The scenic effects and methods of production are to
a certain extent to be considered as the result of the
social conditions before referred to, and as influencing
the actor, if at edl, in a similar Way. Nevertheless, a good
deal of what is simple, direct, unembroidered, in the
Italian style of acting is due to simplicity in the produc-
tion of the plays. And I believe that, if the latter were



THE ITALIAN STYLE 239

more elaborately produced, if the details of dress and
scenery were considered as they are in Paris or London,
the changes would produce a corresponding effect upon
the Italian style. Whether for the better or the worse,
however, I will not here express an opinion.
We come now to by far the most important point : the
question of Italian manners and character. These affect
the actor both directly in himself and indirectly in his
audience.
It were too long here to discuss the Italian character
in all its detail ^ ; but it may be briefly said that it presents
certain strong contrasts with the EngUsh. It is simple,
direct, exact, intense. It is passionate : it is not senti-
mental. I noticed recently, in some essay on the characters
of animals, that the latter have strong desires, which,
when ministered to, pass from them quickly and
completely. In this respect the Italian is the nearer to
the animal. His desires are stronger than ours while they
last. But, though affairs of passion, they have so much
of reason in them that they are capable of satisfaction,
and when satisfied they pass utterly, leaving no trace
behind.
