Moreover, he endows Isabella with the lands of her
father Falcone. The lovers are thus made happy. The usurer weds Zippa;
and the curtain drops upon the promise of the Duke to honour the
double nuptials with his presence.
This story, as we have given it, hangs better together (Mr. Willis
will pardon our modesty), and is altogether more easily
comprehended, than in the words of the play itself. We have really put
the best face upon the matter, and presented the whole in the simplest
and clearest light in our power. We mean to say that "Tortesa"
(partaking largely, in this respect, of the drama of Cervantes and
Calderon) is over-clouded- rendered misty- by a world of unnecessary
and impertinent intrigue. This folly was adopted by the Spanish
comedy, and is imitated by us, with the idea of imparting "action,"
"business," "vivacity." But vivacity, however desirable, can be
attained in many other ways, and is dearly purchased, indeed, when the
price is intelligibility.
The truth is that cant has never attained a more owl- like dignity
than in the discussion of dramatic principle. A modern stage critic is
nothing, if not a lofty contemner of all things simple and direct.
He delights in mystery- revels in mystification- has transcendental
notions concerning P. S. and O. P, and talks about "stage business and
stage effect" as if he were discussing the differential calculus.
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