Bentley's La Ronde Translation: Some Reflections

I was given a chance to read a translation of Schnitzler's Reigen by Eric Bentley (which he titled La Ronde [to capitalize on the film perhaps?]).  I will try to not cover ground covered by Jessi in her comprehensive comparison of La Ronde and The Blue Room, I will just give some of my impressions and observations of what I read.  Below are four of the more interesting observations that might be worth discussing.


Leocadia
First of all, I found the use of the name Leocadia for the Whore an interesting choice. It is a Late Latin name, derived from Greek, meaning "bright, clear, white" according to (http://www.behindthename.com/name/leocadia).  It appears to be a deliberate choice of a name by Schnitzler--assuming Bentley did not change the names in his translation--rather than a whim because of the name's contrast with what is normally associated with her profession.  By comparison, David Hare chose to name his more vaguely drawn character of the Girl, Irene.  Irene is also derived from Greek (as most Western hemisphere names are), meaning "peace" (http://www.behindthename.com/name/irene).

There are two historical figures with the name.  Saint Leocadia was a Spanish martyr from the early 4th century, tortured during the Diocletian persecution (303-305 CE): Rome's last gasp before Christianity became the state religion under Emperor Constantine in 324 CE.  Few details are known about her except that this native of Toledo was arrested by Governor Decianus and forced to apostatize.  It is believed that she probably died in prison on December 9, 304 CE and was buried in Oviedo, and made a patron saint in Toledo (http://www.newadvent.org/cathen/09173b.htm).

Crypt of Saint Leocadia, Oviedo

Another representation associated with the name Leocadia La Leocadia (Doña Leocadia) or The Seductress (Una Manola).  It was a mural by Francisco Goya painted around 1819-23 and attributed to his maid and companion, Leocadia Weiss http://eeweems.com/goya/leocadia.html

Light vs. Dark
It is well established how darkness is featured so much in Reigen/La Ronde/The Blue Room.  The characters are very concerned about how light reveals and darkness conceals people's secrets and identities.  The contrast is most prominent with the Parlour Maid, who is worried about being in the dark and not seeing the face of the soldier in scene two, but then is concerned about the bright sunshine revealing her and the Young Gentleman in the following scene: “But, Herr Alfred . . . you see, it’s so light!” (Bentley, 63).  This contrast is also present in Hare, but Hare isn’t as explicit; the Au Pair asks for the lowering of the blinds.  The issue I have with the original is that before the Parlour Maid complains about the light, the blinds are already down; either this is an oversight by Bentley (or Schnitzler) by missing this continuity or it could be a further comment about how any light is too much light for the Parlour Maid at this particular instance with the Young Gentleman.



The "Kathi" Connection
There are two occasions where an offstage character named "Kathi" is mentioned.  The first occurred when the Soldier mistakenly named the Parlour Maid Kathi before recalling her name as Marie (Bentley, 57).  The second reference to the name occurred when the Little Miss mentions having an elder sister named Kathi (85).  Was "Kathi" a common name, or is this just a subtle way to connect the scenes in other ways besides the thematic circle/ring linking the scenes together?



Cavalleria rusticana
The Little Miss mentions a recent opera she attended to the Poet called Cavalleria rusticana ("Rustic Chivalry").  It is a one act opera by Pietro Mascagni from 1890, and adapted from a play by Giovanni Verga.  It follows the story of Turiddu, who laments the loss of his former lover, Lola, who is now married to Alfio.  Turiddu has a current "neglected" lover who is jealous of Turiddu's constant pining for Lola.  Santuzza was apparently excommunicated for unclear reasons and she had discovered that Turiddu had begun to sleep with Lola behind Alfio's back.  Santuzza informs Alfio of this news before the village leaves for mass.  After the mass, Alfio and Turiddu duel and Turiddu is killed.  End of story.  this seems to be a rather tragic story actually, ending unhappily despite Little Miss’ desire to see “funny” plays.  Perhaps she was attracted to it for its focus on lower class characters.  The opera is considered to be a verismo or “realistic” opera, often dealing with lower class life, modeled after the French Realism movement led by Zola (but without the scientific social justice philosophy in his novels and plays). http://www.oxfordmusiconline.com/subscriber/article/grove/music/O007614