Then we have this fine picture--flung upon the canvas with hardly
an effort, as you will notice.
Advancing toward him, she gave a bright display of her rosy neck,
and from her head the ambrosial locks breathed divine fragrance;
her robe hung waving to his view, while she stood like a goddess
confessed before him.
There is nothing of interest in the couple's interview. Now at this
point the girl invites Elfonzo to a village show, where jealousy is
the motive of the play, for she wants to teach him a wholesome lesson,
if he is a jealous person. But this is a sham, and pretty shallow.
McClintock merely wants a pretext to drag in a plagiarism of his upon
a scene or two in "Othello."
The lovers went to the play. Elfonzo was one of the fiddlers.
He and Ambulinia must not been seen together, lest trouble follow with
the girl's malignant father; we are made to understand that clearly.
So the two sit together in the orchestra, in the midst of the musicians.
This does not seem to be good art. In the first place, the girl would
be in the way, for orchestras are always packed closely together,
and there is no room to spare for people's girls; in the next place,
one cannot conceal a girl in an orchestra without everybody taking
notice of it. There can be no doubt, it seems to me, that this is
bad art.
Leos is present. Of course, one of the first things that catches
his eye is the maddening spectacle of Ambulinia "leaning upon
Elfonzo's chair.
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