Act III: Scene IV

Emma Lazarus (1849–1887) · 1876

144 lines · from The Spagnoletto

ANNICCA.Has he come often?

RIBERA.Nay, I caught the trickOf his fair face in some half-dozen sittings.His is a bold and shapely head--it pleased me.I like the lad; the work upon his portraitWas pastime--'t is already nigh complete.

ANNICCA.And has Maria sat here while you worked?

RIBERA (sharply).Why not? What would'st thou say? Speak, fret me notWith ticklish fears. Is she not by my side,For work or rest?

ANNICCA.Surely, I meant no harm.Father, how quick you are! I had but askedIf she, being here, had seen the work progress,And found it his true counterpart.

RIBERA.Annicca,There is something in your thought you hold from me.Have the lewd, prying eyes, the slanderous mindOf public envy, spied herein some mischief?What hast thou heard? By heaven, if one foul wordHave darkened the fair fame of my white dove,Naples shall rue it. Let them not forgetThe chapel of Saint Januarius!

ANNICCA (aside).Tommaso judged aright. I dare not tell him.Dear father, listen. Pray, be calm. Sit down;Your own hot rage engenders in my mindThoughts, fears, suspicions.

RIBERA (seating himself).I am foolish, hasty; but it makes me mad.Listen to me. Here sits the Prince before me;We talk, we laugh. We have discussed all themes,From the great Angelo's divinity,Down to the pest of flies that fret us hereAt the day's hottest. Sometimes he will paceThe studio--such young blood is seldom still.He brought me once his mandoline, and drewEloquent music thence. I study thusThe changeful play of soul. I catch the spiritBehind the veil, and burn it on the plate.Maria comes and goes--will sit awhileOver her broidery, then will haste awayAnd serve us with a dish of golden fruit.That is for me; she knows the sweet, cool juice,After long hours of work, refreshes meMore than strong wine. She meets his Royal HighnessAs the Ribera's child should meet a Prince--Nor over bold, nor timid; one would thinkTheir rank was equal, and that neither sprangFrom less than royal lineage.

ANNICCA.Why, I know it.Here is no need to excuse or justify.Speak rather of your work--is the plate finished?

RIBERA.So nigh, that were Don John to leave to-morrow,It might go with him.

ANNICCA.What! he leaves Naples?

RIBERA.Yea, but I know not when; he seems to waitMomently, orders from his MajestyTo travel onward.

ANNICCA (aside).Would he were well away!

RIBERA.What do you mutter? I grow deaf this side.

ANNICCA.I spake not, father. I regret with youThe Prince should leave us; you have more enjoyedHis young companionship than any strangersThese many years.

RIBERA.Well, well, enough of him.He hath a winning air--so far, so good.I know not that I place more trust in himThan in another. 'T is a lying world;I am too old now to be duped or dazzledBy fair externals.

MARIA.Father, see! my rosesHave blossomed over night; I bring you someTo prank your study. Sister, Don TommasoSeeks you below.

ANNICCA (rising).I will go to meet him. Father,Until to-morrow.

RIBERA.Truly, a gorgeous show!Pink, yellow, crimson, white--which is the fairest?Those with the deepest blush should best become you--Nay, they accord not with your hair's red gold;The white ones suit you best--pale, innocent,So flowers too can lie! Is not that strange?brushes aside all the flowers upon the floors, than picks one upI think not highly of your flowers, girl;I have plucked this leaf; it has no heart.See there!

MARIA.What have I done? Alas! what mean you?Have you then lost your reason?

RIBERA.Nay, but found it.I, who was dull of wit, am keen at last."Don John is comely," and "Don John is kind;""A wonderful musician is Don John,""A princely artist"--and then, meek of mien,You enter in his presence, modest, simple.And who beneath that kitten grace had spiedThe claws of mischief? Who! Why, all the world,Save the fond, wrinkled, hoary fool, thy father.Out, girl, for shame! He will be here anon;Hence to your room--he shall not find you here.Thank God, thank God! no evil hath been wroughtThat may not be repaired. I have sat byAt all your meetings. You shall have no more;Myself will look to that. Away, away!

RIBERA (looks after her).As one who has received a deadly hurt,She walks. What if my doubts be false? The terrorOf an unlooked-for blow, a treacherous thrustWhen least expected--that is all she showed.On a false charge, myself had acted thus.She had been moved far otherwise if guilty;She had wept, protested, begged--she had not leftWith such a proud and speechless show of grief.I was too harsh, too quick on slight suspicion.What did Annicca say? Why, she said naught.'T was her grave air, her sudden reticence,Her ill-assumed indifference. They play on me;They know me not. They dread my violent passions,Not guessing what a firm and constant bridleI hold them with. On just cause to be angered,Is merely human. Yet they sound my temper;They try to lead me like some half-tamed beast,That must be coaxed. Well, I may laugh thereat.But I am not myself to-day; strange painsShoot through my head and limbs and vex my spirit.Oh, I have wronged my child! Return, Maria!

Words in this poem 21
shapely a.
Well-formed; having a regular shape; comely; symmetrical. T.
lewd a.
Not clerical; laic; laical; hence, unlearned; simple. [OE.lewed, lewd, lay, ignorant, vile, AS. l laical, belonging to the laity.]
prying a.
Inspecting closely or impertinently.
hast
, 2d pers. sing. pres. of. Fave, contr. of havest.
shall v. i.
To owe; to be under obligation for. [OE. shal, schal, imp. sholde, scholde, AS. scal, sceal, I am obliged, imp. scolde, sceolde, inf. sculan; akin to OS. skulan, pres. skal, imp. skolda, D. zullen,]
aright adv.
Rightly; correctly; in a right way or form; without mistake or crime; as, to worship God aright. [Pref. a- + right.]
seating n.
The act of providong with a seat or seats; as, the seating of an audience.
pest n.
A fatal epidemic disease; a pestilence; specif., the plague. [L. pestis: cf. F. peste.]
studio n.
The working room of an artist. [It. studio, properly, study. See Study.]
mandoline n.
A small and beautifully shaped instrument resembling the lute. [F. mandoline, It. mandolino, dim. of mandola, fr. L. pandura. See Bandore.]
changeful a.
Full of change; mutable; inconstant; fickle; uncertain.
awhile adv.
For a while; for some time; for a short time. [Adj. a + while time, interval.]
highness n.
The state of being high; elevation; loftiness. [AS. heáhnes.]
gorgeous a.
Imposing through splendid or various colors; showy; fine; magnificent. [OF. gorgias beautiful, glorious, vain, luxurious; cf. OF. gorgias ruff, neck handkerchief, and F. gorge throat, and se pengorger to assume airs. Cf. Gorge, n.]
artist n.
One who practices some mechanic art or craft; an artisan. [F. artiste, LL. artista, fr. L. ars. See Art, n., and cf. Artiste.]
hoary a.
White or whitish."The hoary willows."
anon adv.
Straightway; at once. [OE. anoon, anon, anan, lit., in one (moment), fr. AS. on in + an one. See On and One.]
thank n.
A expression of gratitude; an acknowledgment expressive of a sense of favor or kindness received; obligation, claim, or desert, or gratitude; -- now generally used in the plural. [AS. Þanc, Þonc, thanks, favor, thought; akin to OS. thank favor, pleasure, thanks, D. & G. dank thanks, Icel. Þ\'94kk, Dan. tak, Sw. tack, Goth. Þagks thanks; -]
speechless a.
Destitute or deprived of the faculty of speech.
reticence n.
The quality or state of being reticent, or keeping silence; the state of holding one's tonque; refraining to speak of that which is suggested; uncommunicativeness. [L. reticentia: cf. F. réticence.]
thereat adv.
At that place; there.

Definitions and etymologies from Webster's Unabridged Dictionary, 1913.

About this text

Act III: Scene IV is in the public domain. This text is taken from The Poems of Emma Lazarus, Volume 1, Project Gutenberg ebook #3295; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.

Cite as: Emma Lazarus, Act III: Scene IV, in The Spagnoletto (1876), text of Project Gutenberg ebook #3295, Laurel, https://laurelpoetry.com/poem/lazarus-spagnoletto/act-iii-scene-iv.html, id L19144.

Form and metre

Act III: Scene IV is 144 lines in 22 stanzas.

Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.

Rhyme words, stanza by stanza

The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.

  1. 2 ----AA ribera · trick · sittings · me · portraitA · completeA
  2. 8 --A-------BB--BCAC---- himself · mad · meA · themes · divinity · here · pace · still · drew · thus · spiritB · plateB · awhile · away · fruitB · juiceC · meA · highnessC · prince · think · sprang · lineage
  3. 16 -A-ABB- ribera · himA · good · himA · worldB · dazzledB · externals
Scansion, line by line

Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. How this is done.

LineSyl.Stress
ANNICCA.3···
Has he come often?5···/˘
RIBERA.3˘/˘
Nay, I caught the trick5·····
Of his fair face in some half-dozen sittings.11·······/˘/˘
His is a bold and shapely head--it pleased me.11·····/˘····
I like the lad; the work upon his portrait11·········/˘
Was pastime--'t is already nigh complete.11·/···˘/˘·˘/
ANNICCA.3···
And has Maria sat here while you worked?10··˘/˘·····
RIBERA (sharply).5˘/˘/˘
Why not? What would'st thou say? Speak, fret me not10··········
With ticklish fears. Is she not by my side,10·/˘·······
For work or rest?4····
ANNICCA.3···
Surely, I meant no harm.6/˘····
Father, how quick you are! I had but asked10/˘········
If she, being here, had seen the work progress,10··/·····/·
And found it his true counterpart.8·····/˘·
RIBERA.3˘/˘
Annicca,3···
There is something in your thought you hold from me.11··/˘·······
Have the lewd, prying eyes, the slanderous mind10···/˘··/˘·
Of public envy, spied herein some mischief?11·/˘/˘·˘/·/˘
What hast thou heard? By heaven, if one foul word10·····/····
Have darkened the fair fame of my white dove,10·/˘·······
Naples shall rue it. Let them not forget10/˘······˘/
The chapel of Saint Januarius!8·/˘·····
ANNICCA (aside).5···˘/
Tommaso judged aright. I dare not tell him.11····˘/·····
Dear father, listen. Pray, be calm. Sit down;10·/˘/˘·····
Your own hot rage engenders in my mind10····/˘˘···
Thoughts, fears, suspicions.5··˘/˘
RIBERA (seating himself).7˘/˘/˘˘/
I am foolish, hasty; but it makes me mad.11··/˘/˘·····
Listen to me. Here sits the Prince before me;11/˘·········
We talk, we laugh. We have discussed all themes,10······˘/··
From the great Angelo's divinity,10···/˘·˘/˘˘
Down to the pest of flies that fret us here10··········
At the day's hottest. Sometimes he will pace10···/˘/····
The studio--such young blood is seldom still.11·/˘·····/˘·
He brought me once his mandoline, and drew10··········
Eloquent music thence. I study thus10/˘˘/˘··/˘·
The changeful play of soul. I catch the spirit11·/˘······/˘
Behind the veil, and burn it on the plate.10··········
Maria comes and goes--will sit awhile10˘/˘·····˘/
Over her broidery, then will haste away10··/˘˘···˘/
And serve us with a dish of golden fruit.10·······/˘·
That is for me; she knows the sweet, cool juice,10··········
After long hours of work, refreshes me10···/··˘/˘·
More than strong wine. She meets his Royal Highness11·······/˘/˘
As the Ribera's child should meet a Prince--10··˘/˘·····
Nor over bold, nor timid; one would think10·····/˘···
Their rank was equal, and that neither sprang10···/˘··/˘·
From less than royal lineage.8···/˘/˘˘
ANNICCA.3···
Why, I know it.4····
Here is no need to excuse or justify.11·····˘/·/˘·
Speak rather of your work--is the plate finished?11·/˘······/˘
RIBERA.3˘/˘
So nigh, that were Don John to leave to-morrow,11·········/˘
It might go with him.5·····
ANNICCA.3···
What! he leaves Naples?5···/˘
RIBERA.3˘/˘
Yea, but I know not when; he seems to wait10··········
Momently, orders from his Majesty10/˘˘/˘··/˘˘
To travel onward.5·/˘/˘
ANNICCA (aside).5···˘/
Would he were well away!6····˘/
RIBERA.3˘/˘
What do you mutter? I grow deaf this side.10···/˘·····
ANNICCA.3···
I spake not, father. I regret with you10···/˘·˘/··
The Prince should leave us; you have more enjoyed10········˘/
His young companionship than any strangers11··˘/˘··/˘/˘
These many years.4·/˘·
RIBERA.3˘/˘
Well, well, enough of him.6··˘/··
He hath a winning air--so far, so good.10···/˘·····
I know not that I place more trust in him10··········
Than in another. 'T is a lying world;11··˘/˘···/˘·
I am too old now to be duped or dazzled11·········/˘
By fair externals.5··˘/˘
MARIA.3˘/˘
Father, see! my roses6/˘··/˘
Have blossomed over night; I bring you some10·/˘·······
To prank your study. Sister, Don Tommaso11···/˘/˘····
Seeks you below.4····
ANNICCA (rising).5···/˘
I will go to meet him. Father,8······/˘
Until to-morrow.5···/˘
RIBERA.3˘/˘
Truly, a gorgeous show!6/˘·/˘·
Pink, yellow, crimson, white--which is the fairest?11·/˘/˘····/˘
Those with the deepest blush should best become you--11···/˘···˘/·
Nay, they accord not with your hair's red gold;10··˘/······
The white ones suit you best--pale, innocent,10·······/˘˘
So flowers too can lie! Is not that strange?10·/˘·······
brushes aside all the flowers upon the floors, than picks one up15/˘˘/··/········
I think not highly of your flowers, girl;10···/˘··/˘·
I have plucked this leaf; it has no heart.10···˘······
See there!2··
MARIA.3˘/˘
What have I done? Alas! what mean you?9····˘/···
Have you then lost your reason?7·····/˘
RIBERA.3˘/˘
Nay, but found it.4····
I, who was dull of wit, am keen at last.10··········
"Don John is comely," and "Don John is kind;"10···/˘·····
"A wonderful musician is Don John,"10·/˘˘˘/˘···
"A princely artist"--and then, meek of mien,10·/˘/˘·····
You enter in his presence, modest, simple.11·/˘··/˘/˘/˘
And who beneath that kitten grace had spied10·····/˘···
The claws of mischief? Who! Why, all the world,10···/˘·····
Save the fond, wrinkled, hoary fool, thy father.11···/˘/˘··/˘
Out, girl, for shame! He will be here anon;10········˘/
Hence to your room--he shall not find you here.10··········
Thank God, thank God! no evil hath been wrought10·····/˘···
That may not be repaired. I have sat by10····˘/····
At all your meetings. You shall have no more;10···/˘·····
Myself will look to that. Away, away!10·/····˘/˘/
RIBERA (looks after her).7˘/˘····
As one who has received a deadly hurt,10····˘/·/˘·
She walks. What if my doubts be false? The terror11·········/˘
Of an unlooked-for blow, a treacherous thrust10··˘/···/˘·
When least expected--that is all she showed.10··˘/˘·····
On a false charge, myself had acted thus.10·····/·/˘·
She had been moved far otherwise if guilty;11·····/˘··/˘
She had wept, protested, begged--she had not left11···˘/˘·····
With such a proud and speechless show of grief.10·····/˘···
I was too harsh, too quick on slight suspicion.11········˘/˘
What did Annicca say? Why, she said naught.10··········
'T was her grave air, her sudden reticence,11······/˘/˘˘
Her ill-assumed indifference. They play on me;11··˘/˘/˘····
They know me not. They dread my violent passions,11·······/˘/˘
Not guessing what a firm and constant bridle11·/˘····/˘/˘
I hold them with. On just cause to be angered,11·········/˘
Is merely human. Yet they sound my temper;11·/˘/˘····/˘
They try to lead me like some half-tamed beast,10··········
That must be coaxed. Well, I may laugh thereat.10········˘/
But I am not myself to-day; strange pains10·····/····
Shoot through my head and limbs and vex my spirit.11·········/˘
Oh, I have wronged my child! Return, Maria!11······˘/˘/˘

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