LITMIR.BIZ

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performed in the churches attached to the hospitals were among the most fashionable diversions in Venice. The singers were instructed by the best masters of the time; and at the close of the last century, the conservatories of the Incurables, the Foundlings, and the Mendicants were famous throughout Europe for their dramatic concerts, and for those pupils who found the transition from sacred to profane opera natural and easy.

With increasing knowledge of the language, I learned to enjoy best the unmusical theatre, and went oftener to the comedy than the opera. It is hardly by any chance that the Italians play ill, and I have seen excellent acting at the Venetian theatres, both in the modern Italian comedy, which is very rich and good, and in the elder plays of Goldoni—compositions deliciously racy when seen in Venice, where alone their admirable fidelity of drawing and coloring can be perfectly appreciated. The best comedy is usually given to the educated classes at the pretty Teatro Apollo, while a bloodier and louder drama is offered to the populace at Teatro Malibran, where on a Sunday night you may see the plebeian life of the city in one of its most entertaining and characteristic phases. The sparings of the whole week which have not been laid out for chances in the lottery, are spent for this evening’s amusement; and in the vast pit you see, besides the families of comfortable artisans who can evidently afford it, a multitude of the ragged poor, whose presence, even at the low rate of eight or ten soldi ¹¹ apiece, it is hard to account for. It is very peremptory, this audience, in its likes and dislikes, and applauds and hisses with great vehemence. It likes best the sanguinary local spectacular drama; it cheers and cheers again every allusion to Venice; and when the curtain rises on some well-known Venetian scene, it has out the scene-painter by name three times—which is all the police permits. The auditors wear their hats in the pit, but deny that privilege to the people in the boxes, and raise stormy and wrathful cries of cappello! till these uncover. Between acts, they indulge in excesses of water flavored with anise, and even go to the extent of candied nuts and fruits, which are hawked about the theatre, and sold for two soldi the stick,—with the tooth-pick on which they are spitted thrown into the bargain.

      The Malibran Theatre is well attended on Sunday night, but the one entertainment which never fails of drawing and delighting full houses is the theatre of the puppets, or the Marionette, and thither I like best to go. The Marionette prevail with me, for I find in the performances of these puppets, no new condition demanded of the spectator, but rather a frank admission of unreality that makes every shadow of verisimilitude delightful, and gives a marvelous relish to the immemorial effects and traditionary tricks of the stage.

      The little theatre of the puppets is at the corner of a narrow street opening from the Calle del Ridotto, and is of the tiniest dimensions and simplest appointments. There are no boxes—the whole theatre is scarcely larger than a stage-box—and you pay ten soldi to go into the pit, where you are much more comfortable than the aristocrats who have paid fifteen for places in the dress-circle above. The stage is very small, and the scenery a kind of coarse miniature painting. But it is very complete, and every thing is contrived to give relief to the puppets and to produce an illusion of magnitude in their figures. They are very artlessly introduced, and are maneuvered, according to the exigencies of the scene, by means of cords running from their heads, arms, and legs to the top of the stage. To the management of the cords they owe all the vehemence of their passions and the grace of their oratory, not to mention a certain gliding, ungradual locomotion, altogether spectral.

The drama of the Marionette is of a more elevated and ambitious tone than that of the Burattini, which exhibit their vulgar loves and coarse assassinations in little punch-shows on the Riva, and in the larger squares; but the standard characters are nearly the same with both, and are all descended from the commedia a braccio ¹² which flourished on the Italian stage before the time of Goldoni. And I am very far from disparaging the Burattini, which have great and peculiar merits, not the least of which is the art of drawing the most delighted, dirty, and picturesque audiences. Like most of the Marionette, they converse vicariously in the Venetian dialect, and have such a rapidity of utterance that it is difficult to follow them. I only remember to have made out one of their comedies,—a play in which an ingenious lover procured his rich and successful rival to be arrested for lunacy, and married the disputed young person while the other was raging in the mad-house. This play is performed to enthusiastic audiences; but for the most part the favorite drama of the Burattini appears to be a sardonic farce, in which the chief character—a puppet ten inches high, with a fixed and staring expression of Mephistophelean good-nature and wickedness—deludes other and weak-minded puppets into trusting him, and then beats them with a club upon the back of the head until they die. The murders of this infamous creature, which are always executed in a spirit of jocose sang-froid, and accompanied by humorous remarks, are received with the keenest relish by the spectators and, indeed, the action is every way worthy of applause. The dramatic spirit of the Italian race seems to communicate itself to the puppets, and they perform their parts with a fidelity to theatrical unnaturalness which is wonderful. I have witnessed death agonies on these little stages which the great American tragedian himself (whoever he may happen to be) could not surpass in degree of energy. And then the Burattini deserve the greater credit because they are agitated by the legs from below the scene, and not managed by cords from above, as at the Marionette Theatre. Their audiences, as I said, are always interesting, and comprise: first, boys ragged and dirty in inverse ratio to their size; then weak little girls, supporting immense weight of babies; then Austrian soldiers, with long coats and short pipes; lumbering Dalmat sailors; a transient Greek or Turk; Venetian loafers, pale-faced, statuesque, with the drapery of their cloaks thrown over their shoulders; young women, with bare heads of thick black hair; old women, all fluff and fangs; wooden-shod peasants, with hooded cloaks of coarse brown; then boys—and boys. They all enjoy the spectacle with approval, and take the drama au grand sérieux, uttering none of the gibes which sometimes attend efforts to please in our own country. Even when the hat, or other instrument of extortion, is passed round, and they give nothing, and when the manager, in an excess of fury and disappointment, calls out, “Ah! sons of dogs! I play no more to you!” and closes the theatre, they quietly and unresentfully disperse. Though, indeed, fioi de cani means no great reproach in Venetian parlance; and parents of the lower classes caressingly address their children in these terms. Whereas to call one Figure of a Pig, is to wreak upon him the deadliest insult which can be put into words.

      In the commedia a braccio, before mentioned as the inheritance of the Marionette, the dramatist furnished merely the plot, and the outline of the action; the players filled in the character and dialogue. With any people less quick-witted than the Italians, this sort of comedy must have been insufferable, but it formed the delight of that people till the middle of the last century, and even after Goldoni went to Paris he furnished his Italian players with the commedia a braccio. I have heard some very passable gags at the Marionette, but the real commedia a braccio no longer exists, and its familiar and invariable characters perform written plays.

      Facanapa is a modern addition to the old stock of dramatis personae, and he is now without doubt the popular favorite in Venice. He is always, like Pantalon, a Venetian; but whereas the latter is always a merchant, Facanapa is any thing that the exigency of the play demands. He is a dwarf, even among puppets, and his dress invariably consists of black knee-breeches and white stockings, a very long, full-skirted black coat, and a three-cornered hat. His individual traits are displayed in all his characters, and he is ever a coward, a boaster, and a liar; a glutton and avaricious, but withal of an agreeable bonhomie that wins the heart. To tell the truth, I care little for the plays in which he has no part and I have learned to think a certain trick of his—lifting his leg rigidly to a horizontal line, by way of emphasis, and saying, “Capisse la?” or “Sa la?” (You understand? You know?)—one of the finest things in the world.

      In nearly all of Goldoni’s Venetian comedies, and in many which he wrote in Italian, appear the standard associates of Facanapa,—Arlecchino, il Dottore. Pantalon dei Bisognosi, and Brighella. The reader is at first puzzled by their constant recurrence, but never weary of Goldoni’s witty management of them. They are the chief persons of the obsolete commedia a braccio, and have their nationality

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