Note: Translator Pauline Bancroft Flach died in 1966, less than 70 years ago. Therefore, this work is protected by copyright, restricting your legal rights to reproduce it. However, you are welcome to view it on screen, as you do now. Read more about copyright.
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222 THE MIR A CLES OF ANTICHRIST
But in spite of everything, Don Antonio worked
with the greatest eagerness to prepare the actors and
to arrange the elaborate machinery.
And behold, in a few days came Master Battista,
who painted placards, and presented him with a
play-bill. He had been glad to hear that Don
Antonio was going to play “ The Old Martyrdom; ”
he had seen it in his youth, and had great pleasure
• v
in it.
So there now stood in large letters on the corner
of the theatre: “ ’ The Old Martyrdom’ or 4 The
Resurrected Adam,’ tragedy in three acts by
Cava-liere Filippo Orioles.”
Don Antonio wondered and wondered what the
people’s mood would be. The donkey-boys and
apprentices who passed by his theatre read the
notice with scoffs and derision. It looked very
black for Don Antonio, but in spite of it he went
on faithfully with his work.
When the appointed evening came, and the
“ Martyrdom “ was to be played, no one was more
anxious than Donna Micaela. “ Is the little image
going to help me ? “ she asked herself incessantly.
She sent out her maid, Lucia, to look about.
Were there any groups of boys in front of the
theatre ? Did it look as if there were going to be a
crowd ? Lucia might go to Donna Emilia, sitting
in the ticket-office, and ask her if it looked hopeful.
But when Lucia came back she had not the
slightest hope to offer. There was no crowd
outside the theatre. The boys had resolved to crush
Don Antonio.
Towards eight o’clock Donna Micaela could no
longer endure sitting at home and waiting. She
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