When Benoy was a student in Paris, he was a faithful believer in the Muse, the goddess of art. When she was in love, she showed Martin her diary. It is said that it is a diary, but it is not all a record of life, but a lot of Benoy's perception of art. On the title page of the diary is a famous Latin quote handwritten by Benoy: "A poet is born, not artificial." ”

At Benoy's request, Martin casually flipped through a few pages. Martin saw one of the pages that said, "Born with talent, artificially cultivated." Talent is an innate passion, and self-cultivation is the norm of life education. Art requires passion, so not everyone can become an artist, and looking at the art circle, there are few artists who can live a long life, and probably if they do live a long life, they will not become artists (except for those who are supported), and passion will always fade with age. Therefore, some people say that the life of an artist is the most valuable, they live passionately, they say what they should say, write what they should write, and do what they should do.

Martin was in high esteem for such insight as a young and beautiful girl like Benoy. He understood that in Eva, this kind of thing was missing. So, Eva is like a gust of wind that blows away and leaves nothing behind, while Benoy is like a shower of rain that always leaves wet footprints and dreams on the grass.

Benoy told Martin that among the more than 1,360 types of plays in the history of world theater, the Italian rare opera genre has not yet attracted attention, and its artistic and historical value is even less known.

Benoy continued, about the origin of the Mei Gong cavity, the Mei Gong Cavity artists have been passed down from generation to generation to say that it came from the 15th century Renaissance Florence, but some people also believe that its vocal cavity "sings three times", so it is called "Suppress Gong Cavity". The two theories have been inconclusive for a long time. Early Renaissance music relied primarily on the third interval as a harmony, and polyphonic music from the 12th century onwards became more nuanced throughout the 14th century rather than relying on sound representations. The music of the early 15th century tended to be simple, and the sound was committed to smoothness. By the end of the 15th century, polyphonic religious music had begun to become complex again, in a sense related to the extremely developed painting of the time; Dante, Petrarch, Boccaccio and the court they promoted, known as the "Three Stars of the Renaissance" more than 600 years ago, have long since disappeared, and the life history of the charming palace seems to have become a mystery for the ages.

Seeing that Martin was in a fog, Benoy smiled and said, however, as long as the analysis and research of the uterine cavity that has been handed down to the world start to explore the roots, it is not difficult to conclude that the uterine cavity is indeed the Florentine legacy of the Renaissance.

First, the tone particle (drag) of the flattering tone retains the distinctive pronunciation characteristics of the ancient Roman period. Although the current Mei Gong dialect has been artistically processed by many generations, it can still be heard that it retains the unique style of the tone particle in the early ancient Roman language, and uses "yi" and "yia" as the dragging sounds. This may be unique among the existing theatrical voices in Italy. Tone particles that open the mouth to make sounds, such as "a."

"AI" and "AU" are common drag sounds in other dramas, but there is no one in the uterine cavity. Its tone and words are pronounced together, which is not only in line with the language fashion of ancient Rome's "no teeth", but also the inevitable requirement for the singer to maintain the beauty of the image and not open her mouth to show her teeth. Of course, this is different from the vocal lip sync that later generations used to act on the hook bar and stage.