I have attempted to characterize that influence in general terms, but in order that the lesson may be more plainly presented it seems to me best to present a few examples in detail.

The eagerness with which writers sought success in moral muck, regardless of all artistic elements, is strikingly illustrated in an attempt by a German writer, Edmund von Freihold, [Footnote: I owe this illustration to Ferdinand Pfobl's book "Die Moderne Oper."] to provide "Cavalleria rusticana" with a sequel.
Von Freihold wrote the libretto for a "music drama" which he called "Santuzza," the story of which begins long enough after the close of Verga's story for both the women concerned in "Gavalleria rusticana" to have grown children.

Santuzza has given birth to a son named Massimo, and Lola to a daughter, Anita.

The youthful pair grow up side by side in the Sicilian village and fall in love with one another.

They might have married and in a way expiated the sins of their parents had not Alfio overheard his wife, Lola, confess that Turiddu, not her husband, is the father of Anita, The lovers are thus discovered to be half brother and sister.