ipitated. The bits of melody which are now
introduced might all be labelled in the Wolzogen-Wagner manner with
reference to the play's peoples and their passions if it were worth
while to do so, or if their beauty and eloquence were not sufficient
unto themselves. First we have the phrase in which Canio will tell us
how a clown's heart must seem merry and make laughter though it be
breaking:--

[figure: a musical score excerpt]

Next the phrase from the love music of Nedda and Silvio:--

[figure: a musical score excerpt]

The bustling music returns, develops great energy, then pauses,
hesitates, and makes way for Tonio, who, putting his head through the
curtain, politely asks permission of the audience, steps forward and
delivers his homily, which is alternately declamatory and broadly
melodious. One of his melodies later becomes the theme of the
between-acts music, which separates the supposedly real life of the
strolling players from the comedy which they present to the mimic
audience:--

[figure: a musical score excerpt]

At last Tonio calls upon his fellow mountebanks to begin their play.
The curtain rises. We are in the midst of a rural celebration of the
Feast of the Assumption on the outskirts of a village in Calabria. A
perambulant theatre has been set up among the trees and the strolling
actors are arriving, accompanied by a crowd of villagers, who shout
greetings to Clown, Columbine, and Harlequin. Nedda arrives in a cart
drawn by a donkey led by Beppe. Canio in character invites the crowd to
come to the show at 7 o'clock (ventitre ore). There they shall be
regaled with a sight of the domestic troubles of Pagliaccio and see the
fat mischief-maker tremble. Tonio wants to help Nedda out of the cart,
but Canio interferes and lifts her down himself; whereupon the women
and boys twit Tonio. Canio and Beppe wet their whistles at the tavern,
but Tonio remains behind on the plea that he must curry the donkey. The
hospitable villager playfully suggests that it is Tonio's purpose to
make love to Nedda. Canio, half in earnest, half in jest, points out
the difference between real life and the stage. In the play, if he
catches a lover with his wife, he flies into a mock passion, preaches a
sermon, and takes a drubbing from the swain to the amusement of the
audience. But there would be a different ending to the story were Nedda
actually to deceive him. Let Tonio beware! Does he doubt Nedda's
fidelity? Not at all. He