Candelaio

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Candelaio (Eng .: " Candle-maker ") is a comedy by Giordano Bruno in five acts. It was published as a book in Paris in 1582. The title refers to the pedophile tendencies of Bonifacio, who appears in the comedy.

content

Il libro (The Book)

This is an ironic appropriation aimed at poets, which is kept in an ornate, metaphor-rich language, probably u. a. to target the pedants and their vain, cumbersome manner. The poets are referred to as those who drink from the Fonte Caballino (horse spring). It is the Ippocrene ( Hippocrene ) spring, which, according to legend, arose from the earth at the foot of Elicona ( Helikon ), the mountain where the muses lived, when the winged horse Pegasus beat the hoof and which the Has offered inexhaustible inspiration to poets ever since. The poets are asked in a joking paraphrase to give the author an epigram , a sonnet , an eulogy, a hymn or an ode , so that the author can then place it at the beginning or at the end of his work. The author is, as it were, naked and asking for clothes. This means that the set piece that the author would like to put at the beginning or at the end of his work (although it does not yet exist - therefore: "naked") should give this work authority. Otherwise he would have to fear a large band of horsemen, i. H. fear that the schoolmasters will spank their asses or that pedants will tear up his work. The large group of riders is actually an allusion to a corporal punishment that has been common in schools since ancient times: the pupils to be chastised had to sit astride another pupil with their pants down and have their buttocks whipped by the teacher.

Appropriation

The appropriation is addressed to a certain Ms. Morgana B., whose identity has not been documented. It is possible that she is a woman Bruno met when he was a teenager. The attribution is also held in an ironic and metaphor-rich language. Bruno jokingly asks himself to whom he should dedicate his dedication to his comedy, which he considers an excellent work of art. Neither the pope, nor the emperor, nor a prince would take the candle out of his hand, although the candle is supposed to be a joking allusion to the title of the play. The handover of the candle therefore means the acceptance of the appropriation. At the same time, the candle has a slippery meaning because of its phallus shape . What follows is a kind of hymn of praise to Morgana, which Bruno declares to be his muse. The hymn of praise is, however, also a declaration of love to the woman in question. The announcement that the comedy will frighten donkeys and other beasts or animals (which stand for ignoramuses, fools and other fiends) like the demons from Dante's Inferno , means that social grievances or certain people and social groups, who are responsible for these grievances will receive bitter criticism in the play. Bruno, who apparently lives in exile far from his home in Paris, announces that he will return home. Until then, those who spread and continued to spread bad things about him would pay for their crimes. Since Bruno believes in reincarnation , he trusts that he will be happy in another, if not in this life. Take time and give everything, everything changes, but does not go out. Only God can no longer change his shape. He is the one who gives and takes everything.

Argomento ed ordine della comedia (plot and structure of the comedy)

Similar to Aretinos La Cortigiana (1524/35), Bruno's Il Candelaio consists of several storylines. Whereas in Aretino's comedy there are two, in Bruno's there are three storylines that are interwoven. According to Bruno, the first storyline is the love story of the bland Bonifacio; the second storyline is the alchemy of the stingy Bartolomeo and the third storyline is the school mastery of the clumsy Manfurio, whereby the three named persons are in no way inferior to each other in the three named characteristics: blandness, stinginess and clumsiness.

Bonifacio

The story of Bonifacio takes place in scenes 1–4, 6–10 of the first act; in scenes 3-5 of the second act; in scenes 2-5, 9-10 of the third act; in scenes 1-8, 12-14 of the fourth act and in scenes 1, 9-11, 14-24 of the fifth act. The moral of the story of Bonifacio, Bruno notes at the end of his summary, is that whoever tries to betray his wife will in turn be betrayed by her in the end. Bruno compares the story of Bonifacio with the myth of the hunter Atteones ( Aktaions ), who tried to betray his wife by trying to seduce Diana , who, angry that he had seen her naked, turned him into a deer, so that he was mangled by his own dogs. Bruno equates Scaramurè, Sanguino and his companions with these dogs.

Bartolomeo

The story of Bartolomeos takes place in scenes 3, 11-14 of the first act; in scene 6 of the second act; in scene 1 of the third act; in scenes 3-5, 8-10 of the fourth act and in scenes 2-8, 12-13 of the fifth act.

Manfurio

The story of Manfurio takes place in scene 5 of the first act; in scenes 1-2, 7 of the second act; in scenes 4, 7, 11-13 of the third act; in scenes 11, 15-16 of the fourth act and in scenes 25-26 of the fifth act.

Antiprologo (before the prologue)

The whore that Vittoria and Carubina was supposed to play, according to the speaker, was prevented by a uterine disease. The person who was supposed to play Bonifacio was so drunk that he hadn't known where up and down was since last noon. The prologue is so complicated and difficult that it took the lecturer four days to memorize it himself. He compares memorizing the prologue to the wreck of a dilapidated boat that is dragged ashore with difficulty and has to be made seaworthy again so that it can go out to sea, the seaworthy boat in turn representing the comedy itself awaiting performance . The author of the comedy as well as the prologue is said to be a weird owl who always pulls a sorry face and never shows joy. All philosophers, poets and schoolmasters hated wealth and prosperity. Wealth and prosperity, in turn, fled from the philosophers, poets and schoolmasters, since they would have to fear being tortured, ie wasted, by them. Rather, wealth and prosperity prefer to be with those who wish to preserve them. The lecturer claims that he is completely without possessions. He has nothing more than his soul and is so dissatisfied with his or the general situation that he prefers to go to a monastery. Someone else would have to speak the prologue.

Proprologo (pre-prologue)

The speaker in the preliminary prologue lashes out at the previous speaker, as there is no substitute for him. A prologue is not necessary, however, since the comedy is performed in sequence. Therefore it is not necessary to summarize the plot in advance. The location of the action is a certain neighborhood in Naples. There is a house on the stage which, in the course of the action, would serve as a shelter for some rascals who would devise their wrongdoing there. Elsewhere is the entrance or path to or into the house of Bonifacio and Carubina; on the other hand the entrance or path to or into the house of Bartolomeos; on the other, the entrance or path to the house of Vittorias, the painter Gioan Bernardos and the magician Scaramuré. There is also a schoolmaster named Manfurio in this area. Also the busy matchmaker Lucia, as well as Pollula and his master; Ascanio, Bonifacio's page; Mochione, Bartolomeo's lad; the rascals Sanguino, Barra, Marca and Corcovizzo; the alchemist and deceiver Cencio; the pharmacist Consalvo; Marta, Bartolomoeo's wife and finally the honorable Mr. Ottavino would appear on the stage. The speaker asks the audience to follow the spectacle closely and, depending on their mood, to interpret it pessimistically or optimistically. The audience can expect a fireworks display of feelings and situations: crying unhappy lovers, unapproachable love objects. (All of this is awkwardly expressed in a rambling paraphrase, the purpose of which is to target Petrarca's poetry through a collection of Petrarch quotes). The comedy would also feature women who would love to devote themselves to love. Among these, one would be dearly loved by a lover. There is also an abbess who accepts misguided women as penance and who in old age regrets not having devoted herself to the joys of love in her youth and therefore works as an ice-cold, calculating matchmaker (hence the penitential intention of the "misguided Women "can also be meant ironically). In addition, a schoolmaster is introduced whose wisdom would make your hair stand on end, bring tears to your eyes and whom the speaker makes fun of in ironic and lengthy lists of outstanding deeds and qualities. Among the properties mentioned is the preference for inserting Latinisms in Italian sentences and the insertion of Graecisms in Latin sentences; quoting Latin and ancient Greek authors and the upright, proud gait of the schoolmaster. A number of other bad characters are listed who appear in the comedy and who, due to their shabbiness, would cause comical situations, which, however, did not appear comical on stage, but rather arouse the anger of those affected. Nothing will be certain in the play, everything calculating. There will be a lot of shoddy things, few beautiful things and nothing good. At the end of his lecture, the speaker of the prologue said goodbye, believing to hear people from the comedy coming.

Bidello (school servant)

A school servant now takes the place of the speaker in the preliminary prologue. This makes fun of the audience, which he accuses of not wanting to accept that a comedy begins with the appearance of a school clerk and which he accuses of being narrow-minded. In any case, the audience should give way to the roar of the horns (meaning the chatter of the people performing) so as not to suffer any damage, especially since the people in front of them usually ran away.

first act

Scene 1–4 (Bonifacio)

Old Bonifacio is madly in love with young Vittoria. However, he realizes that there is not the slightest possibility that she will reciprocate his love, as she has a preference for young and rich men. However, since he is neither particularly young nor generous, he still tries to reach his goal through magic. So he sends his servant Ascanio to the magician Scaramurè to ask for help. While Bonifacio ponders magic, he meets (Scene 3 - Bartolomeo, see "Argomento ed ordine della comedia") Bartolomeo, who persuades him to reveal his secret of love and then makes fun of him. The student Sanguino overheard the conversation between Bonifacio and Bartolomeo. He intends to play a prank on Bonifacio.

Scene 5 (Manfurio)

Manfurio gives a detailed test of his vanity and pedantry by teaching his students Sanguino and Pollula, who, however, make fun of him. Finally, Sanguino says goodbye to Manfurio, as he is meeting Gioan Bernardo.

Scene 6–10 (Bonifacio)

The matchmaker Lucia appears on the stage. She is supposed to bring Vittoria a gift made of lots of goodies on behalf of Bonifacio. As she gnaws at the hunger cloth, she examines the present and takes some of it. Shortly afterwards Bonifacio commissioned the painter Gioan Bernardo to make a portrait. At the end of the first act Bonifacio meets Ascanio and Scaramurè, who gives him hope that all his wishes will come true.

Scene 11-14 (Bartolomeo)

Cencio tries to convince Gioan Bernardo that he knows how to make gold and sell him the recipe that goes with it. However, Gioan Bernardo is skeptical and refuses. After the conversation between the two, Cencio considers running away before Bartolomeo realizes that Cencio has cheated on him. Meanwhile, Marta complains in a monologue about her neglect by her husband Bartolomeo, who devotes all of his time to alchemy. Then she meets Sanguino, who makes fun of her husband and his job.

Second act

Scene 1–2 (Manfurio)

Manfurio reads Ottaviano a poem directed against Sanguino. Then Ottavino makes fun of Manfurio's school mastery. After Ottaviano leaves, Manfurio meets Pollula, to whom he hands a love letter that he wrote on behalf of Bonifacio. They both say goodbye as Manfurio sees a couple of matchmakers approaching with whom he does not want to have anything to do with.

Scene 3–5 (Bonifacio)

Vittoria tells Lucia to tell Bonifacio that she was very happy to receive a love letter from him. Both are full of hope that Bonifacio will be a little more generous towards them. They have illusions about the power of love that Bonifacio is supposed to soften, or at least his intellect or his greed. While Vittoria revels in her castles in the air, she is interrupted by Sanguino, who, since he has overheard Bonifacio's monologue and may have been sexually abused by him, wants to play a trick on him.

Scene 6 (Bartolomeo)

Barra talks to Lucia and tells Lucia what fruits Bartolomeo's alchemical experiments would have borne. As a result, his wife Marta had sex with him in the meantime. Finally Lucia leaves to answer Bonifacio to the love letter or to give him the answer to it. Barra sees Pollula and walks up to him.

Scene 7 (Manfurio)

Pollula tells Barra to give Vittoria a letter written by Manfurio on behalf of Bonifacio. You open the letter and read it. In it, Bonifacio, d. H. actually Manfurio, in the usual, almost incomprehensible ornate language Vittoria his love. From the content of the letter both conclude that Bonifacio chose Manfurio as mediator in order to give Vittoria the impression of erudition. However, women would prefer direct language in love letters, i.e. H. Bonifacio would hardly have a chance with Vittoria in this way.

Third act

Scene 1 (Bartolomeo)

Bartolomeo sings a kind of hymn of praise for gold and silver. He blames the philosophers who praised virtue and considered other elements to be more important than these two precious metals. These philosophers would themselves live in poverty and from the rich who blamed them.

Scene 2–5 (Bonifacio)

Bonifacio learns from Lucia that Vittoria is heavily in debt and had to pawn her gems. However, he escapes the situation of having to give Lucia money because he sees Scaramuré and Ascanio and suddenly rushes to them. Scaramurè gives Bonifacio a wax maiden who is supposed to hurt Bonifacio with needles so that Vittoria falls in love with him. According to Scaramurè, Ascanio should light a fire. Bonifacio should throw incense into this fire and repeat a magic word three times. Then Bonifacio is supposed to smoke the wax figure in incense, while saying another magic word three times and yawning three times in a row. He should point the wax figure at the fire three times and repeat a spell. Then he should hold the wax figure in the opposite direction of the fire and say a fourth magic word. If the wax figure begins to melt during this procedure, this means Vittoria's death. After all these steps, Bonifacio should hide the wax figure in a secret place, which, however, shouldn't be shabby, but dignified and fragrant. Since Scaramurè pretends to have incurred expenses for the production of the wax doll, Bonifacio pays him a deposit. Scaramurè then admonishes him to hurry up, as the procedure is only effective in a small window of time that is related to the position of the stars. After Bonifacio has left, Scaramuré makes fun of his mania for love. Then he meets Lucia. She learns from him that, unlike her, he was able to steal some coins from Bonifacio. Scaramurè lets Lucia know about his plans to play a prank on Bonifacio. When they see Manfurio approaching, they both run away.

Scene 6

This scene is not mentioned in the section "Argomento ed ordine della comedia". Manfurio tells Pollula a humiliating poem against Ottaviano, because the latter had previously made fun of him. (In contrast to Bruno's assertion in the section "Argomento ed ordine della comedia", this does not happen in scene 4 of the third act). After the lecture, they both meet Gioan Bernardo.

Scene 7 (Manfurio)

Gioan Bernardo makes fun of Manfurio and curses almost all pedants, which is why Manfurio, insulted, turns away from him and turns to his pupil Pollula.

Scene 8

This scene is not mentioned in the section "Argomento ed ordine della comedia". Barra and Marca take the stage and tell each other stories in which they each betrayed a landlord and in this way defeated the bill. The conversation is interrupted by the approach of Sanguinos and Scaramures.

Scene 9-10 (Bonifacio)

Sanguino tells Marca, Barra and Corcovizzo to disguise themselves as police henchmen. He in turn will disguise himself as a police captain. In this way, when Bonifacio enters or leaves Vittoria's house, they want to seize and be of great use to both Vittoria and themselves. Scaramurè will drop by as if by chance and pretend to make sure that Bonifacio is not brought to the court and convicted there. When Manfurio approaches, those disguised as police henchmen go into hiding to play a prank on him too.

Scene 11-13 (Manfurio)

Corcovizzo tells Manfurio how an unnamed man took Bonifacio out of his belongings by a ruse while he was trying on a pair of boots with a certain master Luca. Both are happy that they are more careful than Bonifacio and tell each other where they keep their money hidden. Enriched with this information, Corcovizzo robbed Manfurio and ran away with Manfurio's wallet. When Manfurio complained to the nearby Barra, disguised as a police henchman, about his inaction, Barra claims that he did not pursue Corcovizzo any further because he had told him he was a servant of Manfurio; he ran away because Manfurio wanted to punish him physically. Manfurio, for his part, did not run after the thief because, in his opinion, it is not fitting for someone of his profession to run. Sanguino joins them and pretends to know Corcovizzo's whereabouts. Barra, in turn, pretends to go to Corcovizzo with Manfurio in order to hold him accountable. In order not to be recognized by Corcovizzo, however, Manfurio had to dress up. Manfurio is given a shabby toga for this purpose. Meanwhile, he entrusts his precious toga and his scholar's hat to Sanguino and Barra.

Fourth act

Scene 1–8 (Bonifacio)

Vittoria gradually grows impatient with Bonifacio's hesitation and avarice. Since she has learned from Scaramurè that Bonifacio intends to hex her with a wax figure if necessary and that she has apparently let her in on his plans, she decides to take part in the prank of Sanguino, Scaramuré, Gioan Bernardo and the two disguised as police henchmen. Lucia is part of this conspiratorial community and proves that she has not been idle in the meantime, as she was also able to win Bonifacio's wife to participate in the prank. Vittoria and Lucia are surprised by Bartolomeo during their conversation, argue with him and angrily walk away (scene 3 - Bartolomeo, see "Argomento ed ordine della comedia"). Bartolomeo remains alone on the stage (scene 4 - Bartolomeo, see "Argomento ed ordine della comedia") when Bonifacio meets him. Both make fun of each other (scene 5 - Bartolomeo, see "Argomento ed ordine della comedia"). When they split up, Lucia meets Bonifacio and tells him that Vittoria is madly in love with him. Lucia cries because, as she claims, she thinks Bonifacio is freezing and calculating. He really doesn't love Vittoria. Lucia claims to have to bring certain clothes to a neighbor. As it will turn out later, these are Vittoria's robes that Bonifacio's wife Carubina will wear in order to deceive her husband and later expose her. Since Vittoria's neighbors peeked out the window until midnight, Lucia Bonifacio recommends dressing up as Gioan Bernardo in order to preserve Vittoria's honor (because if Bonifacio entered Vittoria's house disguised as a painter, the neighbors would think he wanted to portray her ). Bonifacio has the same stature as Gioan Bernardos, but he lacks a beard, which he has to have a make-up artist make and apply. Alone on the stage again, Bonifacio suggests that he held the wax figure too close to the fire because Vittoria is so desperate for love. As a result, he has long performed the ritual with the wax figure without ever being shown on stage. Then Bonifacio meets Marta, Bartolomeo's wife (scene 8 - Bartolomeo, see "Argomento ed ordine della comedia"). The conversation between the two of them speaks of the love life of men and women, with Marta making it clear that the love life of women is not free compared to that of men, because any freedom is unjustly sanctioned in a society dominated by men. At the end of the conversation Bonifacio asks Marta to prepare a sexual enhancer for him in case he and Vittoria should get together.

Scene 9-10 (Bartolomeo)

When Marta is alone on the stage again, she complains in a monologue about the disastrous effects of money. Ever since her husband got rich, he neglected her in bed. Even rulers would be corrupted or weakened by too much wealth. In the monologue it also becomes clear from Marta's side that she is having an affair with Barra. After her monologue, Marta hears the voice of her husband and his boy Mochione nearby. Mochione tells Bartolomeo that there is no chemical that supposedly can turn inferior matter into gold and that Bartolomeo was probably tricked by Cencio. Martha, who had previously prayed that her husband would come to his senses, believes she was heard.

Scene 11 (Manfurio)

In a monologue, Manfurio tells how he was stolen from Sanguino and his henchmen. He was taken to a house allegedly where the thief was supposed to be. While the supposed police henchmen wanted to arrest the thief, Manfurio was supposed to wait outside. After a long and in vain wait, Manfurio finally entered the house, asked his way from door to door and finally noticed that the house had another entrance at the other end of the corridor, through which the alleged police henchmen took off with his clothes.

Scene 12-14 (Bonifacio)

Carubina and Lucia agree on how to proceed. Bonifacio's wife Carubina, disguised as Vittoria, on the pretext that Vittoria is immortally in love with Bonifacio, wants to treat Bonifacio so brutally during sexual intercourse that he will lose his love for Vittoria (e.g. she intends to bite Bonifacio's tongue and his genitals maltreating so much until he screams). As supposedly alarmed by the screams, Lucia would rush over and see if everything was going well. When Lucia has illuminated both of them lying in the dark, everything will be revealed. After consultation, Carubina goes to Vittoria's house. Meanwhile, Lucia goes to Gioan Bernardo to inform him of the disguise of Bonifacio, Sanguino and his journeymen and of the arrangement with Carubina. Gioan Bernardo has already learned about the disguise of Sanguino and his journeymen. He knows that they are waiting for the right time in a pub to take action as police officers. It turns out, in the end, that the motivation for Lucia's engagement is a share in the booty, which she promises by the prank.

Scene 15-16 (Manfurio)

Manfurio sees Lucia and Gioan Bernardo talking to each other. When he tried to hide in order to overhear them, he was arrested by Sanguino and his journeymen on the pretext that he had tried to hide from the police and that the coat he was wearing had allegedly recently stolen from a customs officer has been.

Fifth act

Scene 1 (Bonifacio)

Bonifacio is disguised as Gioan Bernardo, is talking to Lucia and trembles out of anticipation for love and / or lust for Vittoria. Then he goes to her house.

Scene 2–8 (Bartolomeo)

Bartolomeo complains that Consalvo can no longer sell him the chemical that is supposed to turn worthless matter into gold and that it is itself made of gold, so he has been betrayed. Since Bartolomeo has also accused Consalvo of fraud, a fight breaks out between the two, in which Bartolomeo is defeated and finally cries out for help. Alarmed by the noise, Sanguino and his journeymen arrive disguised as police captains and police henchmen. Consalvo and Bartolomeo are tied up and taken away. Bartolomeo tells his servant Mochione, who was present all the time, to go home, inform his wife of the incident and tell her to visit him in prison the next day. On the way to his master's house, Mochione meets Gioan Bernardo and tells him about the brawl and the arrest of Bartolomeo and Consalvo. After the conversation, Mochione goes on his way. Gioan Bernardo remains alone on the stage and ponders in a monologue about the deeds of the approaching Sanguino with his journeymen. Together with his journeymen, Bartolomeo and Consalvo, he arrested, robbed and left both of them handcuffed on the street - under the pretext that they had forgiven them for this time, but did not want them to continue fighting. Sanguino tells Gioan Bernardo of the fight between Bartolomeo and Consalvo and the subsequent arrest of the two. He and his companions run away when they see Bonifacio approaching. Meanwhile, Gioan Bernardo is secretly waiting for Bonifacio.

Scene 9–11 (Bonifacio)

The identity of Bonifacio and Carubina has been revealed. Both are just leaving Vittoria's house when they come across Gian Bernardo, who has been on guard outside, so to speak. This accuses Bonifacio of having stolen his identity. Under the pretext that Bonifacio may have committed other evils in his name besides adultery, Gioan Bernardo holds him and does not let him go. When Sanguino, disguised as a police captain, comes over to supposedly settle the dispute, Bonifacio claims that Gioan Bernardo assumed his identity in order to cheat with his wife. But since Bonifacio's wife intervenes and exposes her husband and Gioan Bernardo can prove that Bonifacio's beard is false, Gioan Bernardo is not taken away - on the condition that he appears in court the next day. Gioan Bernardo also succeeds in relieving Carubina. She, too, is provisionally released and placed in Gioan Bernardo's care on condition that she appears in court the next day. Like Callimaco in Machiavelli's Mandragola (1518, see scene 4, fifth act), Gioan Bernardo Carubina reveals that it was all just a big prank and that Sanguino and his journeymen are in reality noblemen disguised as police captains and police henchmen. The discussion between Carubina, who fears for her honor, and Gioan Bernardo, who only considers honor or dishonor to be important when it becomes known, is reminiscent of a conversation between Amarilli and Corisca in Guarini's Il pastor fido (1590, cf. Scene 5 of the third act). Finally, Gioan Bernardo and Carubina leave as they hear people approaching. Whether Gioan Bernardo can get his way with Carubina remains open.

Scene 12-13 (Bartolomeo)

The ones who come along are the chained Consalvo and Bartolomeo. They fall down and lie there because they hate each other and cannot agree to stand up. The two brawlers are discovered by Scaramurè. Scaramurè frees the two of them from their bondage and tells them to go in the opposite direction.

Scene 14-24 (Bonifacio)

Scaramurè stops by Sanguino and his journeymen, with whom he finds Bonifacio. He acts as if he is trying to get Bonifacio released. Scaramurè actually intends to continue to squeeze money out of Bonifacio. He agrees with Sanguino to intimidate Bonifacio to such an extent that he will send him to Gioan Bernardo, then apologize to everyone and be ready to pay the requested sum in order to be released. After a long conversation, Scaramurè succeeds in convincing Bonifacio to leave Sanguino and his companions with all the belongings that he has with him. Subsequently, Scaramurè tries to exonerate Bonifacio in a detailed speech by comparing the jurisprudence of Naples and other important cities in Italy and coming to the conclusion that prostitution in the large and more civilized cities is not punished for the honor of the suitors or theirs Protect women. Sanguino replies that this is not possible in the Bonifacio case because there are too many witnesses or accusers: namely Gioan Bernardo and Bonifacio's wife, whose reason one cannot count on in her anger. However, Scaramurè suggests reconciling Bonifacio with Gioan Bernardo with the support of Sanguino. However, Bonifacio had to show his appreciation to Sanguino. Sanguino, on the other hand, acts modestly and demands money only for his henchmen. At the end of the scene, Scaramurè brings Carubina and Gian Bernardo over so that Bonifacio can apologize to them and Sanguino can release him. Meanwhile, Gioan Bernardo is waiting at the door of the house in which Bonifacio is being held and talking to Ascanio. He can't knock on the door until Scaramurè tells him. When Scaramurè comes over, Gioan Bernardo Ascanio Carubina brings. When Carubino, Ascanio, Scaramurè and Gioan Bernardo are finally together, they discuss the next steps: Scaramurè and Gioan Bernardo will first negotiate with Sanguino and his journeymen. Meanwhile, Carubina and Ascanio are said to be hiding in a corner and then come by from there as if by chance. In the house, Scaramuré informs Sanguino that Carubina is on her way to see them. Bonifacio pleads with Gioan Bernardo for indulgence and forgiveness. Scaramurè supports him in his requests. Meanwhile Carubina enters the house. Since Bonifacio asks her for forgiveness too, she forgives him and, like Scaramurè, works to ensure that Gioan Bernardo forgives her husband. Finally, Gioan Bernardo and Bonifacio make peace and Bonifacio pays Sanguino's journeymen as agreed.

Scene 25-26 (Manfurio)

Sanguino demands a bribe from Manfurio in order to be released. Manufrio also has the choice of receiving ten lashes on his outstretched fingers with a rod or 50 of the lashes on the bare buttocks that were common in schools at the time. Since Manfurio pretends not to have any money with him, he decides to hit the fingers. Since this punishment soon proves to be unbearably painful, he decides to get the blows on the buttocks. After a few blows, Manfurio surrenders and offers Sanguino and his journeymen some coins. Since it is now obvious that he lied, he is now to receive 70 lashes as a punishment. But Manfurio anticipates the punishment by leaving Sanguino and his companions with all of the belongings that he has with him. Then Sanguino and his journeymen leave. Ascanio, who was present at the torture scene, but was obviously either not recognized or not seen by Manfurio, confronts him and tells him that he is on the stage of a theater. He asks Manfurio, in turn, to ask the audience to applaud and thus let the comedy end. After an extravagant and cumbersome speech that is usual for him, Manfurio finally gives the signal for applause.

people

  • Bonifacio , admirer of Vittoria
  • Bartolomeo , alchemist
  • Manfurio , schoolmaster
  • Vittoria , lady
  • Lucia , matchmaker
  • Carubina , Bonifacio's wife
  • Gioan Bernardo , painter
  • Scaramurè , magician
  • Ottaviano , prankster
  • Pollula , Manfurio's disciple
  • Cencio , impostor
  • Marta , Mrs. Cencios
  • Consalvo , pharmacist
  • Sanguino , rascal
  • Barra , rascal
  • Marca , rascal
  • Corcovizzo , rascal
  • Ascanio , servant of Bonifacio
  • Mochione , servant of Bartolomeos

Literary role models

literature

Film adaptations

The comedy was made into a film in 1982 by the Hungarian director Gyula Maár with the title “Nápolyi mulatságok” (“Amusements of Naples”). The main role of Bonifacio is played by Géza Balkay . See http://www.imdb.com/title/tt0430415

Text output

  • Giordano Bruno: "Candelaio", in: Il teatro italiano II. La commedia del Cinquecento. Tomo Terzo (1978). Torino (Turin): Einaudi.
  • Giordano Bruno: Candelaio - Chandelier; critical Italian-French edition of Aquilecchia, Squarotti and Hersant. Les Belles Lettres, Paris 1993. (Oeuvres complètes vol. I.)
  • Giordano Bruno: Candelaio - candles, gold and language lights. Comedy in five acts, translated from Italian and with an afterword by Johannes Gerber. Editions Theaterkultur Verlag, Basel 1995. (Materials from ITW Bern, No. 4.)