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    Porzia
    Porzia
    Porzia
    Ebook103 pages56 minutes

    Porzia

    By Cale Young Rice

    ()

    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 17, 2009
    Porzia

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      Book preview

      Porzia - Cale Young Rice

      The Project Gutenberg EBook of Porzia, by Cale Young Rice

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.net

      Title: Porzia

      Author: Cale Young Rice

      Release Date: November 2, 2010 [EBook #34196]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK PORZIA ***

      Produced by David Garcia and the Online Distributed

      Proofreading Team at http://www.pgdp.net (This file was

      produced from images generously made available by The

      Kentuckiana Digital Library)

      PORZIA

      BY

      CALE YOUNG RICE

      AUTHOR OF

      A NIGHT IN AVIGNON, YOLANDA OF CYPRUS, "CHARLES DI

      TOCCA, DAVID, MANY GODS, NIRVANA DAYS,"

      FAR QUESTS, THE IMMORTAL LURE, ETC.

      Garden City New York

      DOUBLEDAY, PAGE & COMPANY

      MCMXIII

      Copyright, 1913, by

      Cale Young Rice

      All rights reserved, including that of

      translation into Foreign Languages,

      including the Scandinavian.

      To

      GILBERT MURRAY

      Poet, Dramatist, and Master-Interpreter of a great

      literature

      PREFACE

      Some years ago while writing A Night In Avignon the thought came to me of framing two other plays that should deal respectively with the Renaissance spirit at its height and decadence, as that play had dealt with it at its beginning. For the great human upheaval that came intoxicatingly to Italy during the fourteenth, fifteenth and sixteenth centuries is so full of æsthetic contrast and glamor as to be peculiarly suitable for the doubly exacting purposes of poetic drama.

      Giorgione, the second of these plays to be written, was published in 1911 with three other plays in a volume entitled The Immortal Lure, and like A Night In Avignon was received with such kindness as to encourage me to write the third, here presented under the name of Porzia.

      This last play, whose period is that of decadent Humanism, or as Symonds prefers to call it, of The Catholic Reaction, is laid in Naples, where the passions of men, more than freed from the long domination of the Church and the Hereafter, seemed to reach in their grasp at this life almost incredible heights and depths of excess. And yet from amid this excess, as from a rank and unweeded garden, were springing into flower many seeds of modern intellectual enfranchisement, as the achievements of Bruno and his contemporaries witness.

      I need only add that I have sought to use materials that would be true to the time of this final portrayal, and that I therefore trust it may be understood as an organic member of the group to which it belongs.

      C. Y. R.

      Louisville, Kentucky, June, 1912.

      ACT I

      CHARACTERS

      RIZZIO DI ROSSI A young Leader of the Literati at Naples, suspected of heresy

      OSIO His Brother

      PORZIA His Wife

      ALOYSIUS Her Uncle, a Physician

      BIANCA Her Cousin, a Florentine, once betrothed to Osio

      GIORDANO BRUNO A young Dominican, also heretical

      MONSIGNOR QUERIO An Officer of the Inquisition

      TASSO A Poet

      MARINA A Sicilian serving Porzia

      MATTEO Serving Rizzio, later Osio

      Dancers from Capri, Musicians, Guards of the Inquisition, etc.

      TIME—About 1570

      PORZIA

      Scene:

      A portion of the house, terrace and garden of Rizzio on his wedding day at Naples. It is so situated as to command a view of the city, the blue Bay with Capri set like a topaz in it, the Vesuvian coast, and the Mountain itself—rising like a calm though unappeasable monitor against the land's too sensual enchantment.

      The house, a white corner of which is visible along the right, has large doors toward the back giving upon the terrace. A vine-clad terrace wall, several feet above the level of the terrace, but much above that of the street without, runs across the rear to a cypress-set gate in the centre, and on into the lustrous Spring foliage of ilex, myrtle and orange.

      A pedestaled image of the Virgin against the house, a statue of Pan before a bower opposite, and several stone seats forward, are decked with orange blossoms that glow in the light of late afternoon.

      Music, reveling, and laughter are heard, muffled, within. Then amid a louder burst of them Osio strides angrily forth. He is followed in argumentative elation by Rizzio—clothed in Greek raiment, a book in his hand—and by Bruno.

      Osio (as they come down).

      Proof from the teeth of aliens and fools

      And infidels that follow their own reason?

      I want no proof! your books should burn in Hell!

      Rizzio (gaily).

      Because they glorify the stars in heaven?

      Osio.

      I say they are heresy!

      Rizzio.

      And I say truth!

      [Uplifts volume.

      That were your ears not stopped with sophistries

      And Jesuitry you would adjudge divine!

      [Tosses it down.

      Bruno.

      Ai,

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