_The same scene. As the curtain rises, Laudisi is sprawling
in an easy chair, reading a book. Through the door that
leads into the parlor on the left comes the confused murmur
of many voices._
_The butler appears in the rear door, introducing the police
commissioner_, CENTURI. CENTURI _is a tall, stiff, scowling
official, with a decidedly professional air. He is in the
neighborhood of forty._
THE BUTLER. This way, sir. I will call Signor Agazzi at
once.
LAUDISI (_drawing himself up in his chair and looking
around_). Oh, it's you, Commissioner! (_He rises hastily and
recalls the butler, who has stepped out through the door_).
One moment, please! Wait! (_To Centuri_). Anything new,
Commissioner?
COMMISSIONER (_stiffly_). Yes, something new!
LAUDISI. Ah! Very well. (_To the butler_): Never mind. I'll
call him myself. (_He motions with his hand toward the door
on the left. The butler bows and withdraws_).
You have worked miracles, Commissioner! You're the savior of
this town. Listen! Do you hear them! You are the lion of the
place! How does it feel to be the father of your country?
But say, what you've discovered is all solid fact?
COMMISSIONER. We've managed to unearth a few people.
LAUDISI. From Ponza's town? People who know all about him?
COMMISSIONER. Yes! And we have gathered from them a few
facts,--not many, perhaps, but well authenticated.
LAUDISI. Ah, that's nice. Congratulations! For example....
COMMISSIONER. For example? Why, for instance, here ... well,
here are all the communications I have received. Read 'em
yourself!
(_From an inner pocket he draws a yellow envelope, opened at
one end, from which he takes a document and hands it to
Laudisi_).
LAUDISI. Interesting, I am sure. Very interesting!...
(_He stands, reading the document carefully, commenting from
time to time with exclamations in different tones. First an
"ah" of satisfaction, then another "ah" which attenuates
this enthusiasm very much. Finally an "eh" of
disappointment, which leads to another "eh" of complete
disgust_).
Why, no, what's all this amount to, Commissioner?
COMMISSIONER. Well, it's what we were able to find out.
LAUDISI. But this doesn't prove anything, you understand! It
leaves everything just where it was. There's nothing of any
significance whatever here. (_He looks at the commissioner
for a moment and then, as though suddenly making up his
mind, he says_): I wonder, Commissioner, would you like to
do something really great--render a really distinguished
service to this town; and meanwhile lay up a treasure in
heaven?
COMMISSIONER (_looking at him in perplexity_). What are you
thinking of sir?
LAUDISI. I'll explain. Here, please, take this chair! (_He
sets the chair in front of Agazzi's desk_). I advise you,
Mr. Commissioner, to tear up this sheet of paper that you've
brought and which has absolutely no significance at all. But
here on this other piece of paper, why don't you write down
something that will be precise and clear?
COMMISSIONER. Why ... why ... myself? What do you mean? What
should I write?
LAUDISI. Anything, anything at all! Anything that comes into
your head, provided, however, it be _precise_ and _clear_!
Say, for instance, that Signora Frola is a lunatic, or, if
you will, if you prefer, that the second marriage of Ponza's
was a frame-up!
COMMISSIONER. I don't get you, Signor Laudisi. What are you
driving at? I forge the document?
LAUDISI (_insisting_). Forge? Just say
something--anything--that these two old acquaintances of
Ponza's whom you managed to get hold of might have said.
Come, Commissioner, rise to the occasion! Do something for
the commonwealth! Bring this town back to normal again!
Don't you see what they are after? They all want the
truth--_a_ truth, that is: Something specific; something
concrete! They don't care what it is. All they want is
something categorical, something that speaks plainly! Then
they'll quiet down.
COMMISSIONER. _The_ truth--_a_ truth? Excuse me, have I
understood you clearly? You were suggesting that I commit a
forgery? I am astonished that you dare propose such a thing,
and when I say I am astonished, I'm not saying half what I
actually feel. Be so good as to tell the Commendatore that I
am here!
LAUDISI (_dropping his arms dejectedly_). As you will,
Commissioner!
(_He steps over to the door on the left. As he draws the
portières and swings the door more widely open, the voices
become louder and more confused. As he steps through, there
is a sudden silence. The police commissioner stands waiting
with a satisfied air, twirling one of the points of his
mustache. All of a sudden, there is commotion and cheering
in the next room. Cries of delight and applause, mixed with
hand-clapping. The police commissioner comes out of his
reverie and looks up with an expression of surprise on his
features, as though not understanding what it's all about.
Through the door to the left come Agazzi, Sirelli, Laudisi,
Amalia, Dina, Signora Sirelli, Signora Cini, Signora Nenni,
and many other ladies and gentlemen. Agazzi leads the
procession. They are all still talking and laughing
excitedly, clapping their hands, and crying "I told you so!
Fine! Fine! Good! How wonderful! Now we'll know!" etc._).
AGAZZI (_stepping forward cordially_). Ah, my dear Centuri,
I was sure you could! Nothing ever gets by _our_ chief!
COMPANY. Fine! Good! What did you find out! Have you brought
something? Is it she? Is it he? Tell us?
COMMISSIONER (_who doesn't yet understand what all the
excitement is about. For him it has been a mere matter of
routine_). Why, no ... why, Commendatore, simply ... you
understand....
AGAZZI. Hush! Give him a chance!...
COMMISSIONER. I have done my best. I ... but what did Signor
Laudisi tell you?
AGAZZI. He told us that you have brought news, real news!
SIRELLI. Specific data, clear, precise!...
LAUDISI (_amplifying_). ... not many, perhaps, but well
authenticated! The best they've managed to trace! Old
neighbors of Ponza, you see; people well acquainted with
him....
EVERYBODY. Ah! At last! At last! Now we'll know I At last!
(_The Commissioner hands the document to Agazzi_).
COMMISSIONER. There you have it, Commendatore!
AGAZZI (_opening the sheet; as all crowd around him_). Let's
have a look at it!
COMMISSIONER. But you, Signor Laudisi....
LAUDISI. Don't interrupt, please, the document speaks for
itself! Agazzi, you read it.
AGAZZI (_to Laudisi_). But give me a chance, won't you?
Please! Please! Now! There you are!
LAUDISI. Oh, I don't care. I've read the thing already.
EVERYBODY (_crowding around him_). You've read it already?
What did it say? Is it he? Is it she?
LAUDISI (_speaking very formally_). There is no doubt
whatever, as a former neighbor of Ponza's testifies, that
the woman Frola was once in a sanatorium!
THE GROUP (_cries of disappointment_). Oh really! Too bad!
Too bad!
SIGNORA SIRELLI. Signora Frola, did you say?
DINA. Are you sure it was she?
AGAZZI. Why, no! Why, no, it doesn't say anything of the
kind! (_Coming forward and having the document
triumphantly_). It doesn't say anything of the kind!
(_General excitement_).
EVERYBODY. Well, what does it say? What does it say?
LAUDISI (_insisting_). It does too! It says "the Frola
woman"--the Frola woman, categorically.
AGAZZI. Nothing of the kind! The witness says that he
_thinks_ she was in a sanatorium. He does not assert that
she was. Besides, there is another point. He doesn't know
whether this Frola woman who was in a sanatorium was the
mother or the daughter, the first wife, that is!
EVERYBODY (_with relief_). Ah!
LAUDISI (_insistingly_). But I say he does. It must be the
mother! Who else could it be?
SIRELLI. No, of course, it's the daughter! It's the
daughter!
SIGNORA SIRELLI. Just as the old lady said herself!
AMALIA. Exactly! That time when they took her away by force
from her husband!...
DINA. Yes, she says that her daughter was taken to a
sanatorium on account of a contagious disease.
AGAZZI. Furthermore, observe another thing. The witness does
not really belong to their town. He says that he used to go
there frequently, but that he does not remember
particularly. He remembers that he heard something or
other!...
SIRELLI. Ah! How can you depend on such a man's testimony?
Nothing but hearsay!
LAUDISI. But, excuse me! If all you people are so sure that
Signora Frola is right, what more do you want? Why do you go
looking for documents? This is all nonsense!
SIRELLI. If it weren't for the fact that the prefect has
accepted Ponza's side of the story, I'll tell you....
COMMISSIONER. Yes, that's true. The prefect said as much to
me....
AGAZZI. Yes, but that's because the prefect has never talked
with the old lady who lives next door.
SIGNORA SIRELLI. You bet he hasn't. He talked only with
Ponza.
SIRELLI. But, for that matter, there are other people of the
same mind as the prefect.
A GENTLEMAN. That is my situation, my situation exactly. Yes
sir! Because I know of just such as case where a mother went
insane over the death of her daughter and insists that the
daughter's husband will not allow her to see the girl. The
same case to a _T_.
A SECOND GENTLEMAN. Not exactly to a T! Not exactly to a T!
In the case you mention the man didn't marry again. Here,
this man Ponza is living with another woman....
LAUDISI (_his face brightening with a new idea that has
suddenly come to him_). I have it, ladies and gentlemen! Did
you hear that? It's perfectly simple. Dear me, as simple as
Columbus's egg!
EVERYBODY. What? What? What? What?
THE SECOND GENTLEMAN. What did I say? I didn't realize it
was important.
LAUDISI. Just a moment, ladies and gentlemen! (_Turning to
Agazzi_): Is the prefect coming here, by chance?
AGAZZI. Yes, we were expecting him. But what's the new idea?
LAUDISI. Why, you were bringing him here to talk with
Signora Frola. So far, he is standing by Ponza. When he has
talked with the old lady, he'll know whether to believe
Ponza or her. That's _your_ idea! Well, I've thought of
something better that the prefect can do. Something that he
only can do.
EVERYBODY. What is it? What is it? What is it?
LAUDISI (_triumphantly_). Why, this wife of Ponza's, of
course ... at least, the woman he is living with! What this
gentleman said suggested the idea to me.
SIRELLI. Get the second woman to talk? Of course! Of course!
DINA. But how can we, when she is kept under lock and key?
LAUDISI. Why, the prefect can use his authority--order her
to speak!
AMALIA. Certainly, she is the one who can clear up the whole
mystery.
SIGNORA SIRELLI. I don't believe it. She'll say just what
her husband tells her to say.
LAUDISI. Of course, if she were to speak in his presence of
course!
SIRELLI. She must speak with the prefect privately, all by
himself.
AGAZZI. And the prefect, as the final authority over the
man, will insist that the wife make a formal explicit
statement before him. Of course, of course! What do you say,
Commissioner?
COMMISSIONER. Why certainly, there's no doubt that if the
prefect were so inclined....
AGAZZI. It is the only way out of it, after all. We ought to
'phone him and explain that he needn't go to the trouble of
coming here. You attend to that, will you, Commissioner?
COMMISSIONER. Very glad to! My compliments, ladies! Good
afternoon, gentlemen!
SIGNORA SIRELLI. A good idea for once, Laudisi.
DINA. Oh, Nunky, how clever of you! Wise old Nunky!
THE COMPANY. The only way out of it! Yes! Yes! Fine! At
last!
AGAZZI. Curious none of us thought of that before!
SIRELLI. Not so curious! None of us ever set eyes on the
woman. She might as well be in another world, poor girl.
LAUDISI (_as though suddenly impressed by this latter
reflection_). In another world? Why yes,--are you really
sure there is such a woman?
AMALIA. Oh I say! Please, please, Lamberto!
SIRELLI (_with a laugh_). You mean to say you think there is
no such woman?
LAUDISI. How can you be sure there is? You can't guarantee
it!
DINA. But the old lady sees her and talks with her every
day.
SIGNORA SIRELLI. And Ponza says that, too. They both agree
on that point!
LAUDISI. Yes, yes, I don't deny that. But just a moment! If
you think of it, isn't Signora Frola right? Well, in that
case who is the woman in Ponza's eyes? The phantom of a
second wife, of course! Or else Ponza himself is right, and
in that case you have the phantom of a daughter in the old
lady's eyes! Two phantoms, in other words! Now we've got to
find out, ladies and gentlemen, whether this woman, who must
be a mere phantom for the one or for the other, is a person,
after all for herself. In the situation we are in, I should
say there was very good ground for doubting.
AGAZZI. Oh, you make me tired! If we listen to you....
LAUDISI. No, ladies and gentlemen, notice! It may be that
she is nothing but a phantom in her own eyes.
SIGNORA NENNI. Why, this is getting to be almost spooky!
SIGNORA CINI. You mean to say it's a ghost, a real ghost?
How can you frighten us so?
EVERYBODY. Nonsense! He's only joking! He's only joking!
LAUDISI. Not a bit of it! I'm not joking at all! Who ever
saw the woman? No one ever set eyes on her. He talks of her,
to be sure; and she, the old woman that is, says that she
often sees her.
SIRELLI. Nonsense! Any number of people have seen her; she
comes to the balcony of the courtyard.
LAUDISI. Who comes to the balcony?
SIRELLI. A woman in flesh and bones--in skirts, for that
matter. People have seen her and people have heard her talk.
For heaven's sake, man!
LAUDISI. Are you sure of that?
AGAZZI. And why not, pray? You said so yourself a moment
ago!
LAUDISI. Why yes, I did say so! I did say that the prefect
ought to have a talk with whatever woman is there. But
notice one thing, it is certain that no ordinary woman is
there. No _ordinary_ woman! Of that much we can be sure! And
I, for my part, have come to doubt whether she is in any
sense of the term, a woman.
SIGNORA SIRELLI Dear me, dear me! That man simply drives me
crazy.
LAUDISI. Well, supposing we wait and see!
EVERYBODY. Well, who is she then? But people have seen her!
His wife! On the balcony! She writes letters!
POLICE COMMISSIONER (_in the heat of the confusion comes
into the room, excitedly announcing_). The prefect is
coming! The prefect!
AGAZZI. What do you mean? Coming here? But you went to....
COMMISSIONER. Why yes, but I met him hardly a block away. He
was coming here; and Ponza is with him.
SIRELLI. Ah, Ponza!
AGAZZI. Oh, if Ponza is with him, I doubt whether he is
coming here. They are probably on their way to the old
lady's. Please, Centuri, you just wait on the landing there
and ask him if he won't step in here as he promised?
COMMISSIONER. Very well! I'll do so! (_He withdraws
hurriedly through the door in the rear_).
AGAZZI. Won't you people just step into the other room?
SIGNORA SIRELLI. But remember now, be sure to make him see
the point! It's the only way out, the only way.
AMALIA (_at the door to the left_). This way, ladies, if you
please!
AGAZZI. Won't you just stay here, Sirelli; and you, too,
Lamberto?
(_All the others go out through the door to the left_).
AGAZZI (_to Laudisi_). But let me do the talking, won't you!
LAUDISI. Oh, as for that, don't worry. In fact, if you
prefer, I'll go into the other room....
AGAZZI. No, no, it's better for you to be here. Ah, here he
is now!
THE PREFECT _is a man of about sixty, tall, thick set, good
natured, affable._
PREFECT. Ah, Agazzi, glad to see you. How goes it, Sirelli?
Good to see you again, Laudisi. (_He shakes hands all
around_).
AGAZZI (_motioning toward a chair_). I hope you won't mind
my having asked you to come here.
PREFECT. No, I was coming, just as I promised you!
AGAZZI (_noticing the police commissioner at the door_). Oh,
I'm sorry, Commissioner! Please come in! Here, have a chair!
PREFECT (_good-naturedly to Sirelli_). By the way, Sirelli,
they tell me that you've gone half nutty over this blessed
affair of our new secretary.
SIRELLI. Oh, no, governor, believe me. I'm not the only one!
The whole village is worked up.
AGAZZI. And that's putting it very mildly.
PREFECT. What's it all about? What's it all about? Good
heavens!
AGAZZI. Of course, governor, you're probably not posted on
the whole business. The old lady lives here next door....
PREFECT. Yes, I understand so.
SIRELLI. No, one moment, please, governor. You haven't
talked with the poor old lady yet.
PREFECT. I was on my way to see her. (_Turning to Agazzi_).
I had promised you to see her here, but Ponza came and
begged me, almost on my knees, to see her in her own house.
His idea was to put an end to all this talk that's going
around. Do you think he would have done such a thing if he
weren't absolutely sure?
AGAZZI. Of course, he's sure! Because when she's talking in
front of him, the poor woman....
SIRELLI (_suddenly getting in his oar_). She says just what
he wants her to say, governor; which proves that she is far
from being as insane as he claims.
AGAZZI. We had a sample of that, here, yesterday, all of us.
PREFECT. Why, I understand so. You see he's trying all the
time to make her believe he's crazy. He warned me of that.
And how else could he keep the poor woman in her illusion?
Do you see any way? All this talk of yours is simply torture
to the poor fellow! Believe me, pure torture!
SIRELLI. Very well, governor! But supposing _she_ is the one
who is trying to keep _him_ in the idea that her daughter is
dead; so as to reassure him that his wife will not be taken
from him again. In that case, you see, governor, it's the
old lady who is being tortured, and not Ponza!
AGAZZI. The moment you see the possibility of that,
governor.... Well, you ought to hear her talk; but all by
herself, when he's not around. Then you'd see the
possibility all right....
SIRELLI. Just as we all see it!
PREFECT. Oh, I wonder! You don't seem to me so awfully sure;
and for my part, I'm quite willing to confess that I'm not
so sure myself. How about you, Laudisi?
LAUDISI. Sorry, governor, I promised Agazzi here to keep my
mouth shut.
AGAZZI (_protesting angrily_). Nothing of the kind! How dare
you say that? When the governor asks you a plain
question.... It's true I told him not to talk, but do you
know why? He's been doing his best for the past two days to
keep us all rattled so that we can't find out anything.
LAUDISI. Don't you believe him, governor. On the contrary.
I've been doing my best to bring these people to common
sense.
SIRELLI. Common sense! And do you know what he calls common
sense? According to him it is not possible to discover the
truth; and now he's been suggesting that Ponza is living not
with a woman, but with a ghost!
PREFECT (_enjoying the situation_). That's a new one! Quite
an idea! How do you make that out, Laudisi?
AGAZZI. Oh, I say!... You know how he is. There's no getting
anywhere with him!
LAUDISI. I leave it to you, governor. I was the one who
first suggested bringing the woman here.
PREFECT. And do you think, Laudisi, I ought to see the old
lady next door?
LAUDISI. No, I advise no such thing, governor. In my
judgment you are doing very well in depending on what Ponza
tells you.
PREFECT. Ah, I see! Because you, too, think that Ponza....
LAUDISI. No, not at all ... because I'm also satisfied to
have all these people stand on what Signora Frola says, if
that does them any good.
AGAZZI. So you see, eh, governor? That's what you call
arguing, eh?
PREFECT. Just a moment! Let me understand! (_Turning to
Laudisi_): So you say we can also trust what the old lady
says?
LAUDISI. Of course you can! Implicitly! And so you can
depend upon what Ponza says. Implicitly!
PREFECT. Excuse me, I don't follow you!
SIRELLI. But man alive, if they both say the exact opposite
of each other!...
AGAZZI (_angrily and with heat_). Listen to me, governor,
please. I am prejudiced neither in favor of the old lady nor
in favor of Ponza. I recognize that he may be right and that
she may be right. But we ought to settle the matter, and
there is only one way to do it.
SIRELLI. The way that Laudisi here suggested.
PREFECT. He suggested it? That's interesting? What is it?
AGAZZI. Since we haven't been able to get any positive
proof, there is only one thing left. You, as Ponza's final
superior, as the man who can fire him if need be, can obtain
a statement from his wife.
PREFECT. Make his wife talk, you mean?
SIRELLI. But not in the presence of her husband, you
understand.
AGAZZI. Yes, making sure she tells the truth!
SIRELLI. ... tell whether she's the daughter of Signora
Frola, that is, as we think she must be....
AGAZZI. ... or a second wife who is consenting to
impersonate the daughter of Signora Frola, as Ponza claims.
PREFECT. ... and as I believe myself, without a shadow of
doubt! (_Thinking a moment_) Why, I don't see any objection
to having her talk. Who could object? Ponza? But Ponza, as I
know very well, is more eager than anybody else to have this
talk quieted down. He's all upset over this whole business,
and said he was willing to do anything I proposed. I'm sure
he will raise no objection. So if it will ease the minds of
you people here.... Say, Centuri (_the police commissioner
rises_), won't you just ask Ponza to step in here a moment?
He's next door with his mother-in-law.
COMMISSIONER. At once, Your Excellency! (_He bows and
withdraws through the door at the rear_).
AGAZZI. Oh well, if he consents....
PREFECT. He'll consent, all right. And we'll be through with
it in a jiffy. We'll bring her right in here so that you
people....
AGAZZI. Here, in my house?
SIRELLI. You think he'll let his wife come in here?
PREFECT. Just leave it to me, just leave it to me! I prefer
to have her right here because, otherwise you see, you
people would always suppose that I and Ponza had....
AGAZZI. Oh, please, governor, no! That's not fair!
SIRELLI. Oh, no, governor, we trust you implicitly!
PREFECT. Oh, I'm not offended, not at all! But you know very
well that I'm on his side in this matter; and you'd always
be thinking that to hush up any possible scandal in
connection with a man in my office.... No, you see. I must
insist on having the interview here.... Where's your wife,
Agazzi?
AGAZZI. In the other room, governor, with some other ladies.
PREFECT. Other ladies? Aha, I see! (_Laughing_). You have a
regular detective bureau here, eh? (_The police commissioner
enters with Ponza_).
COMMISSIONER. May I come in? Signor Ponza is here.
PREFECT. Thanks, Centuri. This way, Ponza, come right in!
(_Ponza bows_).
AGAZZI. Have a chair, Ponza. (_Ponza bows and sits down_).
PREFECT. I believe you know these gentlemen? (_Ponza rises
and bows_).
AGAZZI. Yes, I introduced them yesterday. And this is
Laudisi, my wife's brother. (_Ponza bows_).
PREFECT. I venture to disturb you, my dear Ponza, just to
tell you that here with these friends of mine.... (_At the
first words of the prefect, Ponza evinces the greatest
nervousness and agitation_).
PREFECT. Was there something you wanted to say, Ponza?
PONZA. Yes, there is something I want to say, governor. I
want to present my resignation here and now.
PREFECT. Oh, my dear fellow, I'm so sorry! But just a few
moments ago down at the office you were talking....
PONZA. Oh, really, this is an outrage, governor! This is
just plain persecution, plain persecution!
PREFECT. Oh, now, don't take it that way, old man. See here.
These good people....
AGAZZI. Persecution, did you say? On my part?...
PONZA. On the part of all of you! And I am sick and tired of
it! I am going to resign, governor. I refuse to submit to
this ferocious prying into my private affairs which will end
by undoing a work of love that has cost me untold sacrifice
these past two years. You don't know, governor! Why, I've
treated that dear old lady in there just as tenderly as
though she were my own mother. And yesterday I had to shout
at her in the most cruel and terrible way! Why, I found her
just now so worked up and excited that....
AGAZZI. That's queer! While she was in here Signora Frola
was quite mistress of herself. If anybody was worked up,
Ponza, it was you. And even now, if I might say....
PONZA. But you people don't know what you're making me go
through!
PREFECT. Oh, come, come, my dear fellows, don't take it so
hard. After all, I'm here, am I not? And you know I've
always stood by you! And I always will!
PONZA. Yes, governor, and I appreciate your kindness,
really!
PREFECT. And then you say that you're as fond of this poor
old lady as you would be if she were your own mother. Well,
now, just remember that these good people here seem to be
prying into your affairs because they, too, are fond of
her!...
PONZA. But they're killing her, I tell you, governor!
They're killing her, and I warned them in advance.
PREFECT. Very well, Ponza, very well! Now we'll get through
with this matter in no time. See here, it is all very
simple. There is one way that you can convince these people
without the least doubt in the world. Oh, not me--I don't
need convincing. I believe _you_.
PONZA. But _they_ won't believe me, no matter what I say.
AGAZZI. That's not so! When you came here after your
mother-in-law's first visit and told us that she was insane,
all of us ... well, we were surprised, but we believed you.
(_Turning to the prefect_): But after he left, you
understand, the old lady came back....
PREFECT. Yes, yes, I know. He told me. (_Turning to Ponza
again_). She came back here and said that she was trying to
do with you exactly what you say you were trying to do with
her. It's natural, isn't it, that people hearing both
stories, should be somewhat confused. Now you see that these
good people, in view of what your mother-in-law says, can't
possibly be sure of what you say. So there you are. Now,
such being the case, you and your mother-in-law--why, it's
perfectly simple--you two just step aside. Now you know
you're telling the truth, don't you? So do I! So you can't
possibly object to their hearing the testimony of the only
person who does know, aside from you two.
PONZA. And who may that be, pray?
PREFECT. Why, your wife!
PONZA. My wife! (_Decisively and angrily_). Ah, no! I
refuse! Never in the world! Never!
PREFECT. And why not, old man?
PONZA. Bring my wife here to satisfy the curiosity of these
strangers?
PREFECT (_sharply_). And my curiosity, too, if you don't
mind! What objection can you have?
PONZA. Oh, but governor, no! My wife! Here? No! Why drag my
wife in? These people ought to believe me!
PREFECT. But don't you see, my dear fellow, that the course
you're taking now is just calculated to discredit what you
say?
AGAZZI. His mistake in the first place, governor, was trying
to prevent his mother-in-law from coming here and calling--a
double discourtesy, mark you, to my wife and to my daughter!
PONZA. But what in the name of God do you people want of me?
You've been nagging and nagging at that poor old woman next
door; and now you want to get your clutches on my wife! No,
governor! I refuse to submit to such an indignity! She owes
nothing to anybody. My wife is not making visits in this
town. You say you believe me, governor? That's enough for
me! Here's my resignation! I'll go out and look for another
job!
PREFECT. No, no, Ponza, I must speak plainly. In the first
place I have always treated you on the square; and you have
no right to speak in that tone of voice to me. In the second
place you are beginning to make me doubt your word by
refusing to furnish me--not other people--but me, the
evidence that I have asked for in your interest, evidence,
moreover, that so far as I can see, cannot possibly do you
any harm. It seems to me that my colleague here, Signor
Agazzi, can ask a lady to come to his house! But no, if you
prefer, we'll go and see her.
PONZA. So you really insist, governor?
PREFECT. I insist, but as I told you, in your own interest.
You realize, besides, that I might have the legal right to
question her....
PONZA. I see, I see! So that's it! An official
investigation! Well, why not, after all? I will bring my
wife here, just to end the whole matter. But how can you
guarantee me that this poor old lady next door will not
catch sight of her?
PREFECT. Why, I hadn't thought of that! She does live right
next door.
AGAZZI (_speaking up_). We are perfectly willing to go to
Signor Ponza's house.
PONZA. No, no, I was just thinking of you people. I don't
want you to play any more tricks on me. Any mistakes might
have the most frightful consequences, set her going again!
AGAZZI. You're not very fair to us, Ponza, it seems to me.
PREFECT. Or you might bring your wife to my office,
rather....
PONZA. No, no! Since you're going to question her anyway, we
might as well get through with it. We'll bring her here,
right here. I'll keep an eye on my mother-in-law myself.
We'll have her here right away, governor, and get an end of
this nonsense once and for all, once and for all! (_He
hurries away through the rear exit_.)
PREFECT. I confess I was not expecting so much opposition on
his part.
AGAZZI. Ah, you'll see. He'll go and cook up with his wife
just what she's to say!
PREFECT. Oh, don't worry as to that! I'll question the woman
myself.
SIRELLI. But he's more excited than he's ever been before.
PREFECT. Well, I confess I never saw him just in this state
of mind. Perhaps it is the sense of outrage he feels in
having to bring his wife....
SIRELLI, In having to let her loose for once, you ought to
say!
PREFECT. A man isn't necessarily crazy because he wants to
keep an eye on his wife.
AGAZZI. Of course he says it's to protect her from the
mother-in-law.
PREFECT. I wasn't thinking of just that--he may be jealous
of the woman!
SIRELLI. Jealous to the extent of refusing her a servant?
For you know, don't you, he makes his wife do all the
housework?
AGAZZI. And he does all the marketing himself every morning.
COMMISSIONER. That's right, governor! I've had him shadowed.
An errand boy from the market carries the stuff as far as
the door.
SIRELLI. But he never lets the boy inside.
PREFECT. Dear me, dear me! He excused himself for that
servant business when I took the matter up with him.
LAUDISI. And that's information right from the source!
PREFECT. He says he does it to save money.
LAUDISI. He has to keep two establishments on one salary.
SIRELLI. Oh, we weren't criticising how he runs his house;
but I ask you as a matter of common sense: he is a man of
some position, and do you think that this second wife of
his, as he calls her, who ought to be a lady, would consent
to do all the work about the house?...
AGAZZI. The hardest and most disagreeable work, you
understand....
SIRELLI. ... just out of consideration for the mother of her
husband's first wife?
AGAZZI. Oh, I say, governor, be honest now! That doesn't
seem probable, does it?
PREFECT. I confess it does seem queer....
LAUDISI. ... in case this second woman is an ordinary woman!
PREFECT. Yes, but let's be frank. It doesn't seem
reasonable. But yet, one might say--well, you could explain
it as generosity on her part, and even better, as jealousy
on his part. Lunatic or no lunatic, there is no denying that
he's jealous!
(_A confused clamor of voices is heard from the next door_).
AGAZZI. My, I wonder what's going on in there!
(_Amalia enters from the door on the left in a state of
great excitement_).
AMALIA. Signora Frola is here!
AGAZZI. Impossible! How in the world did she get in? Who
sent for her?
AMALIA. Nobody! She came of her own accord!
PREFECT. Oh, no, please--just a moment! No! Send her away,
madam, please!
AGAZZI. We've got to get rid of her. Don't let her in here!
We must absolutely keep her out!
(_Signora Frola appears at the door on the left, trembling,
beseeching, weeping, a handkerchief in her hand. The people
in the next room are crowding around behind her_).
SIGNORA FROLA. Oh, please, please! You tell them, Signor
Agazzi! Don't let them send me away!
AGAZZI. But you must go away, madam! We simply can't allow
you to be here now!
SIGNORA FROLA (_desperately_). Why? Why? (_Turning to
Amalia_). I appeal to you, Signora Agazzi.
AMALIA. But don't you see? The prefect is there! They're
having an important meeting.
SIGNORA FROLA. Oh, the prefect! Please, governor, please! I
was intending to go and see you.
PREFECT. No, I am so sorry, madam. I can't see you just now!
You must go away!
SIGNORA FROLA. Yes, I am going away. I am going to leave
town this very day! I am going to leave town and never come
back again!
AGAZZI. Oh, we didn't mean that, my dear Signora Frola. We
meant that we couldn't see you here, just now, in this room.
Do me a favor, please! You can see the governor by and by.
SIGNORA FROLA. But why? I don't understand! What's happened!
AGAZZI. Why, your son-in-law will soon be here! There, now
do you see?
SIGNORA FROLA. Oh, he's coming here? Oh, yes, in that
case.... Yes, yes, ... I'll go! But there was something I
wanted to say to you people. You must stop all this. You
must let us alone. You think you are helping me. You are
trying to do me a favor; but really, what you're doing is
working me a great wrong. I've got to leave town this very
day because he must not be aroused. What do you want of him
anyway? What are you trying to do to him? Why are you having
him come here? Oh, Mr. Governor....
PREFECT. Come, Signora Frola, don't worry, don't worry. I'll
see you by and by and explain everything. You just step out
now, won't you?
AMALIA. Please, Signora Frola ... yes, that's right! Come
with me!
SIGNORA FROLA. Oh, my dear Signora Agazzi, you are trying to
rob me of the one comfort I had in life, the chance of
seeing my daughter once in a while, at least from a
distance! (_She begins to weep_).
PREFECT. What in the world are you thinking of? We are not
asking you to leave town. We just want you to leave this
room, for the time being. There, now do you understand?
SIGNORA FROLA. But it's on his account, governor ... it's on
his account I was coming to ask you to help him! It was on
his account, not on mine!
PREFECT. There, there, everything will be all right. We'll
take care of him. And we'll have this whole business settled
in a jiffy.
SIGNORA FROLA. But how ... how can I be sure? I can see that
everybody here hates him. They are trying to do something to
him.
PREFECT. No, no, not at all! And even if they were, I would
look after him. There, there, don't worry, don't worry!
SIGNORA FROLA. Oh, so you believe him? Oh, thank you; thank
you, sir! That means that at least _you_ understand!
PREFECT. Yes, yes, madam, I understand, I understand! And I
cautioned all these people here. It's a misfortune that came
to him long, long ago. He's all right now! He's all right
now!
SIGNORA FROLA. ... Only he must not go back to all those
things.
PREFECT. You're right, you're quite right, Signora Frola,
but as I told you, I understand!
SIGNORA FROLA. Yes, governor, that's it! If he compels us to
live this way--well, what does it matter. That doesn't do
anybody any harm so long as we're satisfied, and my daughter
is happy this way. That's enough for me, and for her! But
you'll look after us, governor. They mustn't spoil anything.
Otherwise there's nothing left for, me except to leave town
and never see her again--never, not even from a distance.
You must not irritate him. You must leave him alone. Oh,
please!
(_At this moment a wave of surprise, anxiety, dismay, sweeps
over the company. Everybody falls silent and turns to the
door. Suppressed exclamations are audible._)
VOICES. Oh! Oh! Look! There she is! Oh! Oh!
SIGNORA FROLA (_noticing the change in people, and groaning,
all of a tremble_). What's the matter? What's the matter?
(_The company divides to either hand. A lady has appeared at
the door in back. She is dressed in deep mourning and her
face is concealed with a thick, black, impenetrable veil_).
SIGNORA FROLA (_uttering a piercing shriek of joy_). Oh,
Lena! Lena! Lena! Lena!
(_She dashes forward and throws her arms about the veiled
woman with the passionate hysteria of a mother who has not
embraced her daughter for years and years. But at the same
time from beyond the door in the rear another piercing cry
comes. Ponza dashes into the room_).
PONZA. No! Julia! Julia! Julia!
(_At his voice Signora Ponza draws up stiffly in the arms of
Signora Frola who is clasping her tightly. Ponza notices
that his mother-in-law is thus desperately entwined about
his wife and he shrieks desperately_).
PONZA. Cowards! Liars! I knew you would! I knew you would!
It is just like the lot of you!
SIGNORA PONZA (_turning her veiled head with a certain
austere solemnity toward her husband_). Never mind! Don't be
afraid! Just take her away, just take her away! Please go
away, now, both of you! Please go away!
(_Signora Frola, at these words, turns to her son-in-law and
humbly, tremblingly, goes over and embraces him_).
SIGNORA FROLA. Yes, yes, you poor boy, come with me, come
with me!
(_Their arms about each other's waists, and holding each
other up affectionately, Ponza and his mother-in-law
withdraw through the rear door. They are both weeping.
Profound silence in the company. All those present stand
there with their eyes fixed upon the departing couple. As
Signora Frola and Ponza are lost from view, all eyes turn
expectantly upon the veiled lady. Some of the women are
weeping_).
SIGNORA PONZA. And what can you want of me now, after all
this, ladies and gentlemen? In our lives, as you see, there
is something which must remain concealed. Otherwise the
remedy which our love for each other has found cannot avail.
PREFECT (_with tears in his eyes_). We surely are anxious to
respect your sorrow, madam, but we must know, and we want
you to tell....
SIGNORA PONZA. What? The truth? The truth is simply this. I
am the daughter of Signora Frola, and I am the second wife
of Signor Ponza. Yes, and--for myself, I am nobody, I am
nobody....
PREFECT. Ah, but no, madam, for yourself ... you must be ...
either the one or the other.
SIGNORA PONZA. Not at all, not at all, sir! No, for myself I
am ... whoever you choose to have me. (_Without removing her
veil, she proudly casts a sweeping glance around at the
company, and withdraws. They all stand looking after her.
Profound silence on the stage_).
LAUDISI. Well, and there, my friends, you have the truth!
But are you satisfied? Hah! hah! hah! hah! hah! hah! hah!
_Curtain._
NOTE TO "RIGHT YOU ARE!"
A slight adaptation has been introduced into Signora Frola's
explanation of her son-in-law's mania, Act I, p. 184,
beginning "No, look, look, not that ... etc." The Italian
text reads:
SIGNORA FROLA. No guardino ... guardino.... Non è neanche
lui!... Mi lascino dire. Lo hanno veduto-è così forte di
complessione ... violento.... Sposando, fu preso da una vera
frenesia d'amore.... Rischiò di distruggere, quasi, la mia
figliuola, ch'era delicatina ... Per consiglio dei medici e
di tutti i parenti anche dei suoi (che ora poverini non ci
sono più)--gli si dovette sottrarre la moglie di nascosto,
per chiuderla in una casa di salute ... ecc."
A.L.