The bits of melody which are now introduced might all be labelled in the Wolzogen-Wagner manner with reference to the play's peoples and their passions if it were worth while to do so, or if their beauty and eloquence were not sufficient unto themselves.

First we have the phrase in which Canio will tell us how a clown's heart must seem merry and make laughter though it be breaking:-- [figure: a musical score excerpt] Next the phrase from the love music of Nedda and Silvio:-- [figure: a musical score excerpt] The bustling music returns, develops great energy, then pauses, hesitates, and makes way for Tonio, who, putting his head through the curtain, politely asks permission of the audience, steps forward and delivers his homily, which is alternately declamatory and broadly melodious.

One of his melodies later becomes the theme of the between-acts music, which separates the supposedly real life of the strolling players from the comedy which they present to the mimic audience:-- [figure: a musical score excerpt] At last Tonio calls upon his fellow mountebanks to begin their play.
The curtain rises.

We are in the midst of a rural celebration of the Feast of the Assumption on the outskirts of a village in Calabria.

A perambulant theatre has been set up among the trees and the strolling actors are arriving, accompanied by a crowd of villagers, who shout greetings to Clown, Columbine, and Harlequin.