The fragment of Æschylus on the title (see List of previous Editions) suggests a truly ancient origin for the family of Palicio: its known history is given in the Nobiliario viceregio capitaniale e pretoriano in Palermo nobile. Parte terza degli annali di Agostino Inveges. Palermo. MDCLI. p. 104. PALIZZI. Hugo, Squarcialupu and some of the others may be found in Sicilian histories about the year 1500, the supposed date of this play: their characters and the political situation are quasi-historical. The incidents connecting Margaret and Palicio are mostly adapted from a bad French story by De Stendhal, called Vanina Vanini, in a book titled Chroniques Italiennes, published by Michel Levy, in 1855.

1883.

II

Since the publication of PALICIO, unexpected light has been thrown on the married history of Palicio and Margaret. It would seem that they had a son, who was probably named after his maternal uncle, the chief Justiciary: for in March 1891 a half-witted Sicilian, named Manuel Palizzi, or Palicio, was among the Italians who were executed by the mob in New Orleans, for being concerned in the murder of the head of the police. Though the mental condition of this unfortunate fellow was such as to make his responsibility questionable, yet his connection with the Mafia society, and with their motives and crimes, points, as unmistakably as his name, to his ancestor in my play, terribly degraded though he was in body as in mind. It is possible that some of our fanatical anarchists may be similarly the prey of a depraved atavism, and be impelled by a fermentation of the sour dregs of an old puritanic heroism. I hope that the family is now extinct. The late Professor Freeman in the introduction to his History of Sicily, contributed to the literature of my play, by giving a careful and full account of what I assumed to be the origin of the family name.

1894.

THE RETURN OF ULYSSES

This play, being a dramatising of the chief scenes in Homer’s Odyssey, and not a recast of the story in dramatic form, is as a stage-play open to evident objections; to which, if it be not successful, there can be no answer. How closely Homer has been followed need not be pointed out, as translations of the Odyssey are common, and the recent accurate version by Mr. Lang is in every one’s reach. Reference to that will measure the author’s fidelity, and show where he has altered, where added; and it may also excuse him from any acknowledgment of obligation to his friend, beyond the general confession that he has borrowed from his book whenever it suited him to do so.

It was necessary for the play to make the hall of Ulysses’ house different from its description in the Odyssey; and considering the disagreement of critics as to Homer’s meaning, this was a matter of less regret. The hall required for the last three acts has the following necessary parts. Of the three walls the back wall has, running along it at a convenient height, a practicable gallery, which communicates at either end with the upper rooms. This gallery joins in the left corner a short staircase against the left wall, leading down to the hall, not so far as to the floor, but ending on a daÏs-like platform, which is raised two or three feet above the rest of the floor. This is the elevation on which Penelope sits to receive the gifts, and on to which Ulysses leaps when he makes himself known. It has steps also down from it to the floor of the hall. The gallery spoken of is supported by pillars, behind which a bench for the suitors runs along the wall; and this arrangement may follow round what is seen of the right wall of the room. But the centre of the back wall is broken by the doorway which leads into the outer court: its threshold is three steps above the floor of the hall; it has double folding-doors, through which, if they are open, the outer court may be seen; and this outer court is on a higher level than the inner hall. The postern gate is in the right back corner. The fireplace is at the right front.

With this skeleton given, the text is clearly descriptive of all the disposition; but there is one stage direction it may be well to add: that is, that the chair, in which Penelope sits on the daÏs to watch the contest with the bow, is thrown down on the floor of the hall in the fighting when Eurymachus is killed; and is set up for her there in the centre of the stage by one of the maids for the last scenes.

1884.

P.S. The translation of the Odyssey referred to above is the joint work of Mr. S. H. Butcher, Fellow and Praelector of University College, Oxford, and late Fellow of Trinity College, Cambridge, and of Mr. A. Lang, late Fellow of Merton College, Oxford. Published by Macmillan and Co.

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