, stop! stop! I command you. Here I am, you beasts, 
 I am the Count di Rocca Marina. Stop, you beasts, I 
 command you. 
 
 CRES. (To CORONATO.) That's right, I have respect 
 for the Count. 
 
 COR. Yes, you had better thank the Count; otherwise 
 I would have broken your head. 
 
 COUNT. Come, come, that's quite enough. I want to 
 know what this quarrel is about. You other people go 
 away. I am here, there is no need of anybody else. 
 
 (LIMONCINO and SCAVEZZO exeunt.)
 
 IL VENTAGLIO. 19 
 
 TIM. Anybody hurt? 
 
 COUNT. You would like to have them break their heads, 
 fracture their legs, or dislocate their arms, wouldn't you? 
 So that you could exercise your talents, and show your 
 skill. 
 
 TIM. I wish no harm to anybody, but if they had any 
 need, if they were injured, wounded, or crippled, I would 
 do what I could for them. I should be especially glad in 
 such a way to serve your illustrious lordship. 
 
 COUNT. You are impertinent. I will have you sent 
 away. 
 
 TIM. Honest men can't be sent away so easily. 
 
 COUNT. We can send away ignorant, impertinent and 
 dishonest apothecaries like you! 
 
 TIM. I am surprised that you should speak so, sir; 
 remember that without my pills you would now be dead ! 
 
 COUNT. Insolent fellow! 
 
 TIM. And by the way, you haven't paid for those pills 
 yet. (Exit.) 
 
 COR. (Aside.) In this matter the Count might be of 
 some use to me. 
 
 COUNT. Well, then, what has happened? What's the 
 matter with you? What is the reason for this quarrel? 
 
 CRES. I will tell you, sir. I have no objections to telling 
 it in the presence of everybody. I love Giannina. 
 
 COR. And Giannina is to be my wife. 
 
 COUNT. Ah, ah, I understand; warfare of love, two 
 champions of Cupid, two valiant rivals, two suitors for the 
 beautiful Venus, the Goddess of Case Nuove! (Laugh- 
 ing.) 
 
 CRES. (Starting to go away.) If you think I will let 
 myself be made fun of .... 
 
 COUNT. (Stopping him.) No, come here.
 
 20 IL VENTAGLIO. 
 
 COR. The thing is serious, I assure you. 
 
 COUNT. Yes, I believe you. You are lovers, and you 
 are rivals. Cospetto di Bacco ! What a coincidence ! Just 
 like the fable which I was reading to Signora Gertrude. 
 (Reading from his book.) "There was once upon a time 
 a maiden of such rare beauty . . . . " 
 
 CRES. (Aside.) Now I see. (Aloud.) With your 
 permission .... 
 
 COUNT. Where are you going ? Come back here ! 
 
 CRES. If you permit me, I am going to finish mending 
 your boots. 
 
 COUNT. Oh, yes, go; and see that they are ready 
 to-morrow morning. 
 
 COR. And above all, see that they are not mended with 
 second-hand leather! 
 
 CRES. (To CORONATO.) I will come to your inn to get 
 some new leather. 
 
 COR. Thank Heaven, I'm not a cobbler, nor a shoe- 
 maker ! 
 
 CRES. That's all right, you can give me some horse-hide, 
 or some cat-skin ! (Exit.) 
 
 COR. (Aside.) Certainly that fellow will have to die 
 at my hands. 
 
 COUNT. What was that he said about cats ? Surely you 
 don't give us cats to eat ? 
 
 COR. Sir, I am an honest man, and that fellow is an 
 impertinent rascal who persecutes me. 
 
 COUNT. This is the result of passion and rivalry. So 
 you are the lover of Giannina ? 
 
 COR. Yes, sir; and in fact, I was just going to recom- 
 mend myself to your protection. 
 
 COUNT. My protection ! (Putting on airs.) Very well, 
 we will see. Are you sure that she returns your affection ?
 
 IL VENTAGLIO. 21 
 
 COR. In truth, I'm afraid that she's more inclined to the 
 other one than to me. 
 
 COUNT. Unfortunate ! 
 
 COR. But I have her brother's promise. 
 
 COUNT. I wouldn't depend much on that. 
 
 COR. Moracchio has absolutely promised her to me. 
 
 COUNT. That's all very well, but you can't force a 
 woman. 
 
 COR. Her brother can do what he likes with her. 
 
 COUNT. (Warmly.) That's not true. Her brother 
 cannot dispose of her. 
 
 COR. But with your protection .... 
 
 COUNT. My protection is all very well ; my protection is 
 worth a good deal ; my protection has great influence. But 
 a gentleman like me cannot regulate and dispose of a 
 woman's love. 
 
 COR. After all, she's nothing but a peasant. 
 
 COUNT. What difference does that make? A woman is 
 always a woman. I distinguish the rank and the position, 
 but on general principles I respect the sex. 
 
 COR. (Aside.) I see; his protection is no good at all! 
 
 COUNT. How are you off for wine? Have you some 
 good wine on hand? 
 
 COR. I have some excellent wine; the best quality; 
 delicious. 
 
 COUNT. I will come and taste it. My wine turned out 
 badly this year. 
 
 COR. (Aside.) He has sold his own wine for three 
 years. 
 
 COUNT. If yours is good, I will get what I need from 
 you. 
 
 COR. (Aside.) I don't care about the honor. 
 
 COUNT. Did you hear what I said?
 
 22 IL VENTAGLIO. 
 
 COR. I heard. 
 
 COUNT. Tell me something. If I should speak to the 
 girl, and should induce her by my persuasion .... 
 
 COR. Your words might perhaps have some effect in my 
 favor. 
 
 COUNT. You certainly ought to be preferred. 
 
 COR. It seems to me that between me and Crespino .... 
 
 COUNT. Oh, there's no comparison. A man like you, 
 an honest fellow, polite .... 
 
 COR. You are too kind. 
 
 COUNT. And then it is true that I respect women, but 
 for this very reason, knowing them as I do, I assure you 
 that they do for me what they wouldn't think of doing for 
 anybody else. 
 
 COR. That's exactly what I thought myself, but you 
 almost made me give up hope. 
 
 COUNT. I am like those lawyers who begin with the 
 unfavorable side. My friend, you keep a good inn; you 
 can support a wife in proper style. Trust me, I will do 
 everything I can for you. 
 
 COR. I recommend myself to your protection. 
 
 COUNT. I grant it to you and promise it to you. 
 
 COR. If you care to take the trouble to come and taste 
 my wine .... 
 
 COUNT. Very happy indeed. I do not stand on cere- 
 mony with you. 
 
 COR. At your service, sir. 
 
 COUNT. (Putting his hand on CORONATO'S shoulder.} 
 You are a fine fellow. Let us go in. 
 
 COR. (Aside.) Two or three barrels of wine would be 
 well used. (Exeunt into inn.) 
 
 CURTAIN.
 
 ACT SECOND. 
 
 SCENE I. 
 Enter SUSANNA from her shop; she displays her goods. 
 
 Sus. Very poor business in this village! The only 
 thing I have sold up to now is a fan, and I almost gave that 
 away, just to get rid of it. Everybody who can spend 
 money goes to the city to shop. There is no use trying to 
 sell to the poor. I'm a fool to waste my time here among 
 these country people, who have no manners and no con- 
 sideration. They make no distinction between a lady who 
 keeps a shop and the girls who sell milk, vegetables and 
 eggs. The education that I got in the city is of no use to 
 me out here in this countrified place. They are all the same 
 sort Susanna, Giannina, Margherita, Lucia, the shop- 
 keeper, the goat-girl and the farmer's daughter they are 
 all counted in together. Those two ladies in the palace 
 have some distinction shown them, but mighty little, after 
 all. Then that impertinent Giannina, because the ladies 
 patronize her she thinks she's something wonderful. She 
 has had a fan given to her. Now what is a country girl 
 like that going to do with a fan? She'll make a fine 
 appearance fanning herself this way. (Imitating GIAN- 
 NINA.) Much good may it do her. Perfectly ridiculous, 
 I call it ; and yet it nearly drives me crazy. Well, anyway, 
 I was properly brought up, and I can't stand such ways. 
 (She sits and begins to work.)
 
 24 IL VENTAGLIO. 
 
 ACT SECOND. SCENE II. 
 Enter CANDIDA from the palace. 
 
 CAN. I cannot rest unless I find out about something 
 which I do not understand. I saw Evaristo come out of 
 the shop and go up to Giannina, and he certainly must have 
 given her something. I'd like to see if Susanna can tell 
 me anything about it. My aunt is quite right, you must not 
 trust people without knowing them thoroughly. Alas for 
 me, if I should find him unfaithful. He is my first and 
 only love. I have never loved anyone but him. (She goes 
 slowly toward SUSANNA.) 
 
 Sus. (Rising.) Oh, Signora Candida, your humble 
 servant. 
 
 CAN. Good-day, Signora Susanna. What are you 
 working on there? 
 
 Sus. Just to amuse myself, I am working on a bonnet. 
 
 CAN. To sell? 
 
 Sus. Yes, to sell, but Heaven knows when. 
 
 CAN. Maybe I might make use of a nightcap. 
 
 Sus. I have some already made. May I show them to 
 you? 
 
 CAN. No, no, there is no hurry ; another time. 
 
 Sus. (Offering her a chair.) Won't you sit down? 
 
 CAN. And you? 
 
 Sus. I will get another chair. (She brings a chair 
 from the shop.) Sit down here, this is a better place. 
 
 CAN. You sit down, too, and go on working. (Both 
 sit.) 
 
 Sus. It's very kind of you to come and talk with me. 
 It is easy to see that you are a lady. A lady is willing to 
 talk with anyone. These peasants are all as proud as Luci- 
 fer, especially that Giannina ....
 
 IL VENTAGLIO. 25 
 
 CAN. Speaking of Giannina, did you notice when 
 Evaristo was talking with her? 
 
 Sus. Did I notice it ? How could I help it ? 
 
 CAN. He had a long conversation with her. 
 
 Sus. Do you know what happened afterwards? Do 
 you know what a quarrel there was ? 
 
 CAN. I heard an awful noise. They told me that Coro- 
 nato and Crespino nearly came to blows. 
 
 Sus. That is true, and all on account of that precious 
 jewel, that charming Giannina! 
 
 CAN. But why? 
 
 Sus. Through jealousy of each other, and jealousy of 
 Evaristo. 
 
 CAN. Do you think that Evaristo cares anything for 
 Giannina ? 
 
 Sus. I don't know at all about that. I don't bother with 
 other people's affairs, and I never think ill of anyone. But 
 if the innkeeper and the shoemaker are jealous of him, they 
 must have some reason. 
 
 CAN. (Aside.) Alas! unfortunately for me, what she 
 says is only too true. 
 
 Sus. I beg your pardon, I hope I am not doing wrong 
 in speaking? 
 
 CAN. Why should you be? 
 
 Sus. I hope you have no inclination for Signer 
 Evaristo ? 
 
 CAN. I? I certainly have not. I know him, because 
 he comes to the house sometimes. He is a friend of my 
 aunt's. 
 
 Sus. I will tell you the truth. (Aside.) I don't think 
 she can be offended at this. (Aloud.) I thought that per- 
 haps between you and Signor Evaristo there was some kind 
 of an understanding ; but after what happened in my shop 
 this morning, I see that I was mistaken.
 
 26 IL VENTAGLIO. 
 
 CAN. Was he in your shop this morning-? 
 
 Sus. I will tell you. He came to buy a fan. 
 
 CAN. He bought a fan? 
 
 Sus. Certainly ; and as I had seen that you had broken 
 yours, partly on his account, I said at once, "He must have 
 bought it to give to Signora Candida." 
 
 CAN. So he bought it for me ? 
 
 Sus. Oh, no, not at all. Indeed, I may tell you that I 
 was so bold as to ask him whether he had bought it for you. 
 In truth he replied to me as if I had offended him. "I have 
 no reason to give it to her," he said; "what have I to do 
 with Signora Candida? I have something else to do with 
 the fan." 
 
 CAN. And what did he do with the fan? 
 
 Sus. What did he do with it ? He gave it to Giannina. 
 
 CAN. (Aside, much agitated.) I am in despair! What 
 shall I do now ? 
 
 Sus. (Watching her.) Signora Candida! 
 
 CAN. (Aside.) Ungrateful! Faithless! and for what? 
 For a peasant girl ! 
 
 Sus. (Eagerly.) Signora Candida! 
 
 CAN. (Aside.) This is an unendurable insult. 
 
 Sus. Oh, dear me, now I have done it! Signora Can- 
 dida, calm yourself. Maybe I was mistaken. 
 
 CAN. So you think that he gave the fan to Giannina? 
 
 Sus. So far as that goes, I saw him with my own eyes. 
 
 CAN. What did you mean then, by saying you might be 
 mistaken ? 
 
 Sus. I don't know. I hope that, so far as I am con- 
 cerned .
 
 R. F. KING, 1914, 
 as Candida.
 
 IL VENTAGLIO. 27 
 
 ACT SECOND. SCENE III. 
 Enter GERTRUDE from the palace. 
 
 Sus. (To CANDIDA.) Here is your aunt. 
 
 CAN. For love of Heaven, don't tell her anything. 
 
 Sus. No danger! (Aside.) She wanted me to believe 
 that it was not so. So much the worse for her. Why 
 didn't she tell me the truth about Signor Evaristo? 
 
 GER. What are you doing here, niece? 
 
 Sus. She is kind enough to talk with me for a few 
 minutes. 
 
 CAN. I came to see if she had a nightcap. 
 
 Sus. Yes, that is true. She asked me for one. (To 
 CANDIDA.) Don't worry, you can depend upon me. I am 
 not a trifler, and nobody ever comes to my house. 
 
 GER. Don't try to excuse yourself when it is not neces- 
 sary. 
 
 Sus. I am very sensitive, signora. 
 
 GER. Why didn't you tell me, if you needed a cap ? 
 
 CAN. You were writing in your dressing-room. I did 
 not wish to disturb you. 
 
 Sus. Would you like to see it? I will go and get it. 
 Take a seat, if you please. 
 
 (Exit into shop. GERTRUDE and CANDIDA sit.) 
 
 GER. Have you heard anything about that quarrel 
 between the innkeeper and the shoemaker? 
 
 CAN. They say it was on account of love, on account of 
 jealousy. They say it was over Giannina. 
 
 GER. I am sorry for that, because she is a good girl. 
 
 CAN. Oh, I beg your pardon, aunt. I have heard such 
 things of her that it would be best not to let her come to 
 the house any more.
 
 28 IL VENTAGLIO. 
 
 GER. Why, what have they said? 
 
 CAN. I will tell you later. Do as I wish, aunt, do not 
 receive her any more. That will be better. 
 
 GER. As she came to see you rather than me, I give you 
 full permission to treat her as you like. 
 
 CAN. The wretched creature! She will not have the 
 boldness to appear before me. 
 
 Sus. (Returning from the shop.} Here are the caps, 
 Signora Candida. Look at them, choose which one you 
 like best. (All three look at the caps, talking quietly 
 together.) 
 
 ACT SECOND. SCENE IV. 
 Enter COUNT and BARON from the inn. 
 
 COUNT. I am pleased that you told me this secret. Let 
 me take entire charge of the affair, and do not worry about 
 the result. 
 
 BARON. I know that you are a friend of Signora Ger- 
 trude. 
 
 COUNT. Yes, my dear fellow, I will tell you. She is a 
 woman of some intelligence. I am fond of literature; I 
 like to talk with her more than with others. Moreover, 
 she comes from the city, and she is poor. Her husband 
 left her this wretched little palace, with a bit of land; and 
 in order to be respected in this village she needs my protec- 
 tion. 
 
 BARON. Good for you, Count. A protector of widows ; 
 a protector of handsome ladies. 
 
 COUNT. What would you have ? In this world one must 
 be of use in one way or another. 
 
 BARON. Then you will do me the favor? 
 
 COUNT. Do not doubt it, I will speak to her ; I will ask 
 for the hand of her niece for a gentleman who is a friend
 
 IL VENTAGLIO. 29 
 
 of mine; and when I ask it of her, I am sure that she 
 would not have the boldness, she would not have the cour- 
 age, to say no. 
 
 BARON. Tell her who I am. 
 
 COUNT. What is the use ? When I ask her myself .... 
 
 BARON. But you are asking her in my behalf ? 
 
 COUNT. In your behalf, yes. 
 
 BARON. Do you really know who I am? 
 
 COUNT. You think I don't know you? Do you think I 
 don't know your titles, your property, your occupations? 
 Why, among us aristocrats we all know each other. 
 
 BARON. (Aside.) How pleased I should be if I did not 
 need him! 
 
 COUNT. (Suddenly.) My very dear friend! 
 
 BARON. What is it? 
 
 COUNT. There is Signora Gertrude with her niece. 
 
 BARON. They are busy. I think they didn't see us. 
 
 COUNT. Certainly they didn't see us. If Gertrude had 
 seen me, she would have come to speak to me at once. 
 
 BARON. When will you speak to her? 
 
 COUNT. Immediately, if you wish. 
 
 BARON. It is better for me not to be present. Speak to 
 her, I will go into the apothecary's. 
 
 COUNT. Why into the apothecary's? 
 
 BARON. I have need of some medicine. 
 
 COUNT. I will give you some of my elderberry cordial, 
 Baron. 
 
 BARON. No, no, I know what I want; if it's no good, 
 I won't take it. I recommend myself to you. Will you 
 excuse me? 
 
 COUNT. (Embracing him.) My very dear friend! 
 
 BARON. Good-bye, my dear friend. (Aside.) He's the 
 craziest man in the world ! (Exit.) 
 
 COUNT. Signora Gertrude!
 
 30 IL VENTAGLIO. 
 
 GERTRUDE. (Rising.) Oh, Count, pardon me. I did 
 not see you. 
 
 COUNT. One word, if you please. 
 
 Sus. If you will be so kind, speak to her here, will you, 
 sir? 
 
 COUNT. (To GERTRUDE.) No, no, I have something to 
 say to you privately. Excuse me for troubling you, but I 
 beg you to come over here. 
 
 GER. I will come at once. Allow me to pay for a cap 
 which we have bought. (She takes out her purse to pay 
 SUSANNA.) 
 
 COUNT. (Aside.) She is going to pay at once! That 
 is a vice which I never had. 
 
 ACT SECOND. SCENE V. 
 
 Enter CORONATO from the inn with SCAVEZZO, who carries 
 a barrel of wine on his shoulder. 
 
 COR. (To the COUNT.) Your excellency, this barrel is 
 for you. 
 
 COUNT. And the other one? 
 
 COR. After this one, we will bring the other. Where do 
 you wish us to take it ? 
 
 COUNT. To my palace. 
 
 COR. To whom shall we deliver it? 
 
 COUNT. To my steward, if he is there. 
 
 COR. I am afraid he won't be there. 
 
 COUNT. Well, deliver it to somebody. 
 
 COR. Very good. Come along. 
 
 SCA. Has the Count a tip for me? 
 
 COUNT. (To SCAVEZZO.) See that you don't drink any 
 of my wine and don't put any water in it ! ( To CORO- 
 NATO.) Don't leave him alone with the barrel!
 
 IL VENTAGLIO. 31 
 
 COR. Don't worry, I will stay with him. (Exit.} 
 
 SCA. (Aside.) Yes, yes, don't worry, the master and I 
 
 have fixed it for him already. (Exit.) 
 
 (GERTRUDE comes toward the COUNT. SUSANNA and 
 CANDIDA are seated, and talk together.) 
 
 GER. At your service, Count. What can I do for you ? 
 
 COUNT. In one word, will you give me your niece? 
 
 GER. Give? What do you mean by give? 
 
 COUNT. The devil ! Don't you understand ? In mar- 
 riage ! 
 
 GER. To you? 
 
 COUNT. Not to me, but to a person whom I know and 
 whom I propose to you. 
 
 GER. I will tell you, Count; you know that my niece 
 has lost her parents, and as she is the daughter of my 
 only brother, I have undertaken to be a mother to her. 
 
 COUNT. All this, if you will excuse me, is quite unneces- 
 sary to talk about. 
 
 GER. Pardon me. Let me come to the subject that you 
 mentioned. 
 
 COUNT. Well? What then? 
 
 GER. Candida has not inherited from her father enough 
 to marry according to her rank. 
 
 COUNT. Never mind, that's not the question. 
 
 GER. Allow me to finish. I have some money left me 
 by my husband. 
 
 COUNT. I know that. 
 
 GER. I have no children. 
 
 COUNT. (Impatiently.) And you will give her a 
 dowry? 
 
 GER. Yes, sir, when the match is a suitable one.
 
 3 2 IL VENTAGLIO. 
 
 COUNT. Oh, this is the necessary point. I propose the 
 bridegroom myself, and when I propose him, he will be 
 suitable. 
 
 GER. I am sure, Count, that you are not capable of pro- 
 posing- any but an acceptable person; but I hope you will 
 do me the honor of telling me who it is. 
 
 COUNT. He is a friend of mine. 
 
 GER. A friend of yours ? 
 
 COUNT. He has a title, just as I have. 
 
 GER. But .... 
 
 COUNT. Do not make difficulties. 
 
 GER. Allow me to finish, if you will. If you do not 
 wish to listen, I will relieve you of my presence. 
 
 COUNT. Come, come, don't be unkind ; speak, and I will 
 listen to you. With women I am always polite and oblig- 
 ing. I will listen to you. 
 
 GER. I will tell you in a word what I think about it. A 
 title of nobility is an honor to a family, but to an individual 
 it is no credit. I don't think my niece is ambitious, and I 
 certainly am not ambitious enough to sacrifice her happi- 
 ness for the sake of vanity. 
 
 COUNT. (Jokingly.) Ah, I see that you have read the 
 fables. 
 
 GER. These ideas are not learned from fables, nor from 
 stories. They are inspired by nature, and education trains 
 them. 
 
 COUNT. Nature ! Education ! Anything you like. The 
 husband whom I propose is the Baron del Cedro. 
 
 GER. What ? The Baron is in love with my niece ? 
 
 COUNT. Oui, madame. 
 
 GER. I know him, and I have great respect for him. 
 
 COUNT. You see, the man whom I propose to you 
 amounts to something.
 
 IL VENTAGLIO. 33 
 
 GER. He certainly is a gentleman. 
 
 COUNT. He is a friend of mine. 
 
 GER. A little free with his tongue; but after all, that 
 doesn't matter. 
 
 COUNT. Very good, then. What is your reply? 
 
 GER. Slowly, slowly, Signer Count. Such things as 
 this cannot be decided on the spur of the moment. The 
 Baron will have the goodness to speak with me. 
 
 COUNT. When I tell you, don't you know, there's no 
 doubt about it. I make the request in his name. He has 
 put himself in my hands, he has begged me and implored 
 me, and I speak to you and implore you that is to say, I 
 don't implore, but I ask it of you. 
 
 GER. Supposing, then, that the Baron is speaking in 
 earnest .... 
 
 COUNT. Cospetto! What do you mean by "suppos- 
 ing"? Isn't the thing certain, when I tell it to you? 
 
 GER. Very well, the thing is settled. The Baron wishes 
 to marry her. Your lordship asks for her. Now I must 
 find out if Candida agrees. 
 
 COUNT. You will never find it out unless you ask her. 
 
 GER. (Ironically.) Have the goodness to believe that I 
 will ask her. 
 
 COUNT. There she is now, speak to her. 
 
 GER. I will speak to her. 
 
 COUNT. Go and speak to her now. I will wait for you 
 here. 
 
 GER. Allow me, I will be with you again in a moment. 
 (Aside.) If the Baron is really in earnest it will be a piece 
 of good fortune for my niece, but I am afraid that her mind 
 is made up already. 
 
 COUNT. (Aside.) With my charming ways I always 
 make people do whatever I wish. (Takes a book from his 
 pocket, sits and reads.)
 
 34 IL VENTAGLIO. 
 
 GER. (To CANDIDA.) Candida, let us go for a little 
 walk. I have something to say to you. 
 
 Sus. If the ladies would like to walk in my garden, 
 they will be free there. 
 
 GER. Yes, let us go there, because I must come back in 
 a moment. (Exit into shop.} 
 
 CAN. (Aside.) What can she have to say to me? I 
 have lost all hope of ever being happy. (Exit into shop.) 
 
 COUNT. She is capable of making me wait an hour. 
 Fortunately I have this amusing book to read. Literature 
 is certainly a great resource. A man with a good book in 
 his hand is never alone. 
 
 ACT SECOND. SCENE VI. 
 Enter GIANNINA from her house. 
 
 GIA. There, lunch is ready. When that beast of a Mor- 
 acchio comes, he will not scold. No one is watching me. 
 This is a good time to go and carry the fan to Candida. 
 If I can give it to her without letting her aunt see, I will 
 do it. Otherwise I must wait for another chance. 
 
 COUNT. Aha! there is Giannina. Eh there, my good 
 girl! 
 
 GIA. Sir ? 
 
 COUNT. (Beckoning to her.) A word with you. 
 
 GIA. What a bother! (Advancing slowly.) 
 
 COUNT. (Aside.) I must not forget Coronato. I 
 promised him my protection, and he deserves it. (Rises 
 and puts book in his pocket.) 
 
 GIA. Here I am, sir; what do you wish? 
 
 COUNT. Where were you going just now? 
 
 GIA. To do what I have to do, sir.
 
 IL VENTAGLIO. 35 
 
 COUNT. Is that the way to speak to me? With such 
 boldness, with such impertinence? 
 
 GIA. How would you have me speak? I speak as best 
 I can, and as I have learned. I speak this way with every- 
 body, and no one has ever told me that I was impertinent. 
 
 COUNT. It makes a difference whom you are speak- 
 ing to. 
 
 GIA. Oh, I don't make such distinctions. If you wish 
 anything from me, tell me. If you are only amusing your- 
 self, I have no time to waste with your lordship. 
 
 COUNT. Illustrious lordship! 
 
 GIA. Most excellent lordship, if you wish! 
 
 COUNT. Come here. 
 
 GIA. I am here now. 
 
 COUNT. Would you like to be married? 
 
 GIA. Yes, sir. 
 
 COUNT. Good! I like to hear you say that. 
 
 GIA. Whatever I have in my heart, I have on my 
 tongue. 
 
 COUNT. Would you like me to find you a husband? 
 
 GIA. No, thank you, sir. 
 
 COUNT. Why do you say no ? 
 
 GIA. Why do I say no? Because I mean no. Because 
 I don't need your help to find a husband. 
 
 COUNT. Don't you need my protection? 
 
 GIA. No, indeed, I don't need it at all ! 
 
 COUNT. You know how much influence I have in this 
 village ? 
 
 GIA. You may have influence in the village, but you 
 have no influence in my marriage. 
 
 COUNT. No influence? 
 
 GIA. (Laughing.) No, indeed, not the slightest bit! 
 
 COUNT. You are in love with Crespino.
 
 36 IL VENTAGLIO. 
 
 GIA. Oh, yes; he is a fine fellow, and I am quite 
 satisfied. 
 
 COUNT. And you prefer him to that fine man, that rich 
 man, that man of reputation, Coronato? 
 
 GIA. Oh, I should prefer him to a good many others 
 beside Coronato. 
 
 COUNT. You would prefer him to others? 
 
 GIA. (Indicating that she means the COUNT.) Do you 
 know whom I prefer him to? 
 
 COUNT. Well, whom do you prefer him to? 
 
 GIA. What's the use? I would rather not say. 
 
 COUNT. You'd better not, because you might say some- 
 thing impertinent. 
 
 GIA. Do you wish anything else from me? 
 
 COUNT. Now you see, your brother is under my pro- 
 tection ; your brother has given his word to Coronato, and 
 so you will have to marry Coronato. 
 
 GIA. Your lordship . . . . ! 
 
 COUNT. Illustrious lordship! 
 
 GIA. Your illustrious lordship protects my brother? 
 
 COUNT. Just so, I have promised. 
 
 GIA. And my brother has given his word to Coronato ? 
 
 COUNT. Precisely. 
 
 GIA. Very well, in that case .... 
 
 COUNT. In that case? 
 
 GIA. My brother can marry Coronato. 
 
 COUNT. I swear to Heaven, you shall not have Crespino. 
 
 GIA. Indeed? Why not? 
 
 COUNT. I will have him sent away from this village. 
 
 GIA. I will go and find him wherever he may be. 
 
 COUNT. I will have him flogged. 
 
 GIA. When it comes to that, he may have something to 
 say! 
 
 COUNT. I will have him knocked on the head.
 
 IL VENTAGLIO. 37 
 
 GIA. I should be sorry for that, very sorry. 
 
 COUNT. What would you do if he were dead? 
 
 GIA. I am sure I don't know. 
 
 COUNT. Would you take someone else? 
 
 GIA. Maybe I would. 
 
 COUNT. You may count on his being dead. 
 
 GIA. Sir, I don't know how to read, or write, or count. 
 
 COUNT. Impertinence ! 
 
 GIA. Do you wish anything else? 
 
 COUNT. Go to the devil! 
 
 GIA. Please show me the way. 
 
 COUNT. I swear to Heaven that if you were not a 
 woman .... 
 
 GIA. What would you do? 
 
 COUNT. You'd better go away from here. 
 
 GIA. I obey at once ; but I suppose you will say that I 
 have no manners. (She goes toward palace.) 
 
 COUNT. (Following her angrily.) Manners! manners! 
 she's going off without saluting me ! 
 
 GIA. Oh, I beg your pardon. The servant of your 
 lordship. 
 
 COUNT. Illustrious lordship! 
 
 GIA. Most illustrious! (Exit laughing, into palace.) 
 
 COUNT. (Indignantly.) "Rustica progenies semper vil- 
 lana fuit." I don't know what to do. If she won't have 
 Coronato, I cannot force her to take him. No one can say 
 that it was my fault. Who the deuce put it into his head 
 to want to marry a woman who won't have him? Are 
 there not women enough in the world? I will find him 
 another wife, a much better one than Giannina. He shall 
 see the value of my protection !
 
 38 IL VENTAGLIO. 
 
 ACT SECOND. SCENE VII. 
 Enter GERTRUDE and CANDIDA from shop. 
 
 COUNT. Well, Signora Gertrude? 
 
 GER. Sir, my niece is a wise and prudent young woman. 
 
 COUNT. (Impatiently.) Yes, yes, come to the point. 
 
 GER. (Offended.) But I don't know what you mean, 
 Signer Count, "Come to the point." 
 
 COUNT. Excuse me. If you knew what I have just been 
 through with a woman .... It is true, she was a differ- 
 ent kind of woman. (Aside.) But they are all alike. 
 (Aloud.) Well, what says the wise and prudent Signora 
 Candida ? 
 
 GER. Supposing the Baron .... 
 
 COUNT. "Supposing"? Confound your "supposing"! 
 
 GER. Granted, conceded, certified, concluded, whatever 
 your lordship wishes. 
 
 COUNT. (Between his teeth.) Most illustrious! 
 
 GER. Pardon, what did you say? 
 
 COUNT. Nothing, nothing at all. Pray go on. 
 
 GER. When the conditions are settled, my niece is will- 
 ing to marry the Baron. 
 
 COUNT. (To Candida.) Good, that is splendid. 
 (Aside.) This time, at least, I have done it! 
 
 CAN. (Aside.) Yes, to avenge myself on the faithless 
 Evaristo ! 
 
 GER. (Aside.) I certainly did not expect that she 
 would consent. I thought she was inclined in another 
 direction; but I was wrong.
 
 IL VENTAGLIO. 39 
 
 ACT SECOND. SCENE VIII. 
 Enter GIANNINA on the balcony of the palace. 
 
 GIA. She is not here; I cannot find her anywhere. Oh, 
 there she is down there ! 
 
 COUNT. And so, Signora Candida will marry the Baron 
 del Cedro. 
 
 GIA. What is this I hear? What will she say? 
 
 GER. (To the COUNT.) She will do it when the 
 conditions .... 
 
 COUNT. (To CANDIDA.) What conditions do you insist 
 upon? 
 
 CAN. (To the COUNT.) None at all, sir. I will marry 
 him in any case. 
 
 COUNT. Viva, Signora Candida ! I am delighted to hear 
 you say this. (Aside.) Aha, when I take a hand in any- 
 thing, it goes to perfection ! 
 
 GIA. This is perfectly terrible ! Poor Signor Evaristo ! 
 Well, there is no need of my giving her the fan now. 
 
 (Exit.) 
 
 GER. (Aside.) I was all wrong. I thought she was 
 devoted to Evaristo, and all the time she was in love with 
 the Baron. 
 
 COUNT. If you will allow me, I will go and tell the good 
 news to my dear friend the Baron. 
 
 GER. By the way, where is the Baron? 
 
 COUNT. He is waiting for me in the apothecary's. One 
 thing, if you please; will you go into the house? I will 
 bring him to you there at once. 
 
 GER. What do you say, my niece? 
 
 CAN. Very well, he can talk with you. 
 
 COUNT. (To CANDIDA.) And with you, too. 
 
 CAN. I will agree to whatever my aunt says. (Aside.) 
 It will kill me, but I shall have revenge !
 
 4 IL VENTAGLIO. 
 
 COUNT. I will go at once. Wait for us. We shall come 
 to your house, and as it is getting a little late, it would not 
 be a bad plan to invite him to dinner. 
 
 GER. Oh, on his very first visit? 
 
 COUNT. That is an unnecessary scruple. He will accept 
 gladly, I promise you ; and to persuade him, I will stay to 
 dinner, too. (Exit into apothecary's.) 
 
 GER. (To CANDIDA.) Let us go and wait for them, 
 then. 
 
 CAN. (Sadly.) Let us go. 
 
 GER. What is the trouble? Are you not doing this of 
 your own free will? 
 
 CAN. Yes, I do it freely. (Aside.) I have given my 
 word, and there is no help for it now. 
 
 GER. Poor girl, I am sorry for her. In such cases it is 
 natural to be a little embarrassed. 
 
 ACT SECOND. SCENE IX. 
 Enter GIANNINA from palace. 
 
 GIA. Oh, Signora Candida! 
 
 CAN. (Angrily.) What are you doing here? 
 
 GIA. I was trying to find you. 
 
 CAN. Get away from here, and never dare to put your 
 foot in our house again. 
 
 GIA. What? Such an insult? 
 
 CAN. Insult? You are a good-for-nothing girl, and I 
 cannot and will not endure you any longer. 
 
 (Exit to palace.) 
 
 GER. That is certainly going a little too far. 
 
 GIA. I am dumb with astonishment, Signora Gertrude!
 
 IL VENTAGLIO. 4* 
 
 GER. I am sorry for the mortification that you have 
 had ; but my niece is a sensible person, and if she has 
 treated you badly, she must have some good reason for it. 
 
 GIA. (Loudly.} What reason can she have? I am 
 surprised at you. 
 
 GER. See here, you must be respectful. Don't shout so. 
 
 GIA. I will go and demand an explanation. (Wishes 
 to go into palace.} 
 
 GER. No, no, stop! There is no use at present. You 
 can do it later. 
 
 GIA. But I tell you that I want to go now. 
 
 GER. You will not dare to enter this door ! 
 
 ACT SECOND. SCENE X. 
 
 Enter COUNT and BARON. 
 
 COUNT. Come along, come along. 
 GIA. I will go in by force. 
 GER. Impertinence ! 
 
 (Exit into palace, shutting the door just as 
 the COUNT and the BARON, unseen by her, 
 approach. Giannina walks about in a rage.} 
 
 BARON. What's this ? She shuts the door in our faces ! 
 
 COUNT. In our faces? It is not possible. 
 
 BARON. Not possible? Not possible when it has been 
 done? 
 
 GIA. This insult to me? 
 
 COUNT. (To the BARON.) Let us knock, and see what 
 it means. 
 
 GIA. (Aside.} If they get in, I will slip in behind them. 
 
 BARON. No, wait a minute; I do not care to hear any 
 more. I refuse to expose myself to any more insults. I
 
 42 IL VENTAGLIO. 
 
 made a great mistake in speaking to you at all. They have 
 made you ridiculous, and I am put in a ridiculous position 
 on your account. 
 
 COUNT. (Warmly.) What is this you say to me? 
 
 BARON. And I demand satisfaction. 
 
 COUNT. From whom? 
 
 BARON. From you. 
 
 COUNT. Satisfaction ? 
 
 BARON. With swords. 
 
 COUNT. With swords? I have lived in this village 
 twenty years, and in all that time I have never touched a 
 sword. 
 
 BARON. With pistols, then. 
 
 COUNT. Yes, that's right, with pistols. I will go and 
 get my pistols. (Starts to go.) 
 
 BARON. Stop ! I have a couple here. One for you and 
 one for me. (He takes two pistols from his pockets.) 
 
 GIA. (Running into her house.) Pistols! Oh, help! 
 Somebody come quick ! Pistols ! They are murdering each 
 other ! 
 
 ACT SECOND. SCENE XL 
 Enter GERTRUDE on the balcony. 
 
 GER. Gentlemen, what does this mean? 
 
 COUNT. What did you mean by shutting the door in our 
 faces ? 
 
 GER. I beg your pardon. I am not capable of doing a 
 discourteous act to anyone, and especially not to you and 
 the Baron, who is kind enough to ask for the hand of my 
 niece. 
 
 COUNT. (To the BARON.) Hear that?
 
 \Y. C. BULLITT, Jr.. 1912. A. M. HARTWELL, 1911, 
 as Crespino. as Giaiitrina.
 
 IL VENTAGLIO. 43 
 
 BARON. But, my dear signora, in the very moment that 
 we were entering your house, the door was slammed in 
 our faces ! 
 
 GER. I assure you that I didn't see you at all, and I 
 shut the door to prevent that silly idiot Giannina from 
 coming in. 
 
 GIA. (Putting her head timidly out of her door.} 
 What is that "silly idiot"? 
 
 COUNT. (To GIANNINA.) Keep quiet there, imperti- 
 nence! ( GIANNINA shows her rage; exit.) 
 
 GER. If you will be so kind, I will send the servant to 
 let you in. (Exit.) 
 
 COUNT. (To BARON.) Hear that? 
 
 BARON. I have nothing more to say. 
 
 COUNT. What are you going to do with those pistols ? 
 
 BARON. I beg your pardon, but my sensitive honor .... 
 (Puts the pistols in his pocket.) 
 
 COUNT. Are you going to present yourself before these 
 ladies with your pockets full of pistols ? 
 
 BARON. I carry them out here in the country, to defend 
 myself. 
 
 COUNT. But if they find out that you have pistols in 
 your pocket, you know what women are, they will not come 
 near you. 
 
 BARON. You are quite right. Thank you for having 
 warned me. I will make you a present of them, as a sign 
 of my friendship. (He takes them from his pocket and 
 offers them to the COUNT.) 
 
 COUNT. (Timidly.) You are going to give them to 
 me? 
 
 BARON. Yes, I hope you will not refuse them? 
 
 COUNT. I will take them, because they come from you. 
 Are they loaded?
 
 44 IL VENTAGLIO. 
 
 BARON. What a question ! Do you suppose that I would 
 carry empty pistols around? 
 
 COUNT. Wait a minute. Ho, there, in the cafe! 
 
 LIM. (Entering from cafe.) What do you wish? 
 
 COUNT. Take these pistols, and keep them until I send 
 for them. 
 
 LIM. (Taking pistols.) Very good, sir. 
 
 COUNT. Take care, they are loaded. 
 
 LIM. (Flourishing the pistols.) Oh, I know how to 
 manage them. 
 
 COUNT. (Timidly.) Oh, I say there, don't act like a 
 fool! 
 
 LIM. The Count is a brave man! (Exit.) 
 
 COUNT. (To BARON.) I thank you very much, and I 
 shall not forget your generosity. (Aside.) I will sell the 
 pistols to-morrow. 
 
 TOG. (From the palace.) Gentlemen, my mistress is 
 waiting for you. 
 
 COUNT. Come along. 
 
 BARON. Let us go in. 
 
 COUNT. Well, what do you say now? Am I the right 
 kind of a man? Oh, my dear friend, we aristocrats, our 
 protection amounts to something! 
 
 (They go toward palace. GIANNINA, from her 
 house, follows them. COUNT and BARON 
 exeunt into palace, GIANNINA tries to go in 
 also, and TOGNINO prevents her.) 
 
 TOG. You have no business in here! 
 GIA. I tell you I have business in there! 
 TOG. I am ordered not to let you in. 
 
 (Exit, closing door.)
 
 IL VENTAGLIO. 45 
 
 GIA. I am so furious that I don't know what to do! 
 I feel as if I was stifling! Such an insult to me, a respect- 
 able girl! 
 
 ACT SECOND. SCENE XII. 
 
 Enter EVARISTO and MORACCHIO with guns, game bag 
 
 and dog. 
 
 EVA. Here, take my gun into your house, and keep the 
 partridges until I send for them. Take good care of the 
 dog. (Sits at cafe and takes snuff.) 
 
 MOR. That's all right. I will take care of the dog and 
 the other things. (To GIANNINA.) Is lunch ready? 
 
 GIA. (Angrily.) It is all ready! 
 
 MOR. What the devil is the matter with you? You are 
 always in a rage with everybody, and then you complain 
 of my temper! 
 
 GIA. Yes, that's right. We are brother and sister, there 
 is nothing more to be said. 
 
 MOR. Very well, let us go in to lunch. It is time. 
 
 GIA. You go ahead, I will come in a moment. (Aside.) 
 I want to have a word with Signer Evaristo. 
 
 MOR. Come, if you are coming. If you do not come, I 
 will eat alone. (Exit into house.) 
 
 GIA. If I should eat now, it would poison me! 
 
 EVA. Not a soul on the balcony. They must be at 
 dinner. I had better go into the inn. The Baron is expect- 
 ing me. (To GIANNINA.) Well, Giannina, have you any- 
 thing to tell me? 
 
 GIA. Oh, sir, I should say I did have something to tell 
 you ! 
 
 EVA. Have you given her the fan ? 
 
 GIA. Here is your miserable fan !
 
 4<S IL VENTAGLIO. 
 
 EVA. What does this mean? Could you not give it to 
 her? 
 
 GIA. I have received a thousand insults and a thousand 
 impertinences. They drove me out of the house like a 
 robber. 
 
 EVA. Did Signora Gertrude see that? 
 
 GIA. Not only Signora Gertrude, the most impertinent 
 things were said to me by Signora Candida. 
 
 EVA. Why so ? What have you done to her ? 
 
 GIA. I have not done anything at all to her, sir. 
 
 EVA. Did you tell her that you had a fan for her? 
 
 GIA. How could I tell her, when she didn't give me time, 
 and when they drove me out like a thief ? 
 
 EVA. But there must be some good reason. 
 
 GIA. For my part, I know I didn't deserve it. All this 
 bad treatment came to me, I am sure, on account of you. 
 
 EVA. On account of me? When Candida loves me so 
 much? 
 
 GIA. When Candida loves you so much! 
 
 EVA. Why, certainly, there is no doubt of that? 
 
 GIA. (Laughing.) Yes, yes, I assure you that she loves 
 you tremendously. Why, certainly ! 
 
 EVA. I don't understand what you mean. 
 
 GIA. (Sarcastically.) Go, go and find your lady-love! 
 Go and find your sweetheart ! 
 
 EVA. Why should I not go? 
 
 GIA. Because the place is taken. 
 
 EVA. Taken? By whom? 
 
 GIA. By the Baron del Cedro. 
 
 EVA. (Astonished.) Is the Baron in the house? 
 
 GIA. Why should he not be in the house, when he is 
 going to marry Signora Candida ? 
 
 EVA. Giannina, you are crazy, you are dreaming, you 
 do nothing but say the most absurd things !
 
 IL VENTAGLIO. 47 
 
 GIA. Don't you believe me ? Go and see. You will soon 
 find out whether I'm telling you the truth. 
 
 EVA. In the house of Signora Gertrude? 
 
 GIA. And of Signora Candida. 
 
 EVA. The Baron? 
 
 GIA. del Cedro. 
 
 EVA. Is going to marry Signora Candida? 
 
 GIA. I saw it with my eyes and heard it with my ears. 
 
 EVA. It is impossible. It cannot be so. You are talking 
 absolute nonsense. 
 
 GIA. Very well, go and find out. You will see whether 
 I am talking nonsense. (She begins to sing.) 
 
 EVA. I will go immediately. (Runs 'to palace and 
 knocks.) 
 
 GIA. Poor old fool ! He trusts in the love of a young 
 lady from the city. You cannot trust them, as you can us 
 country girls ! 
 
 (EVARISTO shudders and continues to knock. TOGNINO 
 opens the door.) 
 
 TOG. Pardon me, I cannot let anyone in. 
 
 EVA. Did you say who it is? 
 
 TOG. I did. 
 
 EVA. To Signora Candida? 
 
 TOG. To Signora Candida. 
 
 EVA. And Signora Gertrude does not wish to have me 
 come in? 
 
 TOG. Signora Gertrude was the one who wanted to have 
 you come in, but Signora Candida refused. 
 
 EVA. She refused? In the name of Heaven, I will go 
 in! (Tries to force his way in, TOGNINO shuts the door in 
 his face.) 
 
 GIA. Aha ! I told you so !
 
 4 8 IL VENTAGLIO. 
 
 EVA. This is too much for me. I don't know where I 
 am. Shutting the door in my face ! 
 
 GIA. You needn't be surprised; that is just what they 
 did to me. 
 
 EVA. How is it possible that Candida can have deceived 
 me? 
 
 GIA. When it has actually happened there is no doubt 
 about it. 
 
 EVA. And yet I don't believe it. I cannot believe it. I 
 will never believe it. 
 
 GIA. You don't believe it? 
 
 EVA. No. There must be some mistake, some misunder- 
 standing. I know Candida's heart. She is incapable .... 
 
 GIA. That's right. Console yourself if you can. Go on 
 hoping if you want to, and much good may it do you ! 
 
 EVA. I absolutely must speak with Candida. 
 
 GIA. But if she refuses to see you? 
 
 EVA. Never mind, there must be some other reason. I 
 will go into the cafe. It will be enough to see her, to get 
 a word from her. One gesture will be enough to tell me 
 whether I have any hope. 
 
 GIA. (Hands him the fan.) Here, take this. 
 
 ACT SECOND. SCENE XIII. 
 
 Enter CORONATO and SCAVEZZO. SCAVEZZO goes into the 
 inn. CORONATO listens to the conversation. 
 
 EVA. What do you want to give me? 
 
 GIA. The fan. 
 
 EVA. Keep it, don't bother me any more. 
 
 GIA. You give me the fan? 
 
 EVA. Yes ; keep it, keep it, I give it to you. I am nearly 
 crazy.
 
 IL VENTAGLIO. 49 
 
 GIA. Very well, I will take it. Thank you. 
 
 COR. (Aside.) Aha! Now I see what the present is. 
 A fan ! (Exit into inn without being seen by GIANNINA.) 
 
 EVA. But if Candida will not let me see her, if she 
 doesn't happen to come to her window, if she sees me and 
 refuses to listen to me, if her aunt refuses to let her speak 
 to me I don't know what in the world I can do next. 
 
 ACT SECOND. SCENE XIV. 
 
 Enter CRESPINO, carrying a large bag full of leather and 
 shoes; while going toward his shop he stops to listen. 
 
 GIA. Poor Signer Evaristo. Truly I pity you, I am 
 sorry for you. 
 
 EVA. Yes, Giannina, I am indeed to be pitied. 
 
 GIA. You are so kind, so agreeable, so polite! 
 
 EVA. You know my heart; you know how much I 
 am in love! 
 
 CRES. (Aside.) That's good. I arrived just in time. 
 
 GIA. Really, if I knew of any way to console you .... 
 
 CRES. (Aside.) Good for her! 
 
 EVA. Well, at any cost I must try my fate. I will not 
 allow myself to be reproved for not having tried to make 
 it right again. I will go into the cafe, Giannina, and I go 
 there in fear and trembling. You must continue to love me 
 and be kind to me. 
 
 (Shakes her hand and goes into the cafe.) 
 
 GIA. One minute he makes me laugh, and then the next 
 minute I pity him. 
 
 (CRESPINO takes shoes and leather from bag, and begins 
 
 to work.)
 
 50 IL VENTAGLIO. 
 
 GIA. Oh, there is Crespino ! I'm glad to see you back. 
 Where have you been all this time? 
 
 CRES. Don't you see? I went to buy some leather, and 
 to get these shoes to mend. 
 
 GIA. You never do anything but mend old shoes. I 
 shouldn't like to have people say .... You know people 
 have such malicious tongues ! 
 
 CRES. (Working.) The malicious tongues will have 
 more to say about you than they will about me. 
 
 GIA. About me ? What can they possibly say about me ? 
 
 CRES. I don't care if they do say that I am a cobbler, 
 not a shoemaker. It is enough for me to be an honest man 
 and to earn my living. 
 
 GIA. I shouldn't like to be called the cobbler's wife. 
 
 CRES. When would that be? 
 
 GIA. When I marry you. 
 
 CRES. Eh ? 
 
 GIA. Eh? What do you mean by "eh"? 
 
 CRES. I mean to say that Signora Giannina will not be 
 a cobbler's wife nor a shoemaker's wife either, because I 
 see she has grand and magnificent ideas in her head. 
 
 GIA. Are you crazy, or have you been drinking this 
 morning ? 
 
 CRES. I am not crazy, and I have not been drinking; 
 but I'm neither blind nor deaf. 
 
 GIA. What the deuce do you mean? Speak plainly if 
 you want me to understand. 
 
 CRES. You want me to explain? Very well. Do you 
 think I didn't hear those fine words with Signer Evaristo? 
 
 GIA. With Signor Evaristo? 
 
 CRES. (Imitating EVARISTO.) "Yes, Giannina, you 
 know my heart, you know how much I am in love!" 
 
 GIA. (Laughing.) Oh, crazy!
 
 IL VENTAGLIO. 51 
 
 CRES. (Imitating GIANNINA.) "Really, if I knew of 
 any way to console you . . . ." 
 
 GIA. Oh, crazy! 
 
 CRES. (Imitating EVARISTO.) "You must continue to 
 love me and be kind to me." 
 
 GIA. Crazy, crazy and then once more crazy! 
 
 CRES. I crazy? 
 
 GIA. Yes, you, crazy, extra crazy, once more crazy ! 
 
 CRES. Corpo del diavolo ! Didn't I see you, didn't I hear 
 your lovely conversation with Signer Evaristo? 
 
 GIA. Crazy ! 
 
 CRES. And what did you say to him in return ? 
 
 GIA. Crazy ! 
 
 CRES. (Threatening her.) Giannina, stop saying 
 "crazy," or I will act like a crazy man indeed! 
 
 GIA. Eh, eh, do you really think that Signer Evaristo 
 cares anything about me? 
 
 CRES. I am not so sure. 
 
 GIA. And that I am such a fool as to care anything 
 about him? 
 
 CRES. I am not so sure. 
 
 GIA. Come here. Listen. Signer Evaristo is in love 
 with Signora Candida, and Signora Candida has fooled 
 him and is going to marry the Baron ; and Signor Evaristo, 
 in despair, came to tell me about it and I pretended to sym- 
 pathize with him, just for fun; and now do you under- 
 stand ? 
 
 CRES. Not one word of what you say ! 
 
 GIA. Are you persuaded of my innocence? 
 
 CRES. Not so sure. 
 
 GIA. In that case, you may go to the devil. Coronato 
 wants me, my brother has given him his word, the Count 
 is urging me and begging me. I think I will marry 
 Coronato.
 
 S IL VENTAGLIO. 
 
 CRES. Slowly ! slowly ! Don't lose your temper. How 
 can I be sure that you are speaking the truth, and that 
 there is nothing between you and Signer Evaristo? 
 
 GIA. And you don't want me to call you crazy? My 
 dear little Crespino, I love you so much, I love you with 
 all my heart and soul. 
 
 CRES. (Gently.} What was it that Signer Evaristo 
 gave you? 
 
 GIA. Nothing. 
 
 CRES. Nothing? Are you sure? Really nothing? 
 
 GIA. When I say nothing, I mean it. (Aside.) I don't 
 want him to know about the fan. It would make him 
 suspicious. 
 
 CRES. How can I be sure? 
 
 GIA. Come, come, don't torment me! 
 
 CRES. Do you really love me? 
 
 GIA. Certainly I love you. 
 
 CRES. (Taking her hand.} Come then, let us make 
 peace. 
 
 GIA. (Laughing.) Crazy! 
 
 CRES. (Laughing.) Why crazy? 
 
 GIA. Because you are the craziest man I ever saw ! 
 
 ACT SECOND. SCENE XV. 
 Enter CORONATO from the inn. 
 
 COR. At last I have found out about the present that 
 Giannina had. 
 
 GIA. What have you to do with me? 
 
 CRES. (To CORONATO.) Did she get a present? 
 
 COR. From Signor Evaristo. 
 
 GIA. Nothing of the sort. 
 
 CRES. Nothing of the sort ?
 
 IL VENTAGLIO. S3 
 
 COR. Oh, yes, and I know what the present is! 
 
 GIA. Well, whatever the present may have been, it is 
 no business of yours. I love Crespino and I am going to 
 be his wife. 
 
 CRES. (To CORONATO.) Tell me, what was the present ? 
 
 COR. A fan. 
 
 CRES. (Angrily to GIANNINA.) He gave you a fan? 
 
 GIA. Confound the man! 
 
 CRES. Did he give you a fan ? 
 
 GIA. There is no truth in it. 
 
 COR. It is so true that you have it now in your pocket. 
 
 CRES. I am going to see that fan. 
 
 GIA. Not if I can help it ! 
 
 COR. I will find a way of making you bring it out. 
 
 GIA. Insolence ! 
 
 ACT SECOND. SCENE XVI. 
 
 Enter MORACCHIO from his house with napkin around his 
 neck, eating. 
 
 MOR. What's the meaning of all this noise ? 
 
 COR. Your sister has had a fan given to her. She's got 
 it in her pocket, and she says it is not so ! 
 
 MOR. (Commandingly.) Give me that fan! 
 
 GIA. You leave me alone! 
 
 MOR. (Threatening.) Give me that fan, or I swear to 
 Heaven .... 
 
 GIA. (Showing the fan.) Confound you, there it is. 
 
 CRES. (Trying to take it.) Give it to me, give it to me ! 
 
 COR. (Trying to take it.) I want it. 
 
 GIA. Leave me alone, confound you ! 
 
 MOR. Give it to me, instantly ! I want it !
 
 54 IL VENTAGLIO. 
 
 GIA. (To MORACCHIO.) I'll do nothing of the sort. I 
 would rather give it to Crespino. 
 
 MOR. Give it to me, I tell you. (GIANNINA gives the 
 fan to CRESPINO and runs into the house.) 
 
 COR. and MOR. (To CRESPINO.) Give it to me! 
 
 CRES. You shan't have it! 
 
 (Exit, running, the others follow.) 
 
 ACT SECOND. SCENE XVII. 
 Enter COUNT on balcony of palace. 
 COUNT. (Shouting.) Ho there! Signer Timoteo! 
 (Enter TIMOTEO.) 
 
 TIM. What do you wish? 
 
 COUNT. Quick ! Quick ! Bring some smelling salts and 
 stimulants. Signora Candida has fainted away! 
 
 TIM. I will come at once. (Exit into shop.) 
 
 COUNT. What the devil happened to her when she was 
 looking out of the window ? There must be poisonous trees 
 in this garden. (Exit.) 
 
 (CRESPINO runs across the stage, followed by CORONATO 
 and MORACCHIO. Enter BARON from palace.) 
 
 BARON. Come, hurry up, Signor Timoteo. 
 
 (Enter TIMOTEO from shop, carrying tray with several 
 bottles.) 
 
 TIM. Here I come, here I come ! 
 
 BARON. Come quickly, they need you in there ! (Exit.) 
 
 TIM. Coming, coming. 
 
 (CRESPINO, CORONATO and MORACCHIO run across the stage 
 as before; they knock over TIMOTEO, who falls with his
 
 IL VENTAGLIO. 55 
 
 bottles. CRESPINO falls and loses the fan, CORONATO 
 picks it up. Exit TIMOTEO to shop.) 
 
 COR. (To MORACCHIO.) Here it is, here it is! I've 
 got it! 
 
 MOR. That is all right, then. You keep it. Giannina 
 will have to tell me where she got it. (Exit into house.) 
 
 COR. Well, he saw it, and I have it! (Exit into inn.) 
 
 CRES. Confound the men. They have half killed me; 
 but never mind. I am sorry, though, that Coronato got 
 the fan. I would give six pairs of boots if I could get 
 it back and break it to pieces. Why should I break it? 
 Why, indeed? Because it was a present that somebody 
 gave to Giannina ? How foolish that would be ! Giannina 
 is a good girl, and I will not give her up for such a thing 
 as that. (Exit into his shop, limping.) 
 
 CURTAIN.
 
 ACT THIRD. 
 
 SCENE I. 
 
 Enter CRESPINO from his shop, with bread and cheese on 
 a plate, and an empty decanter; sits on his bench and begins 
 to eat. Enter TOGNINO from palace, and exit into TIM- 
 OTEO'S shop. Enter CORONATO from inn, followed by SCA- 
 VEZZO, who carries a barrel on his shoulder as before. 
 CORONATO passes in front of CRESPINO, and laughs; CRES- 
 PINO looks at him and trembles. Exeunt CORONATO and 
 SCAVEZZO; CRESPINO watches them, then continues eating. 
 Enter TOGNINO with a broom; he sweeps up the bottles 
 which were broken at the end of ACT SECOND. Enter 
 TIMOTEO 'from his shop, carrying bottles on a tray; he goes 
 hurriedly into palace. CRESPINO, with his empty decanter, 
 goes slowly and sadly into inn. Enter SUSANNA from her 
 shop; she arranges her wares, sits and begins to work. 
 Exit TOGNINO into palace. Enter GIANNINA from her 
 house; she sits and begins to spin. Enter CRESPINO from 
 inn, with his decanter full of wine; laughing, he displays 
 the fan, which he holds under his jacket; sits on his bench, 
 hides the fan under a pile of leather, puts the decanter on 
 the ground beside him, and begins to eat. Enter CORONATO ; 
 he passes in front of Crespino, laughs, and goes into inn, 
 turning at the door to look once more at CRESPINO, who 
 then looks at the fan, laughs, and continues eating. Enter 
 COUNT and BARON from palace. 
 
 COUNT. No, my dear friend, I beg your pardon, you 
 have nothing to complain of. 
 
 BARON. I assure you that I have nothing to be proud of. 
 
 COUNT. If Signora Candida fainted away, that was 
 merely an accident; you ought not to feel offended. You
 
 IL VENTAGLIO. 57 
 
 know that women are subject to these humors, to these 
 sterile affections. 
 
 BARON. "Sterile affections"? Hysterics, you mean! 
 
 COUNT. Yes, hysterics, if you like. However, if she 
 didn't give you a very cordial greeting, it was not her fault, 
 it was because she was feeling unwell. 
 
 BARON. But she was feeling perfectly well when we 
 went in; and the moment she saw me, she withdrew into 
 her room. 
 
 COUNT. That was because she was beginning to feel 
 faint. 
 
 BARON. Did you notice Signora Gertrude when she 
 came out of her niece's room? with what interest, with 
 what astonishment, she was reading something that looked 
 like letters ? 
 
 COUNT. She has charge of important affairs. Probably 
 they were some letters which had just come to her. 
 
 BARON. Not at all, they were old letters. I wager that 
 she had found them in Signora Candida's room, or in her 
 pocket. 
 
 COUNT. You're a very strange man, my dear friend! 
 What on earth are you thinking of ? 
 
 BARON. I am simply imagining what it might be. I 
 have suspected all along that there was something between 
 Signora Candida and Evaristo. 
 
 COUNT. Oh, that is quite impossible. If it were so, I 
 should know about it. I know everything. Nothing is ever 
 done in this village that I do not know about it. And then, 
 if it were as you say, do you think she would ever have 
 agreed to your proposal, and that she would have dared 
 to show disrespect to a gentleman like me when I took a 
 hand in the matter? 
 
 BARON. There is some truth in that. She said "y es " 
 without waiting to be begged. But Signora Gertrude, after
 
 5 IL VENTAGLIO. 
 
 reading those letters, was no longer as polite to me as before. 
 Indeed, to a certain extent, she seemed to want us to go. 
 
 COUNT. I will tell you what I think about it. The only 
 thing that we can complain about in this case is that Signora 
 Gertrude did not invite us to stay to dinner with her. 
 
 BARON. I don't care anything about that. 
 
 COUNT. I tried to put the idea into her head, but she 
 pretended not to understand. 
 
 BARON. I assure you that she was very anxious to have 
 us leave. 
 
 COUNT. I am very sorry on your account. But, by the 
 way, where are you going to dine to-day ? 
 
 BARON. I have ordered dinner for two at the inn. 
 
 COUNT. For two ? 
 
 BARON. Evaristo went hunting, and I am waiting for 
 him to come back and dine with me. 
 
 COUNT. Won't you come and dine at my house? 
 
 BARON. At your house? 
 
 COUNT. The only thing is that my house is half a mile 
 away. 
 
 BARON. Thank you very much, my dinner is already 
 ordered. Eh, there ! in the inn ! Coronato ! 
 
 ACT THIRD. SCENE II. 
 
 Enter CORONATO. 
 
 COR. What do you wish? 
 
 BARON. Has Signor Evaristo returned? 
 
 COR. I have not yet seen him, sir. I am sorry, because 
 dinner is ready and it is getting spoiled. 
 
 COUNT. Evaristo is capable of staying out in the woods 
 till dark, and making you lose your dinner.
 
 A. M. HARTWELL, 1911, 
 as Gi 'aim iua.
 
 IL VENTAGLIO. 59 
 
 BARON. What do you think I ought to do ? I promised 
 to wait for him. 
 
 COUNT. Wait for him ? That is all right, up to a certain 
 point. But, my dear friend, you ought not to wait for a 
 man whose social position is inferior to yours. I admit that 
 politeness and courtesy .... but, my dear friend, we must 
 maintain our dignity. 
 
 BARON. I am almost ready to ask you to take Evaristo's 
 place. 
 
 COUNT. If you don't want to wait any longer, and if 
 you dislike to eat alone, come to my house and we will eat 
 whatever we find there. 
 
 BARON. No, my dear Count, do me the pleasure to come 
 with me. We will begin eating, and if Evaristo is so 
 impolite as to be late, it is his loss. 
 
 COUNT. (Pleased.) Let him learn manners. 
 
 BARON. (To CORONATO.) Have the dinner served. 
 
 COR. Yes, sir, at once. (Aside.) There won't be much 
 left for the servants if the Count is there ! 
 
 BARON. I will go in and see what they have provided. 
 
 (Exit.) 
 
 COUNT. Did you take that other barrel of wine? 
 
 COR. Yes, sir, I sent it. 
 
 COUNT. You didn't send it without going yourself? 
 They will play some trick on me. 
 
 COR. I will tell you. I went with the boy as far as the 
 corner, and there I met your man. 
 
 COUNT. My steward? 
 
 COR. No, sir. 
 
 COUNT. My footman? 
 
 COR. No, sir. 
 
 COUNT. My valet? 
 
 COR. No, sir. 
 
 COUNT. Who was it, then ?
 
 60 IL VENTAGLIO. 
 
 COR. That fellow who lives with you and carries to 
 market the fruit, the vegetables and the other things. 
 
 COUNT. What? That man? 
 
 COR. Just as I say. I met him, I showed him the barrel, 
 and he went the rest of the way with the boy. 
 
 COUNT. (Aside.) The devil! The one who never 
 drinks any wine is capable of drinking half the barrel. 
 (Is about to enter inn.) 
 
 COR. A moment, if you please. 
 
 COUNT. (Annoyed.) What is it? 
 
 COR. Did you speak to Giannina for me? 
 
 COUNT. Yes, I did. 
 
 COR. And what did she say? 
 
 COUNT. (Embarrassed.) It's all right, it's all right. 
 
 COR. All right, is it? 
 
 COUNT. (Trying to pass.) We will speak of that after- 
 wards. 
 
 COR. But tell me about it now. 
 
 COUNT. Come, come, I must not keep the Baron waiting. 
 
 (Exit.) 
 
 COR. I have good hope. When a man like that under- 
 takes anything, he succeeds sometimes! (To GIANNINA.) 
 Giannina ! 
 
 ( GIANNINA, sitting and spinning, does not reply.) 
 
 COR. At least you might say good-day to me. 
 
 GIA. (Without looking at him.) You would do better 
 to give me back my fan. 
 
 COR. Yes .... (Aside.) Oh, by the way, I must 
 have left the fan in the inn. I hope nobody has carried 
 it away. (To GIANNINA.) Yes, yes, we will speak about 
 the fan afterwards. (Exit.)
 
 IL VENTAGLIO. 6 1 
 
 CRES. (Laughing loudly.) Ha! Ha! Ha! 
 
 Sus. You seem to be pleased, Signor Crespino. You 
 are laughing heartily. 
 
 CRES. I am laughing because I have good reason to 
 laugh. 
 
 GIA. You are laughing, and I am crazy with rage. 
 
 CRES. Rage? What are you enraged about? 
 
 GIA. Because that fan is in Coronato's hands. 
 
 CRES. (Laughing.) Oh, yes. It is in Coronato's 
 hands. Ha! ha! 
 
 GIA. Well, what are you laughing at? 
 
 CRES. I am laughing because it is in Coronato's hands. 
 
 (Exit into shop, carrying the remains of his lunch.) 
 
 GIA. He laughs like a fool. 
 
 Sus. (Working.) I didn't expect that my fan would 
 pass through so many hands. 
 
 GIA. (Sharply.) Your fan! 
 
 Sus. Yes, I say "my fan" because it came from my 
 shop. 
 
 GIA. They paid you for it, didn't they? 
 
 Sus. Of course they did, otherwise they wouldn't have 
 had it. 
 
 GIA. And I dare say they paid double what it was worth. 
 
 Sus. That is not true; and if it was, what business is 
 it of yours ? For all it cost you, you could afford to keep it ! 
 
 GIA. How do you know what it cost me ? 
 
 Sus. (Sarcastically.) Oh, if it cost you anything, that 
 is different. I don't know whether the one who gave it to 
 you is under obligations. 
 
 GIA. (Angrily.) Obligations? What do you say about 
 obligations ? I am surprised at you. 
 
 Sus. Well, well, don't think you can make me afraid.
 
 62 IL VENTAGLIO. 
 
 CRES. (Entering from shop.) What's the matter? 
 Always fighting; always yelling. 
 
 GIA. (Aside.) I am so mad I could break my distaff ! 
 
 Sus. She does nothing but sneer at you, and then she 
 won't let you talk back. 
 
 CRES. (Beginning to work.) Are you angry, Giannina? 
 
 GIA. (Spinning.) I angry? I never get angry. 
 
 Sus. (Sarcastically.) Oh, she is so peaceful, she never 
 loses her temper ! 
 
 GIA. I never lose my temper unless they tease me, and 
 say impertinent things, and try to trample on me. 
 
 (SUSANNA tosses her head and grumbles to herself.) 
 
 CRES. (Working.) Am I the one that treated you 
 badly and trampled on you? 
 
 GIA. (Spinning; angrily.) I was not talking about 
 you. 
 
 Sus. Oh, no ; she is not talking about you, she is talking 
 about me. 
 
 CRES. How ridiculous! In this little village of four 
 houses you cannot have a moment's peace. 
 
 GIA. When there are these sharp tongues. 
 
 CRES. Be still, this is shameful. 
 
 Sus. She insults you, and won't let you answer. 
 
 GIA. I never speak without good reason. 
 
 Sus. I had better be quiet and say nothing more. 
 
 GIA. Certainly, it is better to be quiet than make a fool 
 of yourself. 
 
 CRES. She always wants the last word! 
 
 GIA. Yes, even if I were in the bottom of a well. He 
 who wants me may take me. He who does not, may leave 
 me alone. 
 
 (Enter TIMOTEO from palace with tray and bottles.)
 
 IL VENTAGLIO. 63 
 
 CRES. Be quiet, be quiet ; don't let them hear you. 
 
 TIM. I will never go into that house again. What fault 
 is it of mine, if those medicines are of no use? I can only 
 give what I have. Out here in the country they expect to 
 find all the luxuries of the city. And then, what are all 
 their tinctures and essences and panaceas? Nothing but 
 quackery. The foundation of medical science is water, 
 quinine and mercury. (Exit.) 
 
 CRES. (To GIANNINA.) There must be somebody sick 
 in the palace. 
 
 GIA. (Scornfully.) Oh, yes, that precious jewel Sig- 
 nora Candida. 
 
 Sus. Poor Signora Candida! 
 
 CRES. What is the trouble with her ? 
 
 GIA. How do I know what ails her? Something silly. 
 
 Sus. I know perfectly well what ails Signora Candida. 
 
 CRES. (To SUSANNA.) Well, what? 
 
 Sus. I should think Signora Giannina would know it, 
 also. 
 
 GIA. What have I got to do with it? 
 
 Sus. Yes, naturally ; because she is sick on account of 
 you. 
 
 GIA. (Jumping to her feet.) On account of me? 
 
 Sus. Yes. There is no enduring you! 
 
 CRES. (Rising.) I should like to know what all this 
 disturbance means. 
 
 GIA. (To SUSANNA.) You never speak without mak- 
 ing a fool of yourself. 
 
 Sus. Come, come, don't get excited ! 
 
 CRES. (To GIANNINA.) Let her tell what she has to 
 say. 
 
 GIA. (To SUSANNA.) What reason have you to say 
 that?
 
 64 IL VENTAGLIO. 
 
 Sus. I have nothing more to say. 
 
 GIA. Oh, no; speak. 
 
 Sus. No, I will not. Do not force me to speak. 
 
 GIA. If you have any sense of honor, you will speak ! 
 
 Sus. Very well, then, I will. 
 
 CRES. Keep quiet, keep quiet, here comes Signora Ger- 
 trude. Don't make a scene before her. (Returns to his 
 work.) 
 
 GIA. (Going toward her house.) Oh, I must have an 
 explanation of what she said. 
 
 Sus. (Working.) She wishes me to speak? Very 
 well, I will! 
 
 CRES. (Working.) I wish I could have this matter 
 cleared up ! 
 
 ACT THIRD. SCENE III. 
 Enter GERTRUDE from palace. 
 
 GER. (In a serious tone, to GIANNINA.) Tell me, will 
 you, has your brother come back? 
 
 GIA. (Rudely, going toward her house.) Yes, he has. 
 
 GER. Has Signer Evaristo come back also? 
 
 GIA. Yes, he has. 
 
 GER. Do you know where Signer Evaristo is? 
 
 GIA. I don't know anything about it. Excuse me. 
 
 (Exit.) 
 
 GER. What manners! (She calls.) Crespino! 
 CRES. (Rising.) Signora? 
 GER. Do you know where Signer Evaristo is ? 
 CRES. No, signora, I don't know at all. 
 GER. Will you be good enough to go and see if he is 
 in the inn? 
 
 CRES. With pleasure. (Exit into inn.)
 
 IL VENTAGLIO. 65 
 
 Sus. Signora Gertrude! 
 
 GER. What is it? 
 
 Sus. (Rising.) One word. 
 
 GER. Do you know anything about Signer Evaristo? 
 
 Sus. Eh, my dear lady, I know quite a lot. I could tell 
 you a number of things. 
 
 GER. Heavens! I, too, have things to disturb me. I 
 have just seen some letters which surprised me. Tell me, 
 explain, I beg of you ! 
 
 Sus. But here, in public? We have to deal with people 
 of no sense. If you would like to have me come into your 
 house .... 
 
 GER. I wish to see Signer Evaristo first. 
 
 Sus. Or if you would like to come into my house .... 
 
 GER. Yes, that would be better. But let us wait for 
 Crespino. 
 
 Sus. Here he comes. 
 
 (Enter CRESPINO.) 
 
 GER. Well? 
 
 CRES. He is not there, signora; they expected him to 
 dinner, but he has not come. 
 
 GER. And yet he must have come back from his hunt. 
 
 CRES. Oh, certainly, he came back; I saw him. 
 
 GER. Where can he be? 
 
 Sus. He is not in the cafe. 
 
 CRES. He is not at the apothecary's. 
 
 GER. Look for him, if you please. The village is not 
 very large. See if you can find him. 
 
 CRES. I will go immediately. 
 
 GER. If you find him, tell him that I must speak to him 
 at once, and that I am waiting for him in Susanna's house. 
 
 CRES. Very good. 
 
 GER. Come in, I am anxious to hear.
 
 66 IL VENTAGLIO. 
 
 Sus. Come in, come in ; you will hear some fine things. 
 (Exeunt GERTRUDE and SUSANNA.) 
 
 CRES. Some trouble with this Signer Evaristo! And 
 then, how about the fan ? I am glad that it is in my hands. 
 Coronato, by this time, has found out that it is gone. I 
 am glad that he has no suspicion of me. No one is likely 
 to have told him that I went in to buy some wine. I went 
 just at the right time. Who would ever have expected 
 that I should find the fan lying on a cask? It is the most 
 remarkable coincidence! What a fool he was to leave the 
 fan on the cask! The boy was drawing the wine, and I 
 picked it up and put it under my jacket. Coronato was 
 simple enough to ask me if I had seen it, if I knew anything 
 about it! Am I such a fool as to tell him that I took it, 
 so that he may go about saying that I stole it? He is 
 capable of calling me a robber. Yes, he is certainly cap- 
 able of that. But where shall I go to look for Signer 
 Evaristo? He is not with the Count, because the Count 
 is eating with all his might in the inn. Well, I will look 
 around the village. There are only six or seven houses. 
 I will find him. I am sorry that I don't yet understand 
 what Susanna said. I will speak to her. If I find Gian- 
 nina at fault, what shall I do ? Give her up ? Well, I don't 
 know about that, I am very fond of her. But what can 
 it be? 
 
 ACT THIRD. SCENE IV. 
 Enter LIMONCINO, as CRESPINO is about to go. 
 
 CRES. I say, can you tell me where Signer Evaristo is ? 
 LIM. I? How should I know? Am I his servant? 
 CRES. What nonsense ! I thought he might be in your 
 
 cafe.
 
 IL VENTAGLIO. 67 
 
 LIM. In that case you would see him. 
 
 CRES. The deuce take you, Limoncino! 
 
 LIM. Why do you call me Limoncino? 
 
 CRES. Come, come, just ask me to mend your shoes ! 
 
 (Exit.) 
 
 LIM. What a fool he is! Shall I tell him that Signer 
 Evaristo is in our garden? Now that he is happy and 
 contented, he doesn't want to be disturbed. (Calling.) 
 Oh, there, in the inn ! 
 
 COR. (At the door.) What is it? 
 
 LIM. Signer Evaristo has sent me to ask you to tell the 
 Baron not to wait for him, because he will not be able to 
 come. 
 
 COR. Tell him that his message is too late, and that the 
 Baron has already almost finished his dinner. 
 
 LIM. That is all right, then. I will tell him when I 
 see him. 
 
 COR. I say, young man ! 
 
 LIM. What is it ? 
 
 COR. Have you happened to hear anyone say that he 
 found a fan ? 
 
 LIM. No, I haven't. 
 
 COR. If you hear anything about it, I beg you to let me 
 know. 
 
 LIM. Why yes, certainly. Have you lost one? 
 
 COR. I had one. I don't know how the deuce it got 
 lost. Some fellow carried it away, and those stupid ser- 
 vants of mine cannot tell me who came to get wine. If I 
 find him, if I find him .... well, good-day to you. 
 
 (Exit.) 
 LIM. I will do what I can. (About to leave.)
 
 68 IL VENTAGLIO. 
 
 ACT THIRD. SCENE V. 
 Enter COUNT from the inn. 
 
 COUNT. I heard Limoncino's voice. Eh, young man ! 
 
 LIM. Yes, sir. 
 
 COUNT. Bring two good cups of coffee. 
 
 LIM. For whom, sir? 
 
 COUNT. For me. 
 
 LIM. Both of them for you? 
 
 COUNT. One for me, and one for the Baron del Cedro. 
 
 LIM. Certainly, sir. 
 
 COUNT. Hurry up; and make the coffee fresh! (Exit.) 
 
 LIM. As long as the Baron is there, it will be paid for; 
 I will get it. 
 
 GIA. (At her door.) Eh, Limoncino ! 
 
 LIM. You also, insulting me with that name of Lim- 
 oncino ? 
 
 GIA. Come, come, don't get angry; I didn't call you 
 turnip or pumpkin or cucumber or egg-plant. 
 
 LIM. Have you anything else to call me? 
 
 GIA. (Calmly.) Come here and tell me: is Signer 
 Evaristo still there? 
 
 LIM. There? Where? 
 
 GIA. In the cafe. 
 
 LIM. In our cafe? 
 
 GIA. Yes, in your cafe ! 
 
 LIM. The cafe is right here. You would see him if he 
 was there. 
 
 GIA. Well, is he in the garden? 
 
 LIM. Well, I don't know anything about it! (Exit.) 
 
 GIA. What a beast he is ! If I had my distaff, I would 
 break it over his head. And yet people say that I am 
 quick-tempered! They all tease me and treat me badly. 
 Those ladies over there, this silly Susanna here, Moracchio, 
 Coronato, Crespino .... oh, confound them all !
 
 IL VENTAGLIO. 69 
 
 ACT THIRD. SCENE VI. 
 Enter EVARISTO from cafe. 
 
 EVA. (To GIANNINA.) Oh, there you are, there you 
 are! I am in luck! 
 
 GIA. Well, what does all this joy mean? 
 
 EVA. Oh, Giannina, I am the happiest man in the world ! 
 
 GIA. I am glad to hear it; and I hope that you will 
 make them give me satisfaction for all the insults I have 
 had to endure. 
 
 EVA. Yes, yes, anything you like. You must know, 
 Giannina, that you were under suspicion. Signora Candida 
 found out that I had given you the fan. She thought I had 
 bought it for you. She was jealous of me, and jealous of 
 you. 
 
 GIA. Jealous of me? 
 
 EVA. Yes, naturally. 
 
 GIA. (Speaking toward palace.) May the plague take 
 you! 
 
 EVA. She was going to marry another man through 
 spite, revenge and despair; but when she saw me, she fell 
 down in a faint. I was not able to see her for some time ; 
 but finally, through good fortune, her aunt went out of the 
 house, and Candida came into the garden. I broke through 
 the hedge, climbed over the wall, threw myself at her feet, 
 wept, begged, implored, and at last persuaded her. In short, 
 she is mine ! she is mine ! I have nothing more to fear. 
 
 GIA. (Stiffly.) I am sure I am very glad to hear it. 
 She will be yours, always yours. I am very glad, very 
 much pleased. 
 
 EVA. She has imposed one single condition before she 
 will complete my happiness. 
 
 GIA. What is this condition?
 
 7 IL VENTAGLIO. 
 
 EVA. To justify myself, and to justify you at the same 
 time, as well as to give her a reasonable satisfaction, she 
 asks that I give her the fan. 
 
 GIA. (Aside.) Now we are in a fix. 
 
 EVA. My reputation and yours are at stake. If I can- 
 not give it to her it will seem as if I had bought it for you, 
 and will give credit to her suspicions. I know that you 
 are a sensible girl. Please give me the fan. 
 
 GIA. (Embarrassed.) Sir, I no longer have the fan. 
 
 EVA. Oh, come, you are quite right. I gave it to you, 
 that is true, and I would not ask it back if I were not in 
 extreme need of it. I will buy another one for you a 
 much better one than that. But for love of Heaven, 
 give me at once the one that I gave you. 
 
 GIA. But I tell you, sir, I haven't it any longer. 
 
 EVA. (Excited.) Giannina, my life and your reputa- 
 tion are at stake. 
 
 GIA. I tell you on my word of honor, with any oath you 
 like, that I no longer have the fan. 
 
 EVA. Heavens ! what have you done with it ? 
 
 GIA. They found out that I had the fan, and they 
 jumped on me like three mad dogs. 
 
 EVA. (Furiously.) Who? 
 
 GIA. My brother .... 
 
 EVA. (Running toward her house.) Moracchio! 
 
 GIA. No, stop ; Moracchio didn't get the fan. 
 
 EVA. (Stamping his foot.) Who then? 
 
 GIA. I gave it to Crespino. 
 
 EVA. (Running toward CRESPINO'S house.) Crespino, 
 where are you? 
 
 GIA. Come here, listen. 
 
 EVA. I am beside myself. 
 
 GIA. Crespino hasn't it now. 
 
 EVA. Well, then, who has it? Who has it? Quick!
 
 IL VENTAGLIO. 71 
 
 GIA. That wretch Coronato. 
 
 EVA. (Running toward the inn.) Coronato! Quickly, 
 Coronato ! 
 
 COR. (Appearing at door.) Sir? 
 
 EVA. Give me the fan ! 
 
 COR. What fan? 
 
 GIA. The one that I had, which belongs to him. 
 
 EVA. Come, quickly, quickly. Waste no more time! 
 
 COR. Sir, I am terribly sorry, but .... 
 
 EVA. But what? 
 
 COR. The fan cannot be found. 
 
 EVA. Cannot be found? 
 
 COR. I put it on a cask, carelessly, and left it there when 
 I went out. Then I came back, and could not find it. Some- 
 one had carried it away. 
 
 EVA. It must be found! 
 
 COR. But where? I have looked everywhere for it. 
 
 EVA. Could ten, twenty, thirty sequins find it? 
 
 COR. When it's not there, it's not there. 
 
 EVA. I am in despair. 
 
 COR. I am sorry, but I don't know what to do about it. 
 
 (Exit.} 
 
 EVA. (To GIANNINA.) You are my ruination, my 
 destruction. 
 
 GIA. How is it my fault? 
 
 ACT THIRD. SCENE VII. 
 Enter CANDIDA on balcony. 
 
 CAN. (Calling.} Signer Evaristo! 
 
 EVA. There she is ! I am in despair. 
 
 GIA. Oh, nonsense! Has the world come to an end for 
 that?
 
 7 2 IL VENTAGLIO. 
 
 CAN. Signer Evaristo! 
 
 EVA. Ah, my beloved Candida, I am the most unhappy 
 man in the world. 
 
 CAN. Ah, I suppose you cannot get the fan? 
 
 GIA. (Aside.) She guessed it right the first time! 
 
 EVA. What a combination of circumstances! Yes, 
 unfortunately, that is true; the fan has been lost, and it 
 is impossible to find it. 
 
 CAN. I have an idea where it may be. 
 
 EVA. Where? where? If you could help me to find 
 it .... 
 
 GIA. It may be that someone has found it already. 
 
 EVA. (To GIANNINA.) What do you know? 
 
 CAN. The fan must be in the hands of the one to whom 
 you gave it, and she is quite right if she does not wish to 
 return it. 
 
 GIA. Nothing of the sort ! 
 
 CAN. That is enough from you. 
 
 EVA. I swear on my word of honor .... 
 
 CAN. I have heard enough, and my mind is made up. 
 I am surprised to learn that you compare me with this 
 country girl. (Exit.) 
 
 GIA. What do you mean by country girl? 
 
 EVA. (To GIANNINA.) I swear to Heaven, you are the 
 cause of all my trouble. 
 
 GIA. See here, don't act like a fool. 
 
 EVA. She has made up her mind, and I must make up 
 mine. I will await my rival and attack him with my sword. 
 The wretch will die, or else I shall sacrifice my own life. 
 It is all on your account that I am in this trouble. 
 
 GIA. (Going slowly toward her house.) I think I had 
 better go home. I am afraid he is going to lose his wits.
 
 IL VENTAGLIO. 73 
 
 EVA. My passion fills my heart. I can scarcely breathe. 
 My knees are trembling. My eyes grow dim; who will 
 help me? {He sinks into a chair.} 
 
 GIA. What is it? What is it? Is he dying? Poor 
 gentleman ! He is dying. Help ! Somebody come ! Oh, 
 Moracchio ; oh, in the cafe ! 
 
 ACT THIRD. SCENE VIII. 
 
 Enter LIMONCINO with two cups of coffee, going toward 
 the inn; MORACCHIO from his house, CRESPINO and TIM- 
 OTEO. 
 
 CRES. Oh, there is Signer Evaristo. What has hap- 
 pened to him ? 
 
 GIA. (To LIMONCINO.) Water, water! 
 
 CRES. Wine, wine! (Exit to shop.) 
 
 LIM. Give him some wine. I must carry this coffee to 
 the inn. (Exit.) 
 
 MOR. Courage, courage, Signor Evaristo. It is time to 
 go hunting. 
 
 GIA. That's right, talk about hunting! He is in love. 
 That's the only trouble. 
 
 TIM. What is the matter? 
 
 MOR. Come here, come here, Signor Timoteo. 
 
 GIA. Come and do something for this poor gentleman. 
 
 TIM. What is the matter with him? 
 
 GIA. He is in a faint. 
 
 TIM. I must bleed him. 
 
 MOR. Can you do that? 
 
 TIM. In case of need one does anything. (Exit.) 
 
 GIA. Oh, poor Signor Evaristo! he will kill him. 
 
 (Enter CRESPINO with a bottle of wine.)
 
 74 IL VENTAGLIO. 
 
 CRES. Here, here, this will revive him. It is good old 
 wine. 
 
 GIA. He seems to be coming to his senses. 
 
 CRES. Oh, this would bring the dead to life. 
 
 MOR. Courage, courage, brace up. 
 
 (Enter TIMOTEO with a glass, towel, and razor.) 
 
 TIM. Here I am now. Quick ! Roll up his sleeve. 
 
 MOR. What are you going to do with that razor? 
 
 TIM. In an emergency it does better than a lancet. 
 
 CRES. A razor? 
 
 GIA. A razor? 
 
 EVA. (Pathetically.') Who wants to assassinate me 
 with a razor? 
 
 GIA. Signer Timoteo. 
 
 TIM. I am an honest man. I assassinate no one. And 
 when I am doing the best I can, no one has a right to find 
 fault. (Aside.) Just call me again, and see whether I 
 will come. (Exit.) 
 
 MOR. Will you come to my house, Signor Evaristo? 
 You can rest on my bed. 
 
 EVA. I will go wherever you like. 
 
 MOR. Give me your arm, lean on me. 
 
 EVA. How much better if my unhappy life could come 
 to an end. (Walks, leaning on MORACCHIO.) 
 
 GIA. Now he wants to die. I will call the apothecary 
 again. He will be able to oblige him. 
 
 MOR. Here we are at the door. Come in. 
 
 EVA. Your pity is useless to one who wishes only to die. 
 
 MOR. Giannina, come and fix the bed for Signor 
 Evaristo. 
 
 (Exeunt EVARISTO and MORACCHIO into house; 
 GIANNINA starts to follow.)
 
 E. M. WOOLLEY, IQI I, 
 
 as Count of Rocca Marina.
 
 IL VENTAGLIO. 75 
 
 CRES. Giannina ! 
 
 GIA. What is it? 
 
 CRES. You are very sympathetic with this gentleman. 
 
 GIA. I am doing- my duty, because you and I are the 
 cause of his trouble. 
 
 CRES. I don't know about you, but what have I to do 
 with it? 
 
 GIA. All on account of that wretched fan. (Exit.) 
 
 CRES. Confounded fan! I must have heard them talk 
 about that fan a million times ; but I am glad of it, on 
 account of that miserable Coronato. He is my enemy, and 
 I am afraid of him until I am safely married to Giannina. 
 I might bury the fan in the ground somewhere; but then 
 somebody might walk over it and break it. Whatever I 
 do, I don't want them to get me into trouble. In a thing 
 like this the poor man has to suffer. (Goes to his bench 
 and takes the fan.) 
 
 (Enter from inn LIMONCINO with empty cups, and COUNT, 
 
 who walks about with the air of a man who has 
 
 dined well.) 
 
 LIM. Thank you, sir. 
 
 COUNT. Wait a moment ! ( Takes a piece of sugar and 
 puts it into his mouth.) For the chills. 
 
 LIM. For the throat. 
 
 COUNT. W r hat's that? 
 
 LIM. I say, it is good for the throat. (Exit.) 
 
 CRES. (Coming forward with the fan.) I might al- 
 most yes, that's a good plan. 
 
 COUNT. Oh, good-day, Crespino. 
 
 CRES. Your illustrious lordship's humble servant. 
 
 COUNT. Are my shoes mended? 
 
 CRES. (Showing the fan.) They will be done to-mor- 
 row.
 
 76 IL VENTAGLIO. 
 
 COUNT. What have you in that paper ? 
 
 CRES. Something that I found on the ground near the 
 inn. 
 
 COUNT. Let me see it. 
 
 CRES. Take it, sir. (Gives it to him.) 
 
 COUNT. Oh, a fan. Someone going by must have lost 
 it. What are you going to do with this fan? 
 
 CRES. Really, I don't know what to do with it. 
 
 COUNT. Do you want to sell it? 
 
 CRES. Sell it ? I should not know how much to ask for 
 it. How much do you think it is worth? 
 
 COUNT. I have no idea. There are pictures on it, but 
 a fan picked up in the country cannot be worth much. 
 
 CRES. I should be glad if it was valuable. 
 
 COUNT. So as to sell it, I suppose ? 
 
 CRES. No, really, sir, to have the pleasure of presenting 
 it to your illustrious lordship. 
 
 COUNT. To me? You wish to present it to me? 
 
 CRES. But if it is not good enough for you .... 
 
 COUNT. Oh, yes, it's a good fan. It is very pretty. I 
 am much obliged to you, my good man. If I can do so, 
 I will give you the benefit of my protection. (Aside.) I 
 can make a present of it to someone. 
 
 CRES. But I beg you to do me a favor. 
 
 COUNT. (Aside.) I knew it! These people never give 
 anything without wanting something in return. (To CRES- 
 PINO.) What do you want? Speak. 
 
 CRES. I beg you not to say that you got it from me. 
 COUNT. Is that all you want? 
 CRES. That is all. 
 
 COUNT. (Aside.) Well, I declare! (To CRESPINO.) 
 If you wish nothing else but tell me, please, why do you 
 not wish it to be known that I received it from you? Did 
 you steal it?
 
 IL VENTAGLIO. 77 
 
 CRES. Pardon me, sir, I am not capable .... 
 
 COUNT. But why do you not wish it to be known that I 
 received it from you? If you found it, and if the owner 
 does not ask for it, I see no reason. 
 
 CRES. And yet there is a reason. 
 
 COUNT. What is that? 
 
 CRES. I will tell you. I have a sweetheart. 
 
 COUNT. I know, it is Giannina. 
 
 CRES. And if Giannina should find out that I had this 
 fan and had not given it to her, she would be mad as the 
 deuce. 
 
 COUNT. You are quite right not to give it to her. It is 
 no fan for a peasant girl. (Putting it in his pocket.) Do 
 not worry, I will say nothing about getting it from you. 
 But, by the way, how are your affairs with Giannina? Do 
 you really wish to marry her? 
 
 CRES. To tell the truth, I must confess my weakness. 
 I do want to marry her. 
 
 COUNT. In that case, do not worry. I will see that you 
 marry her at once, if you wish. 
 
 CRES. Truly? 
 
 COUNT. Do you know who I am? Do you know what 
 my protection means ? 
 
 CRES. But Coronato wishes to marry her, too. 
 
 COUNT. Coronato? Coronato is a fool. Does Giannina 
 love you? 
 
 CRES. Oh my, yes ! 
 
 COUNT. Very well, then. You are the one she loves, 
 and she cannot endure Coronato. You may be sure of my 
 protection. 
 
 CRES. That is all very well ; but her brother ? 
 
 COUNT. Her brother, her brother? When the sister is 
 satisfied, what has the brother to do with it? You may 
 depend upon my protection.
 
 7 8 IL VENTAGLIO. 
 
 CRES. I recommend myself to your kindness. 
 
 COUNT. Yes, to my protection. 
 
 CRES. I will go and finish mending your boots. 
 
 COUNT. Don't talk so loud. I ought to have a new 
 pair. 
 
 CRES. You shall have them. 
 
 COUNT. Oh, I am willing to pay for them, don't you 
 know; you must not suppose .... I never sell my 
 protection ! 
 
 CRES. Certainly not for a pair of boots. 
 
 COUNT. Very well, go back to your work. (He ex- 
 amines the fan.) 
 
 CRES. Certainly, sir. (Aside.) Oh, cospetto di Bacco! 
 I forget all about it! Signora Gertrude sent me to find 
 Signor Evaristo. I found him here, and did not give him 
 the message. His fainting the fan I forgot all about it. 
 I might go and tell him now, but I don't like to go into that 
 house on account of Moracchio. This is what I will do. I 
 will go and find Signora Gertrude, I will tell her that 
 Signor Evaristo is in Giannina's house, and she can send 
 someone to call him. (Exit to SUSANNA'S shop.} 
 
 COUNT. Look and see this. Here is a fan. How much 
 can it be worth? I don't know. Seven or eight crowns. 
 If it was something better, I would give it to Signora Can- 
 dida. She broke her own this morning. Well, why not? 
 It is not such a bad fan, after all. 
 
 GIA. (From her house.) I cannot find Crespino. 
 Where can he be? 
 
 COUNT. The pictures are not very well painted, but they 
 are not badly drawn. 
 
 GIA. What is this I see? The fan in the hands of the 
 Count! Quickly, quickly, I must go and wake up Signor 
 Evaristo. (Exit.)
 
 IL VENTAGLIO. 79 
 
 COUNT. Oh, well, a present is never refused. I will give 
 it to her. 
 
 ACT THIRD. SCENE IX. 
 
 BARON. (Entering from inn.) My friend, you left me 
 there alone. 
 
 COUNT. I saw that you were tired of talking. 
 
 BARON. Yes, that is true. I am not reconciled yet. Tell 
 me, do you think this is a good time to see whether we can 
 speak to the ladies again? 
 
 COUNT. Why not? A good idea has just come into my 
 head. Would you like to have me give you a present ? You 
 could give it in turn to Signora Candida. 
 
 BARON. What is this present? 
 
 COUNT. Do you know that this morning she broke her 
 fan? 
 
 BARON. Yes, so I heard. 
 
 COUNT. Here is a new fan. Let us see if we can find 
 her, and then you can give her the fan. Keep it, keep it, 
 it is not so bad. (Gives the fan to the BARON.) 
 
 BARON. You wish then .... 
 
 COUNT. Yes, you give it to her. I have no reason for 
 giving her a present. I will let you take the credit for it. 
 
 BARON. I will gladly avail myself of your kindness, but 
 allow me to ask how much it cost you ? 
 
 COUNT. Why do you want to know how much it cost ? 
 
 BARON. So as to pay for it. 
 
 COUNT. Oh, that does not matter. You remember that 
 you gave me the pistols. 
 
 BARON. I have nothing more to say. I will accept your 
 kindness. (Aside.) Where in the world did he find this 
 fan? He has no money to buy one with.
 
 8o IL VENTAGLIO. 
 
 COUNT. What do you think of it? Is it not beautiful? 
 Didn't it come in the nick of time? On such occasions I 
 know what is, required. I know how to arrange things. I 
 have an entire roomful of little presents for ladies. Well, 
 come along, let us lose no time. (Knocks at the palace.} 
 
 TOG. (On the balcony.) What do you wish? 
 
 COUNT. Are the ladies at home? 
 
 TOG. Signora Gertrude is not at home, and Signora 
 Candida is resting in her room. 
 
 COUNT. As soon as she wakes up, tell us. 
 
 TOG. Very good. (Exit.) 
 
 COUNT. Did you hear that? 
 
 BARON. We must wait awhile. I have a letter to write. 
 I will go into the apothecary's and write it. Will you come 
 with me? 
 
 COUNT. No, no, I don't care about going into that store. 
 You go and write your letter, and I will stay here until the 
 servant comes to bring us word. 
 
 BARON. Very well. When you give the signal I will be 
 with you. 
 
 COUNT. Trust me. 
 
 BARON. (Aside.) I have small confidence in him, still 
 less in the aunt, and least of all in the niece. (Exit.) 
 
 COUNT. I will amuse myself with my book. My pre- 
 cious collection of fables. (Takes book from pocket, sits 
 down and reads.) 
 
 ACT THIRD. SCENE X. 
 
 EVA. (Entering from GIANNINA'S house.) Oh, there 
 he is still. I was afraid he might have gone. I do not 
 understand how I could have fallen asleep, with all my 
 troubles; but I was completely worn out. Now I feel
 
 IL VENTAGLIO. 8 1 
 
 better, and I hope to get back the fan. (To the COUNT.) 
 Count, I am your servant. 
 
 COUNT. (Reading.) Your servant. 
 
 EVA. Will you allow me to say a word to you? 
 
 COUNT. (Still reading.) I will be with you in a 
 moment. 
 
 EVA. (Aside.) If he has not the fan in his hand I 
 don't see how I can introduce the subject. 
 
 COUNT. (Rising, putting away the book.) Here I am. 
 What can I do for you? 
 
 EVA. (Looking to see if he has the fan.) Pardon me 
 if I have disturbed you. 
 
 COUNT. Not at all, not at all. I will finish the fable 
 another time. 
 
 EVA. I should not like to have you call me troublesome. 
 
 COUNT. (Looking at his own clothes.) What are you 
 looking at? Is there a spot on me anywhere? 
 
 EVA. I beg your pardon, someone told me that you had 
 a fan. 
 
 COUNT. (Embarrassed.) A fan? Yes, that is true. 
 Did you lose it ? 
 
 EVA. Yes, I lost it. 
 
 COUNT. But there are plenty of fans in the world. How 
 do you know that this is the one that you lost? 
 
 EVA. Will you have the kindness to let me see it ? 
 
 COUNT. My dear friend, I am sorry to say that you 
 are too late. 
 
 EVA. How too late? 
 
 COUNT. The fan is no longer in my hands. 
 
 EVA. (Excited.) No longer in your hands? 
 
 COUNT. No; I gave it to somebody. 
 
 EVA. (More and more excited.) Who is the person 
 that you gave it to?
 
 82 IL VENTAGLIO. 
 
 COUNT. That is what I am not willing to tell you. 
 
 EVA. Count, I absolutely must know. I need the fan, 
 and you must tell me who has it. 
 
 COUNT. I will tell you nothing about it. 
 
 EVA. I swear to Heaven you will tell me! 
 
 COUNT. What ? Will you forget your respect for me ? 
 
 EVA. I say it and I repeat it. You are not acting like 
 a gentleman. 
 
 COUNT. Do you know that I have a pair of loaded 
 pistols in my pocket? 
 
 EVA. What do I care about your pistols? Give me my 
 fan, sir. 
 
 COUNT. What the devil does this mean? Such a fuss 
 on account of a wretched fan ! Scarcely worth a penny ! 
 
 EVA. Whatever it may be worth, you have no idea what 
 it cost me, and what I would give to get it back. I would 
 give fifty sequins. 
 
 COUNT. You would give fifty sequins? 
 
 EVA. Yes, gladly, if I could find it again I would give 
 fifty sequins. 
 
 COUNT. Diavolo ! It must have been painted by Titian, 
 or Raphael. 
 
 EVA. See here, Count, will you do me this favor? 
 
 COUNT. I will see if I can get it back; but it will be 
 difficult. 
 
 EVA. If the person who has it is willing to give it up 
 for fifty sequins, call on me. 
 
 COUNT. If I had it, I should be offended at such a 
 proposal. 
 
 EVA. Undoubtedly, but perhaps the person who has it 
 will not be offended. 
 
 COUNT. Oh, as for that, this person would be offended 
 as much as I would, and perhaps .... my friend, I 
 assure you that I don't know what to do.
 
 IL VENTAGLIO. 83 
 
 EVA. Let us arrange it this way, Count. Here is a gold 
 snuff-box, which is worth fifty-four sequins by weight alone. 
 You know that the workmanship doubles the value. Never 
 mind; if you get the fan back, I will gladly give this 
 snuff-box in exchange. Here, take it. (Gives it to him.) 
 
 COUNT. Are there diamonds on that fan? I didn't 
 notice any. 
 
 EVA. No, there are no diamonds. It is of no value. But 
 it is precious to me. 
 
 COUNT. I will see if I can do you this favor. 
 
 EVA. I beg you to do so. I shall be under the greatest 
 obligation to you. 
 
 COUNT. (Aside.) I scarcely know how to do it. (To 
 EVARISTO.) Wait here, I will do everything I can. So you 
 wish me to give the snuff-box in exchange? 
 
 EVA. Yes, certainly, give it. 
 
 COUNT. (Starting toward the apothecary's.) Wait 
 here. But supposing the person gives me back the fan, 
 and will not take the snuff-box? 
 
 EVA. Signore, I have given the snuff-box to you. It is 
 yours. Do with it whatever you like. 
 
 COUNT. Absolutely ? 
 
 EVA. Absolutely. 
 
 COUNT. (Aside.) The Baron is a gentleman, and he 
 is my friend. (To EVARISTO.) Wait here. (Aside.) If 
 it was the fifty sequins, I would not accept them; but a 
 gold snuff-box ! Oh, yes, that is a present that a gentleman 
 may take. (Exit.) 
 
 EVA. To get back to the favor of my lady I would 
 sacrifice even my life. 
 
 ACT THIRD. SCENE XI. 
 
 CRESPINO. (Entering from SUSANNA'S shop.) Oh, 
 there he is. (To EVARISTO.) Good-day, sir. Signora
 
 84 IL VENTAGLIO. 
 
 Gertrude would like to speak with you. She is here in 
 Susanna's house, and begs you to be kind enough to go in 
 and speak to her. 
 
 EVA. Tell Signora Gertrude that I will be with her to 
 receive her commands in a moment. I beg her to wait until 
 I see whether someone is coming to speak to me, and then 
 I will go to her at once. 
 
 CRES. Very good, sir. How do you feel? Are you 
 better? 
 
 EVA. Thank Heaven, I am much better. 
 
 CRES. I am very glad of that. And is Giannina well ? 
 
 EVA. I believe so. 
 
 CRES. Giannina is a good girl. 
 
 EVA. Yes, indeed ; and she is devoted to you. 
 
 CRES. I love her, too ; but .... 
 
 EVA. But what? 
 
 CRES. I have heard said .... 
 
 EVA. You have heard something about me? 
 
 CRES. Yes, sir, just so. 
 
 EVA. My good man, do not worry about that. There is 
 nothing between Giannina and me. 
 
 CRES. Oh, I am sure of it. It was nothing but gossip. 
 
 EVA. Go to Signora Gertrude, and tell her that I am 
 coming at once. 
 
 CRES. Yes, sir. I feel better now, I believe everything 
 is all right. (To the COUNT, who enters from apothe- 
 cary's.) I recommend myself to you. 
 
 COUNT. You may depend upon my protection. 
 
 CRES. I can scarcely wait. (Exit.) 
 
 EVA. Well, Count? 
 
 COUNT. Here is the fan. 
 
 EVA. (Taking it.) Oh, what joy! I am infinitely 
 obliged to you.
 
 IL VENTAGLIO. 85 
 
 COUNT. See whether it is yours. 
 
 EVA. Yes, yes, it is certainly mine. 
 
 COUNT. And the snuff-box? 
 
 EVA. That's all right. I am greatly indebted to you. 
 
 (Exit.) 
 
 COUNT. That shows what it is not to understand things. 
 I thought it was an ordinary fan, and it seems to be so 
 valuable! It is so valuable that in exchange for it this 
 gold snuff-box is given. (Takes some snuff.) Evaristo 
 would not take it back. It is possible that the Baron would 
 not have been willing to receive it. He was, in fact, a 
 little disgusted when I asked him to give back the fan ; but 
 I told him that I would present it to Candida in his name, 
 and then he calmed down. I will buy one for a few pennies, 
 which will do just as well. 
 
 CRES. (Entering.) It is fortunate that my commission 
 turned out so well. I am glad to do a favor for Signora 
 Gertrude. Oh, Signer Count, then you give me good hope ? 
 
 COUNT. The best of hope. This is a lucky day for me. 
 Everything goes just right. 
 
 CRES. I hope this will go right. 
 
 COUNT. Yes, surely it will. Wait. (Calling.) Eh, 
 Giannina ! 
 
 GIA. (From her house.) What is it, sir? (Seeing the 
 COUNT, angrily.) What do you want? 
 
 COUNT. Don't go into a rage. Don't show such temper, 
 I want to help you along, and get you a husband. 
 
 GIA. I have no need of your help. 
 
 CRES. (To the COUNT.) Do you hear? 
 
 COUNT. (To CRESPINO.) Wait a moment. (To GIAN- 
 NINA.) I want to get you a husband of my own choice. 
 
 GIA. And I tell you that I refuse. 
 
 COUNT. The man I want to give you is Crespino.
 
 86 IL VENTAGLIO. 
 
 GIA. (Pleased.) Crespino? 
 COUNT. Yes. What do you say to that? 
 GIA. I say yes, sir, with all my heart. 
 COUNT. (To CRESPINO.) You see the effect of my 
 protection. 
 
 CRES. Yes, sir, I see it. 
 
 ACT THIRD. SCENE XII. 
 
 MOR. (Entering.) What are you doing here? 
 
 GIA. None of your business. 
 
 COUNT. Giannina is going to be married under my pro- 
 tection. 
 
 MOR. Very well, sir, that is all right. (To GIANNINA.) 
 You will consent, whether you like it or not. 
 
 GIA. Oh yes, I will gladly consent. 
 
 MOR. So much the better for you. 
 
 GIA. And to show you plainly that I consent, I give 
 my hand to Crespino. 
 
 MOR. What does this mean ? 
 
 COUNT. (Calmly.) That is all right. 
 
 MOR. (With force.) But, Signer Count, you had 
 promised to use your influence for Coronato. 
 
 ACT THIRD. SCENE XIII. 
 
 COR. (Entering from inn.) Who called me? 
 
 MOR. Come and see here. The Count wishes my sister 
 to marry .... 
 
 COR. (Uneasily.) Signor Count? 
 
 COUNT. I am a man of justice and a reasonable, well- 
 disposed protector. Giannina does not wish to marry you; 
 I cannot and will not force her to do it against her will.
 
 IL VENTAGLIO. 87 
 
 GIA. Yes, sir. I am going to have Crespino in spite of 
 you all. 
 
 COR. (To MORACCHIO.) What do you say to that? 
 
 MOR. (To CORONATO.) What do you say? 
 
 COR. I don't care a snap of my finger. If she does not 
 want me, she does not deserve me. 
 
 GIA. That is the way to talk. 
 
 COUNT. (To CRESPINO.) You see the effect of my 
 protection. 
 
 COR. Signor Count, I sent you that other barrel of wine. 
 
 COUNT. Bring me the bill, I will pay you. (He takes 
 snuff from the golden snuff-box.) 
 
 COR. (Aside.) He has a gold snuff-box. He will 
 pay me. (Exit.) 
 
 MOR. (To GIANNINA.) So you decided to take the 
 matter into your own hands? 
 
 GIA. So it seems. 
 
 MOR. If you live to regret it, so much the worse for 
 you. 
 
 COUNT. She will never regret it; she will have my 
 protection. 
 
 MOR. Bread is what we want, not protection. (Exit.) 
 
 COUNT. Well, then, when shall the wedding be? 
 
 CRES. As soon as possible. 
 
 GIA. Or even sooner! 
 
 ACT THIRD. SCENE XIV. 
 
 BARON. (Entering.) Well, Signor Count, have you 
 seen Signora Candida ? Have you given her the fan ? Tell 
 me, why were you not willing that I should give it to her 
 myself ? 
 
 GIA. (Aside.) What is this? Did not Signor Evaristo 
 
 have it?
 
 88 IL VENTAGLIO. 
 
 COUNT. I have not seen Signora Candida yet. As for 
 the fan, I have some others. Indeed, I have decided to 
 give her a better one. Oh, here comes Signora Gertrude. 
 
 ACT THIRD. SCENE XV. 
 Enter GERTRUDE, EVARISTO and SUSANNA from the shop. 
 
 GER. (To SUSANNA.) Be so good as to ask my niece 
 to come down, and tell her that I have something to say 
 to her. 
 
 Sus. With pleasure. (Knocks at door of palace and is 
 admitted. ) 
 
 GER. (To EVARISTO.) I would rather not have the 
 Count and the Baron go into my house. For the present 
 we can talk here. 
 
 COUNT. Signora Gertrude, the Baron and I were just 
 going to call upon you. 
 
 GER. Very kind of you, but this is my hour for walking. 
 I want to stay out of doors for a while. 
 
 BARON. Good-day, Signer Evaristo. 
 
 EVA. (Turning his back.) I am your servant. 
 
 ACT THIRD. SCENE XVI. 
 Enter CANDIDA and SUSANNA from palace. 
 
 CAN. What do you wish, aunt? 
 
 GER. Come and take a few steps with me. 
 
 CAN. (Aside.) Oh, there is the faithless Evaristo. 
 
 GER. (To CANDIDA.) Why have you no fan in your 
 hand? 
 
 CAN. Don't you remember that my fan was broken this 
 morning?
 
 IL VENTAGLIO. 89 
 
 GER. Oh, yes, that is true. Perhaps we can find 
 another. 
 
 BARON. (To the COUNT.) Now is the time to give her 
 that fan. 
 
 COUNT. (To the BARON.) No, no, not in public. 
 
 GER. Signer Evaristo, have you one, by chance? 
 
 EVA. (Showing the fan.) Here it is, at your disposi- 
 tion. 
 
 BARON. (To COUNT.) Is this your fan? 
 
 COUNT. (To BARON.) Diavolo! Certainly not. 
 
 BARON. (To COUNT.) Well, bring it out! 
 
 COUNT. No, not now. 
 
 GER. My niece, will you not speak to Signer Evaristo ? 
 
 CAN. No, signora, excuse me, I have nothing to say to 
 him. 
 
 COUNT. (To BARON.) You see, she will not take that 
 one. 
 
 BARON. (To COUNT.) Come, give me your fan. 
 
 COUNT. (To BARON.) Do you wish to get into a row 
 and have a duel? 
 
 GER. Might I ask why you are not willing to receive 
 that fan from Signer Evaristo? 
 
 CAN. (With affectation.) Because it is not mine. 
 Because it was never intended for me. There is no reason 
 why I should take it. 
 
 GER. Signor Evaristo, now is the time to explain. 
 
 EVA. I will do so if I am allowed. 
 
 CAN. (Wishing to go.) Excuse me. 
 
 GER. I command you to stay here. 
 
 BARON. (To COUNT.) What does all this mean? 
 
 COUNT. I haven't the faintest idea. 
 
 EVA. Signora Susanna, do you recognize this fan?
 
 9 IL VENTAGLIO. 
 
 Sus. Certainly, sir. It is the one which you bought 
 from me this morning, and which I was foolish enough to 
 think you intended for Giannina. 
 
 GIA. Yes, I like that! You certainly were foolish 
 enough ! 
 
 Sus. Yes; I admit my mistake, and you should learn 
 from me to confess the truth. It is true that I had some 
 reason, because Signor Evaristo did give it to you. 
 
 EVA. (To GIANNINA.) Why did I give you the fan? 
 
 GIA. For me to give to Signora Candida. But when I 
 wished to give it to her, she flew into a rage and would 
 not let me say a word; then I wanted to give it back to 
 you, but you would not take it, and I gave it to Crespino. 
 
 CRES. And I fell down with it, and Coronato took it. 
 
 EVA. Where is Coronato? How did it get out of his 
 hands ? 
 
 CRES. Let us not call him. Since he is not here, I will 
 tell the truth. I went into the inn to get some wine, I saw 
 the fan lying there, and I took it away with me. 
 
 EVA. What did you do with it then? 
 
 CRES. I gave it to the Signor Count. 
 
 COUNT. And I presented it to the Signor Baron. 
 
 BARON. (Indignantly.) Yes, and then you asked for it 
 back again! 
 
 COUNT. Yes, and I put it again into the hands of Signor 
 Evaristo. 
 
 EVA. And I offer it to Signora Candida. (CANDIDA 
 takes the fan with a courtesy, smiling.) 
 
 BARON. (To COUNT.) What is the meaning of this 
 scene ? What is it all about ? I am in a ridiculous position, 
 all on account of you ! 
 
 COUNT. I swear to Heaven, Signor Evaristo .... 
 
 EVA. Come, come, Signor Count, do not be excited ; we 
 are good friends. Give me a pinch of snuff.
 
 w 
 
 u 
 
 u
 
 IL VENTAGLIO. pi 
 
 COUNT. (Offering snuff-box.} That is it. When they 
 treat me politely, I never lose my temper. 
 
 BARON. You do not lose your temper, but I lose mine. 
 
 GER. Signer Baron! 
 
 BARON. And you, signora, are you making fun of me? 
 
 GER. I beg your pardon, you do not understand, signore. 
 I have not failed in any way. I have listened to your pro- 
 posal. My niece, in fact, received it favorably, and I agreed 
 to it with pleasure. 
 
 COUNT. Do you hear ? That is because I spoke to her. 
 
 BARON. (To CANDIDA.) And you, signora, why did 
 you deceive me? 
 
 CAN. I beg your forgiveness. I was torn between two 
 passions; vengeance wished to make me yours, but love 
 gives me back to Evaristo. 
 
 COUNT. That was none of my doing. 
 
 EVA. (To BARON.) If you had been a less hasty lover, 
 and a more sincere friend to me, you would not have found 
 yourself in this position. 
 
 BARON. That is true. I see my mistake. I will only 
 say that I feel the profoundest contempt for the conduct 
 of the Count. (Exit.) 
 
 COUNT. Oh, never mind, never mind. We are good 
 friends. He is only joking. We aristocrats understand 
 one another. Come, let us make arrangements for the 
 wedding. 
 
 GER. Let us go into the house. I am sure that all will 
 be satisfactorily arranged. (To CANDIDA.) Are you 
 pleased to have in your hands that fan which you were so 
 anxious to get ? 
 
 CAN. (Fanning herself.) I cannot express to you how 
 happy I am. 
 
 GIA. What a remarkable fan! It has turned every- 
 body's head from the highest to the lowest.
 
 92 IL VENTAGLIO. 
 
 CAN. Is it a Parisian fan? 
 
 Sus. Yes, it came from Paris. 
 
 GER. Come, I invite you all to dinner. We will drink 
 to the health of the author, and (to the audience) we offer 
 our humble thanks to those who have honored us with 
 their approval. 
 
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 YALE DRAMATIC ASSOCIATION PLAYS PRODUCED HERE 
 
 OSCAR F. BERNNER 
 THEATRICAL and STREET WIG MAKER 
 
 Manufacturer and Dealer in 
 GREASE PA-INTS, POWDERS, ROUGES. Etc. 
 
 105 West 47th Street 
 
 Between Broadway and Sixth Avenue, NEW YORK 
 
 Wigs and Beards to Hire 
 Telephone, 2631 Bry&nt Amateur Performance Tableaux Make Up 
 
 >ETNA NATIONAL BANK 
 
 HARTFORD, CONN. 
 
 Capital and Surplus Profits, $1,450,000.00 
 
 This bank has superior facilities for furnishing 
 and obtaining data concerning investments 
 
 SMALL, ACCOUNTS INVITED 
 
 FOREIGN CHEQUES ON ALL COUNTRIES 
 Free Safe Deposit Boxes Visitors Welcome
 
 ESTABLISHED 1848 
 
 Skinner's Satin 
 
 (27 and 36 Inches wide) 
 
 ALWAYS HAS THE NAME WOVEN IN THE 
 
 SELVAGE AND IS GUARANTEED TO 
 
 WEAR TWO SEASONS 
 
 William Skinner & Sons 
 
 Dept. L, N. W. Cor. Fourth Ave. and 17th St. 
 NEW YORK CITY 
 
 MILLS, HOLYOKE, MASS. 
 NEW YORK CHICAGO PHILADELPHIA BOSTON
 
 FOR SALE 
 
 Pure Bred and 
 Grade Guernsey Cattle 
 
 ISLAND FARM 
 ISLAND - - - MINN. 
 
 G. G. HARTLEY, Owner 
 
 Address all correspondence to 
 
 JOHN H. BLACK, Superintendent 
 ISLAND, MINN.
 
 Hotel Iroquois 
 
 Buffalo, New York 
 
 Hotel Marie Antoinette 
 
 Broadway and 66th-67th Street 
 New York City 
 
 Grand Union Hotel 
 
 Saratoga Springs, New York 
 
 Under the Management 
 
 of 
 WOOLLEY & GERRANS 
 
 THE DUNCAN HOTEL 
 
 NEW HAVEN, CONN. 
 
 THE ONLY FIRST CLASS HOTEL 
 James T. Toole, Prop. 
 
 THE SHOREHAM HOTEL 
 
 Morris Cove, New Haven, Conn. 
 
 THE PLACE TO BOOK FOR COMMENCEMENT 
 
 YALE DINING CLUB 
 
 ("COMMONS") 
 
 GROVE AND COLLEGE STREETS 
 
 Open During Prom Week to all members of the 
 University and their guests, including ladies 
 
 REGULAR CHARGES
 
 y, Durability, 
 
 Tire Economy and all /$^ ^^^ 
 
 'round efficiency are desired, there /ffi/ " 
 
 is but one tire to choose ; no other I/iJ/ i 
 will stand the test with 
 
 REPUBLIC 
 STAGGARD TREAD 
 
 "The Tire Perfect" 
 
 Dealers and Agencies 
 
 in the Principal Cities 
 
 THE REPUBLIC RUBBER CO. 
 
 Youngstown, Ohio. 
 
 THE STRATF1EUD 
 
 BRIDGEPORT, OOIVIV. 
 
 Main, Golden Hill and Chapel Streets. (Two Blocks from Railway Station) 
 
 The Largest and Best Equipped Hotel between New York and Boston 
 Unexcelled accommodations for Automobile Parties 
 
 275 ROOMS 
 
 H. C. GRISWOLD, Manager 250 Rooms with Bath 
 
 F. F. SMALL & CO. 
 
 fire Insurance 
 
 95 Pearl Street 
 
 Hartford, Conn.
 
 Table D'Hote and a la Carte 
 
 Music for 
 
 LUNCH, DINNER AND 
 SUPPER 
 
 35=37 Center Street 
 
 NEW HAVEN. CONN. 
 
 MCMILLAN & VAN NESTE 
 
 Successors to the firms of 
 
 MCMILLAN BROTHERS & VAN NESTE 
 TAILORS 
 
 Paddock Building 101 Tremont Street BOSTON, MASS. 
 
 ESTABLISHED 189O 
 
 248 AND 250 YORK STREET 
 
 Dormitory Exclusive for 
 Academic Freshmen 
 
 ELECTRIC LIGHT ELEVATOR 
 
 PIANOS AND MUSIC 
 
 Loomis' Temple of Music 
 
 837 Chapel Street New Haven, Conn.
 
 THE JUNIOR TATTOO 
 
 A NEAT LITTLE CLOCK FOR STUDENTS 
 
 inch Nickel Plated Seamless Brass Case. Bell-metal 
 
 gong on back 
 ALARMS INTERMITTENTLY FOR FIVE MINUTES 
 
 THE UEW HAVEN pLOCK CO. 
 NEW HAVEN LoNH. 
 
 FOR CUSTOM SHIRTS 
 
 that deserve the name for the little things as well as for the big 
 
 SEE THE VERY MAKERS 
 
 S. R. ROBERTS & CO. 
 
 1091 Chapel Street CUSTOM SHIRT MAKERS New Haven, Conn. 
 S. G. COLBURN, Proprietor R. T. HALL, Manager 
 
 COLBURN'S YORK PHARMACY 
 
 Corner York and Elm Streets 
 
 BELLE MEAD, WHITMAN'S AND ALLEGRETTI'S CANDIES 
 
 Always fresh and good as the maker intended 
 LET US SERVE YOU 
 
 CURTISS STUDIO 
 
 1OQO CHAPEL, STREET 
 
 Portraits 4* Frames
 
 University of California 
 
 SOUTHERN REGIONAL LIBRARY FACILITY 
 
 405 Hilgard Avenue, Los Angeles, CA 90024-1388 
 
 Return this material to the library 
 
 from which it was borrowed.
 
 DATE 
 
 FEB 8 
 
 1971 
 
 A 
 
 000 518 933 
 
 FEB 
 
 7 ^gy? 
 
 
 
 
 JUNl 5 
 
 1971 
 
 
 
 MAY 5 
 
 1971 * 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 i 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 GAYLORD 
 
 
 
 PRINTED IN U.S A.