For most of the production, the ingrates seem to possess an idealised beauty only visible through the words of others.
The ingrates remain silent in the face of everyone else's descriptions of them.
The ingrates, formerly beautiful women, must now live as pathetic and horrifyingly ugly souls because they scorned their suitors.
The ingrates have until this moment been confined to dancing generalised passions.
The live presence of the ingrates and, in particular, the lamenting soul, renders the love object palpably present.
Punished for their lack of passion, the ingrates dance but do not sing until the ballo's last moment.
Ariadne is punished for loving too much and the ingrates are punished for not loving enough.
Our clumsy novices play their part in creating isolationists by talk which allows them to misrepresent us by calling us broken reeds and ingrates.
