Venice in Love and Peril
Was Antoine the most unfortunate soul to ever grace the canals of Venice? Signs point to yes. He was a fainting, seasick, orchestra-ruining mess. A mess that needed to marry the Contessa Chiara so he can save his family from financial ruin. But he had a problem—other than all of the obvious ones—he was falling for the contessa’s brother.
Venice in Love and Peril is a queer historical romance set in the late 17th century. Antoine struggles in his relationships with friends, lovers, family, and himself. He’s on a gondola ride of discovery, and Antoine is throwing up.
Chapter 8
A Play
After a light lunch, Antoine went back to the library. Francesco and Chiara entered the room not long after he did with devilish smiles painted across their faces. They were up to something. Chiara went to her bookshelf of Greek plays and pulled out two. Francesco walked up to Antoine and snatched his book right out of his hands. He had been looking forward to reading the poetry. He hadn’t any time to protest when Chiara loudly started a speech.
“What matters that I was born a woman, if I can cure your misfortunes? I pay my share of tolls and taxes, by giving men to the State. But you, you miserable greybeards, you contribute nothing to the public charges; on the contrary, you have wasted the treasure of our forefathers, as it was called, the treasure amassed in the days of the Persian Wars. You pay nothing at all in return; and into the bargain you endanger our lives and liberties by your mistakes. Have you one word to say for yourselves?” she announced to the room.
Francesco was grinning ear to ear, elated. “Bravo, bravo!” he yelled.
“What’s going on?” asked Antoine.
“We’re going to read a play, and you’re going to be in it,” Chiara explained.
“Oh, say you’ll do it, Toni,” begged Francesco.
He couldn’t say no. In fact, he was honored to be a part of their tradition. They would be reading Lysistrata which he had never read before. He had heard of it, of course, and knew they were in for some fun. They only had two scripts and so he shared one with Francesco. Chiara reasoned that since she was taking the lead, she would need her own script.
“I don’t see why I can’t be Lysistrata,” said Francesco.
Chiara let out a scream, startling Antoine. She was offended beyond words. Antoine decided to step in on her behalf.
“We’re not in England, Cesco. Men aren’t going to play all the parts,” he said.
“Actually,” said Chiara, finding her voice, “I should play all the roles. I’ll play the men as breeches roles.”
“I have to admit,” said Francesco, “an all female cast of Lysistrata would be worth seeing.”
They agreed that Chiara would take Lysistrata and split the rest of the roles evenly, each playing a few male roles and a few female ones.
Chiara played her role well. She bravely gathered the Peloponnesian women and the Bocotian women (Antoine and Francesco) and spoke to them with great influence in her voice. Francesco and Antoine were rallied, hanging on to her every word. Chiara would make a great mother, thought Antoine. She was good at telling stories and making herself into a leader. She would be a good politician too if women were allowed to do that sort of thing.
“Would this scheme work on you?” Chiara asked.
“Would I be tricked into ending a war because I wasn’t getting any sex?” asked Francesco. “Yeah, it probably would.”
Chiara looked to Antoine who remained silent. He didn’t know what the correct answer to that was as someone who was courting her. It felt deeply inappropriate either way.
“Well, Antoine?” prompted Chiara. “I thought the French were supposed to be the most passionate of lovers.”
“I would fight to end war either way,” Antoine reasoned.
Francesco groaned. “That’s such a non-answer,” he said.
“I think it is diplomatic,” Antoine argued.
The siblings didn’t like the answer but accepted it anyway. They got back to reading. He had fun reading as part of the Chorus of Old Men with Francesco until Francesco became so invested in his argument with Chiara’s Chorus of Women that he was waving the play around to make a point. Antoine had to hold him down in order to continue reading which only made them giggle.
Chiara was unimpressed and chastised them for their unprofessionalism. This only made them laugh harder. It’s always when it’s most inappropriate when one really wants to laugh.
“You’re ruining the play,” Chiara half scolded, half joked.
“It’s a comedy!” insisted Francesco.
“I’d say we’re more in the spirit of things than you are,” said Antoine.
“You two are a ridiculous pair,” said Chiara.
“You love us,” said Francesco. “Well, at least me.”
“You’re growing on me too, Antoine,” said Chiara.
What a miracle. He was fitting in splendidly even with his horrible luck. He was fond of the siblings and would be sad to lose them if the courtship didn’t work out. Now he had another reason to marry Chiara, he liked her. What a relief to like the person you might spend the rest of your life with! He couldn’t imagine the distraught of living in a house with someone you despised.
They got back to reading and were at a part about midway through that was mostly between the Magistrate (played by Francesco) and the Chorus of Women. Antoine was able to sit back and watch the siblings go head to head. They were both extremely in character. It seemed like they both agreed wholeheartedly with what they were saying. This was most likely true for Chiara, but he thought that Francesco’s true opinions wouldn’t be quite as conservative.
Francesco played the role of hotheaded civil officer with both melodrama and complexity. He was always making gestures and even flung himself to the ground. However, he also seemed to embrace the mindset of the character being someone who was stuck in his ways and earnestly believed the world functioned as it should. Francesco must be in opposition to his character. How could someone who loved unconventionally believe that the world should go on the same way? Antoine wondered what Francesco’s dream for the world really was.
On top of this thought, Antoine started to deconstruct his own thinking on the matter. He worried that he was more like the Magistrate than he would like to admit. He didn’t often criticize the status quo. He did what was expected of him and didn’t dig much deeper than that. He did what he thought was right based on his morals instilled by his parents and the Church, but never once questioned if he truly agreed with these morals. Antoine was brought back to reality by Francesco shoving the script in his face.
“It’s your line,” said Francesco.
“Oh,” Antoine said and read, “I will also fillet you.”
And Antoine was back into the play, crying lines out with Francesco and arguing with Chiara. He could see why they did this all the time. It made one feel connected as well as entertained.
When they reached the part of the story where Myrrhine (Chiara) tempts Cinesias (Antoine) and leaves him alone and wanting, Antoine became embarrassed. He wasn’t someone who declared love and spoke of what he wanted so blatantly for all to hear. He was red in the face at the very idea of asking for sex. He said the lines aloud despite himself.
“It's not the silly blanket's warmth but yours I want,” Antoine said.
“Antoine, how timid you are!” said Francesco.
“He’s quite the blushing bride,” said Chiara.
“I am not!” Antoine protested.
“You’ve got to get into character, Toni,” said Francesco. “Look at me and tell me you love me! Tell me you desire me carnally.”
“I’m not doing that,” Antoine refused.
“Your loss. Your emotions are stunted,” responded Francesco.
“He’s not emotionally stunted,” said Chiara.
“Thank you,” said Antoine.
“He’s just bashful!” said Chiara.
The siblings teased him relentlessly until Antoine could convince them to read more of the play. He tried to put more passion into his voice, but he was still feeling shy about it. Francesco, on the other hand, was not feeling shy at all. He doubled down on the sexual innuendos of the play, highlighting words such as bulge, hard, jerking, and throbbing.
Antoine didn’t want the play to be over. It had changed the way they interacted. It made speaking to each other more simple and gave them a shared language. Despite his wishes, the play ended with the choruses of men and women joining together in speech, peace reigning over the land, and a banquet to celebrate.
“This is exactly what we need!” cried Francesco.
“Peace?” asked Chiara.
“No–well, yes but besides that,” said Francesco. “We need a banquet.”
“Perhaps for Easter?” suggested Chiara.
“Perfect! What a great excuse,” said Francesco.
Antoine listened to the siblings plan a grand feast until it was time for dinner. He wasn’t accustomed to hosting much, but he liked the idea of it. Maybe if he marries Chiara they will throw many feasts. It would be a blessing to have his home always filled with friends.