Page:Emma Goldman - The Social Significance of the Modern Drama - 1914.djvu/139

 children of pisa should be exposed to hunger and destruction, rather than that he give up his possession. But Monna Vanna does not hesitate. When she is before the issue of saying her people, she does not stop to consider. She goes into the enemy's tent, as a child might go, without consciousness of self, imbued solely with the impulse to save her people.

The meeting of Monna Vanna and Prinzivalle is an exquisite interpretation of love—the sweetness, purity, and fragrance of Prinzivalle's love for the woman of his dream—the one he had known when she was but a child, and who remained an inspiring vision all through his career. He knows he cannot reach her; he also knows that he will be destroyed by the political intriguers of Florence, and he stakes his all on this one step to satisfy the dream of his life to see Vanna and in return to save Pisa.

Prinzivalle. Had there come ten thousand of you into my tent, all clad alike, all equally fair, ten thousand sisters whom even their mother would not know apart, I should have risen, should have taken your hand, and said, "This is she!" Is it not strange that a beloved image can live thus in a man's heart? For yours lived so in mine that each day it changed as in real life—the image of to-day replaced that of yesterday—it blossomed out, it became always fairer; and the years adorned it with all that they add to a child that grows in grace<!—134—> and