Three Plays Part 34

LAUDISI. A fashionable apartment, for his mother-in-law, in the residential district!

AMALIA. Generous to the old lady, eh? But he does that to keep her from seeing her daughter!

LAUDISI. How do you know that? How do you know that the old lady, rather, does not prefer this arrangement, just to have more elbow room for herself?

DINA. No, no, Nunky, you're wrong. Everybody knows that it is he who is doing it.

AMALIA. See here, Lamberto, everybody understands, if a girl, when she marries, goes away from her mother to live with her husband in some other town. But supposing this poor mother can't stand being separated from her daughter and follows her to the place, where she herself is also a complete stranger. And supposing now she not only does not live with her daughter, but is not even allowed to see her?

I leave it to you ... is that so easy to understand?

LAUDISI. Oh say, you have about as much imagination as so many mud turtles. A mother-in-law and a son-in-law! Is it so hard to suppose that either through her fault or his fault or the fault of both, they should find it hard to get along together and should therefore consider it wiser to live apart?

DINA (_with another look of pitying astonishment at her uncle_). How stupid of you, Nunky! The trouble is not between the mother-in-law and the son-in-law, but between the mother and the daughter.

LAUDISI. How do you know that?

DINA. Because he is as thick as pudding with the old lady; because they are always together, arm in arm, and as loving as can be. Mother-in-law and son-in-law, if you please!

Whoever heard the like of that?

AMALIA. And he comes here every evening to see how the old lady is getting on!

DINA. And that is not the worst of it! Sometimes he comes during the daytime, once or twice!

LAUDISI. How scandalous! Do you think he is making love to the old woman?

DINA. Now don't be improper, uncle. No, we will acquit him of that. She is a poor old lady, quite on her last legs.

AMALIA. But he never, never, never brings his wife! A daughter kept from seeing her mother! The idea!

LAUDISI. Perhaps the young lady is not well; perhaps she isn't able to go out.

DINA. Nonsense! The old lady goes to see _her!_

AMALIA. Exactly! And she never gets in! She can see her only from a distance. Now will you explain to me why, in the name of common sense, that poor mother should be forbidden ever to enter her daughter's house?

DINA. And if she wants to talk to her she has to shout up from the courtyard!

AMALIA. Five stories, if you please!... And her daughter comes out and looks down from the balcony up there. The poor old woman goes into the courtyard and pulls a string that leads up to the balcony; a bell rings; the girl comes out and her mother talks up at her, her head thrown back, just as though she were shouting from out of a well....

(_There is a knock at the door and the butler enters_).

BUTLER. Callers, madam!

AMALIA. Who is it, please?

BUTLER. Signor Sirelli, and the Signora with another lady, madam.

AMALIA. Very well, show them in.

(_The butler bows and withdraws_).

_Sirelli, Signora Sirelli, Signora Cini appear in the doorway, rear._

SIRELLI, _also a man of about forty, is a bald, fat gentleman with some pretensions to stylish appearance that do not quite succeed: the overdressed provincial_.

SIGNORA SIRELLI, _his wife, plump, pet.i.te, a faded blonde, still young and girlishly pleasing. She, too, is somewhat overdressed with the provincial's fondness for display. She has the aggressive curiosity of the small-town gossip. She is chiefly occupied in keeping her husband in his place_.

SIGNORA CINI _is the old provincial lady of affected manners, who takes malicious delight in the failings of others, all the while affecting innocence and inexperience regarding the waywardness of mankind_.

AMALIA (_as the visitors enter, and taking Signora Sirelli's hands effusively_). Dearest! Dearest!

SIGNORA SIRELLI. I took the liberty of bringing my good friend, Signora Cini, along. She was so anxious to know you!

AMALIA. So good of you to come, Signora! Please make yourself at home! My daughter Dina, Signora Cini, and this is my brother, Lamberto Laudisi.

SIRELLI (_bowing to the ladies_). Signora, Signorina. (_He goes over and shakes hands with Laudisi._)

SIGNORA SIRELLI. Amalia dearest, we have come here as to the fountain of knowledge. We are two pilgrims athirst for the truth!

AMALIA. The truth? Truth about what?

SIGNORA SIRELLI. Why ... about this blessed Mr. Ponza of ours, the new secretary at the prefecture. He is the talk of the town, take my word for it, Amalia.

SIGNORA CINI. And we are all just dying to find out!

AMALIA. But we are as much in the dark as the rest of you, I a.s.sure you, madam.

SIRELLI (_to his wife_). What did I tell you? They know no more about it than I do. In fact, I think they know less about it than I do. Why is it this poor woman is not allowed to see her daughter? Do you know the reason, you people, the real reason?

AMALIA. Why, I was just discussing the matter with my brother.

LAUDISI. And my view of it is that you're all a pack of gossips!

DINA. The reason is, they say, that Ponza will not allow her to.

SIGNORA CINI. Not a sufficient reason, if I may say so, Signorina.

SIGNORA SIRELLI. Quite insufficient! There's more to it than that!

SIRELLI. I have a new item for you, fresh, right off the ice: he keeps her locked up at home!

AMALIA. His mother-in-law?

SIRELLI. No, no, his wife!

SIGNORA CINI. Under lock and key!