The Great Galeoto: A Play in Three Acts with a Prologue

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Doubleday, Page, 1914 - 140 pages
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Page 79 - God be praised, this is a state of things that does not last long in Madrid. One morning somebody takes the trouble to notice them, and from that moment, behold society engaged in the business, without aim or object, on the hunt for hidden frailty and impurity. Then it pronounces and judges, and there is no logic that can convince it, nor living man who can hope to persuade it, and the honestest has not a rag of honor left. And the terrible thing is, that while it begins in error, it generally ends...
Page 78 - But this is what I do not understand. Galeoto was the book they were reading, and they read no more. They stopped reading? That's easy enough to understand. But this Galeoto, tell me where he comes in, and who was he? You ought to know, since he has given his name to the play that is to make you famous. Let me see. (Takes up the MS. and examines it. ) ERNEST. Galeoto was the go-between for the Queen and Launcelot and in all loves the third may be truthfully nicknamed Galeoto, above all when we wish...
Page 141 - Teodora.] PEPITO. [Restraining him.'] Father ERNEST. Stay. [Pause.] Let nobody touch this woman. She is mine. The world has so desired it, and its decision I accept. It has driven her to my arms. Come, Teodora. [He raises her, and sustains her.] You cast her forth from here. We obey you.
Page 9 - I must bring types on the stage whose guile repels, and is the less natural because evil in them has no object. This exposes me to a worse consequence, to the accusation of meaning to paint a cruel, corrupted, and debased society, when my sole pretention is to prove that not even the most insignificant actions are in themselves insignificant or lost for good or evil.
Page 141 - Yes ; now you are right. I will confess now. Do you want passion ? Then passion and delirium. Do you want love? Then love — boundless love. Do you want more? Then more and more. Nothing daunts me. Yours the invention, I give it shelter. So you may tell the tale. It echoes through all this heroic town. But should any one ask you who was the infamous intermediary in this infamy, you will reply ' ourselves, without being aware of it, and with us the \ stupid™ chatter of busybodies.1 Come, Teodora...
Page 7 - You've excited my curiosity. (Sits down on the sofa.) ERNEST. Imagine the principal personage, one who creates the drama and develops it, who gives it life and provokes the catastrophe, who, broadly, fills and possesses it, and yet who cannot make his way to the stage.
Page 44 - MERCEDES' is very marked.) MERCEDES. The man is a shabby-hearted betrayer, who, for one hour of pleasure, would thrust upon the woman a life of sorrow: the husband's dishonor, the ruin of a family, and she left shamed and condemned to social penitence in the world's disdain, and to keener punishment still at the whip of her own conscience.
Page ix - Each especial case, I have remarked, has its own especial go-between. Sometimes it is the entire social mass that is Galeoto. It then unconsciously exercises the office under the influence of a vice of quite another aspect, but so dexterously does it work against honour and modesty that no greater Galeoto can ever be found. Let a man and woman live happily, in tranquil and earnest fulfilment of their separate duties. Nobody minds them, and they float along at ease. But God be praised, this is a state...
Page 8 - JULIAN. Not entirely. Everybody may be condensed in a few types and characters. This is matter beyond my depth, but I have always understood that the masters have more than once accomplished it. ERNEST. Yes, but in my case it is to condemn me, not to write my drama.
Page 8 - JULIAN. Never mind. Give me a few. ERNEST. Look! Each individual of this entire mass, each head of this monster of a thousand heads, of this Titan of the century, whom I call everybody, takes part in my play for a flying moment, to utter but one word, fling a single glance. Perhaps his action in the tale consists of a smile, he appears but to vanish. Listless and absent-minded, he acts without passion, without anger, without guile, often for mere distraction's sake.

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