Modern Italian Poets; Essays and Versions. William Dean Howells

the poet's expatriation. The long period of study and production which followed Alfieri spent chiefly at Florence, but partly also at Rome and Naples. During this time he wrote and printed most of his tragedies; and he formed that relation, common enough in the best society of the eighteenth century, with the Countess of Albany, which continued as long as he lived. The countess's husband was the Pretender Charles Edward, the last of the English Stuarts, who, like all his house, abetted his own evil destiny, and was then drinking himself to death. There were difficulties in the way of her living with Alfieri which would not perhaps have beset a less exalted lady, and which required an especial grace on the part of the Pope. But this the Pope refused ever to bestow, even after being much prayed; and when her husband was dead, she and Alfieri were privately married, or were not married; the fact is still in dispute. Their house became a center of fashionable and intellectual society in Florence, and to be received in it was the best that could happen to any one. The relation seems to have been a sufficiently happy one; neither was painfully scrupulous in observing its ties, and after Alfieri's death the countess gave to the painter Fabre “a heart which,” says Massimo d'Azeglio in his Memoirs, “according to the usage of the time, and especially of high society, felt the invincible necessity of keeping itself in continual exercise.” A cynical little story of Alfieri reading one of his tragedies in company, while Fabre stood behind him making eyes at the countess, and from time to time kissing her ring on his finger, was told to D'Azeglio by an aunt of his who witnessed the scene.

      In 1787 the poet went to France to oversee the printing of a complete edition of his works, and five years later he found himself in Paris when the Revolution was at its height. The countess was with him, and, after great trouble, he got passports for both, and hurried to the city barrier. The National Guards stationed there would have let them pass, but a party of drunken patriots coming up had their worst fears aroused by the sight of two carriages with sober and decent people in them, and heavily laden with baggage. While they parleyed whether they had better stone the equipages, or set fire to them, Alfieri leaped out, and a scene ensued which placed him in a very characteristic light, and which enables us to see him as it were in person. When the patriots had read the passports, he seized them, and, as he says, “full of disgust and rage, and not knowing at the moment, or in my passion despising the immense peril that attended us, I thrice shook my passport in my hand, and shouted at the top of my voice, 'Look! Listen! Alfieri is my name; Italian and not French; tall, lean, pale, red hair; I am he; look at me: I have my passport, and I have had it legitimately from those who could give it; we wish to pass, and, by Heaven, we will pass!'”

      They passed, and two days later the authorities that had approved their passports confiscated the horses, furniture, and books that Alfieri had left behind him in Paris, and declared him and the countess—both foreigners—to be refugee aristocrats!

      He established himself again in Florence, where, in his forty-sixth year, he took up the study of Greek, and made himself master of that literature, though, till then, he had scarcely known the Greek alphabet. The chief fruit of this study was a tragedy in the manner of Euripides, which he wrote in secret, and which he read to a company so polite that they thought it really was Euripides during the whole of the first two acts.

      Alfieri's remaining years were spent in study and the revision of his works, to the number of which he added six comedies in 1800. The presence and domination of the detested French in Florence embittered his life somewhat; but if they had not been there he could never have had the pleasure of refusing to see the French commandant, who had a taste for literary people if not for literature, and would fain have paid his respects to the poet. He must also have found consolation in the thought that if the French had become masters of Europe, many kings had been dethroned, and every tyrant who wore a crown was in a very pitiable state of terror or disaster.

      Nothing in Alfieri's life was more like him than his death, of which the Abbate di Caluso gives a full account in his conclusion of the poet's biography. His malady was gout, and amidst its tortures he still labored at the comedies he was then writing. He was impatient at being kept in-doors, and when they added plasters on the feet to the irksomeness of his confinement, he tore away the bandages that prevented him from walking about his room. He would not go to bed, and they gave him opiates to ease his anguish; under their influence his mind was molested by many memories of things long past. “The studies and labors of thirty years,” says the Abbate, “recurred to him, and what was yet more wonderful, he repeated in order, from memory, a good number of Greek verses from the beginning of Hesiod, which he had read but once. These he said over to the Signora Contessa, who sat by his side, but it does not appear, for all this, that there ever came to him the thought that death, which he had been for a long time used to imagine near, was then imminent. It is certain at least that he made no sign to the contessa though she did not leave him till morning. About six o'clock he took oil and magnesia without the physician's advice, and near eight he was observed to be in great danger, and the Signora Contessa, being called, found him in agonies that took away his breath. Nevertheless, he rose from his chair, and going to the bed, leaned upon it, and presently the day was darkened to him, his eyes closed and he expired. The duties and consolations of religion were not forgotten, but the evil was not thought so near, nor haste necessary, and so the confessor who was called did not come in time.” D'Azeglio relates that the confessor arrived at the supreme moment, and saw the poet bow his head: “He thought it was a salutation, but it was the death of Vittorio Alfieri.”

II

       Table of Contents

      I once fancied that a parallel between Alfieri and Byron might be drawn, but their disparities are greater than their resemblances, on the whole. Both, however, were born noble, both lived in voluntary exile, both imagined themselves friends and admirers of liberty, both had violent natures, and both indulged the curious hypocrisy of desiring to seem worse than they were, and of trying to make out a shocking case for themselves when they could. They were men who hardly outgrew their boyishness. Alfieri, indeed, had to struggle against so many defects of training that he could not have reached maturity in the longest life; and he was ruled by passions and ideals; he hated with equal noisiness the tyrants of Europe and the Frenchmen who dethroned them.

      When he left the life of a dissolute young noble for that of tragic authorship, he seized upon such histories and fables as would give the freest course to a harsh, narrow, gloomy, vindictive, and declamatory nature; and his dramas reproduce the terrible fatalistic traditions of the Greeks, the stories of Oedipus, Myrrha, Alcestis, Clytemnestra, Orestes, and such passages of Roman history as those relating to the Brutuses and to Virginia. In modern history he has taken such characters and events as those of Philip II., Mary Stuart, Don Garzia, and the Conspiracy of the Pazzi. Two of his tragedies are from the Bible, the Abel and the Saul; one, the Rosmunda, from Longobardic history. And these themes, varying so vastly as to the times, races, and religions with which they originated, are all treated in the same spirit—the spirit Alfieri believed Greek. Their interest comes from the situation and the action; of character, as we have it in the romantic drama, and supremely in Shakespeare, there is scarcely anything; and the language is shorn of all metaphor and picturesque expression. Of course their form is wholly unlike that of the romantic drama; Alfieri holds fast by the famous unities as the chief and saving grace of tragedy. All his actions take place within twenty-four hours; there is no change of scene, and so far as he can master that most obstinate unity, the unity of action, each piece is furnished with a tangible beginning, middle, and ending. The wide stretches of time which the old Spanish and English and all modern dramas cover, and their frequent transitions from place to place, were impossible and abhorrent to him.

      Emiliani-Giudici, the Italian critic, writing about the middle of our century, declares that when the fiery love of freedom shall have purged Italy, the Alfierian drama will be the only representation worthy of a great and free people. This critic holds that Alfieri's tragical ideal was of such a simplicity that it would seem derived regularly from the Greek, but for the fact that when he felt irresistibly moved to write tragedy, he probably did not know even the names of the Greek dramatists, and could not have known the structure of their dramas by indirect means, having read then only some Metastasian plays of the French