Modern Italian Poets; Essays and Versions. William Dean Howells

PRATI

       I

       ALEARDO ALEARDI

       I.

       II

       III.

       Notes

       {1} The bones of St. Mark repose in his church at Venice.

       GUILIO CARCANO, ARNALDO FUSINATO AND LUIGI MERCANTINI

       II

       III

       CONCLUSION

INTRODUCTION

       Table of Contents

      This book has grown out of studies begun twenty years ago in Italy, and continued fitfully, as I found the mood and time for them, long after their original circumstance had become a pleasant memory. If any one were to say that it did not fully represent the Italian poetry of the period which it covers chronologically, I should applaud his discernment; and perhaps I should not contend that it did much more than indicate the general character of that poetry. At the same time, I think that it does not ignore any principal name among the Italian poets of the great movement which resulted in the national freedom and unity, and it does form a sketch, however slight and desultory, of the history of Italian poetry during the hundred years ending in 1870.

      Since that time, literature has found in Italy the scientific and realistic development which has marked it in all other countries. The romantic school came distinctly to a close there with the close of the long period of patriotic aspiration and endeavor; but I do not know the more recent work, except in some of the novels, and I have not attempted to speak of the newer poetry represented by Carducci. The translations here are my own; I have tried to make them faithful; I am sure they are careful.

      Possibly I should not offer my book to the public at all if I knew of another work in English studying even with my incoherence the Italian poetry of the time mentioned, or giving a due impression of its extraordinary solidarity. It forms part of the great intellectual movement of which the most unmistakable signs were the French revolution, and its numerous brood of revolutions, of the first, second, and third generations, throughout Europe; but this poetry is unique in the history of literature for the unswerving singleness of its tendency.

      The boundaries of epochs are very obscure, and of course the poetry of the century closing in 1870 has much in common with earlier Italian poetry. Parini did not begin it, nor Alfieri; it began them, and its spirit must have been felt in the perfumed air of the soft Lorrainese despotism at Florence when Filicaja breathed over his native land the sigh which makes him immortal. Yet finally, every age is individual; it has a moment of its own when its character has ceased to be general, and has not yet begun to be general, and it is one of these moments which is eternized in the poetry before us. It was, perhaps, more than any other poetry in the world, an incident and an instrument of the political redemption of the people among whom it arose. “In free and tranquil countries,” said the novelist Guerrazzi in conversation with M. Monnier, the sprightly Swiss critic, recently dead, who wrote so much and so well about modern Italian literature, “men have the happiness and the right to be artists for art's sake: with us, this would be weakness and apathy. When I write it is because I have something to do; my books are not productions, but deeds. Before all, here in Italy we must be men. When we have not the sword, we must take the pen. We heap together materials for building batteries and fortresses, and it is our misfortune if these structures are not works of art. To write slowly, coldly, of our times and of our country, with the set purpose of creating a chef-d'oeuvre, would be almost an impiety. When I compose a book, I think only of freeing my soul, of imparting my idea or my belief. As vehicle, I choose the form of romance, since it is popular and best liked at this day; my picture is my thoughts, my doubts, or my dreams. I begin a story to draw the crowd; when I feel that I have caught its ear, I say what I have to say; when I think the lesson is growing tiresome, I take up the anecdote again; and whenever I can leave it, I go back to my moralizing. Detestable aesthetics, I grant you; my works of siege will be destroyed after the war, I don't doubt; but what does it matter?”

II

       Table of Contents

      The political purpose of literature in Italy had become conscious long before Guerrazzi's time; but it was the motive of poetry long before it became conscious. When Alfieri, for example, began to write, in the last quarter of the eighteenth century, there was no reason to suppose that the future of Italy was ever to differ very much from its past. Italian civilization had long worn a fixed character, and Italian literature had reflected its traits; it was soft, unambitious, elegant, and trivial. At that time Piedmont had a king whom she loved, but not that free constitution which she has since shared with the whole peninsula. Lombardy had lapsed from Spanish to Austrian despotism; the Republic of Venice still retained a feeble hold upon her wide territories of the main-land, and had little trouble in drugging any intellectual aspiration among her subjects with the sensual pleasures of her capital. Tuscany was quiet under the Lorrainese dukes who had succeeded the Medici; the little states of Modena and Parma enjoyed each its little court and its little Bourbon prince, apparently without a dream of liberty; the Holy Father ruled over Bologna, Ferrara, Ancona, and all the great cities and towns of the Romagna; and Naples was equally divided between the Bourbons and the bandits. There seemed no reason, for anything that priests or princes of that day could foresee, why this state of things should not continue indefinitely; and it would be a long story to say just why it did not continue. What every one knows is that the French revolution took place, that armies of French democrats overran all these languid lordships and drowsy despotisms, and awakened their subjects, more or less willingly or unwillingly, to a sense of the rights of man, as Frenchmen understood them, and to the approach of the nineteenth century. The whole of Italy fell, directly or indirectly, under French sway; the Piedmontese and Neapolitan kings were driven away, as were the smaller princes of the other states; the Republic of Venice ceased to be, and the Pope became very much less a prince, if not more a priest, than he had been for a great many ages. In due time French democracy passed into French imperialism, and then French imperialism passed altogether away; and so after 1815 came the Holy Alliance with its consecrated contrivances for fettering mankind. Lombardy, with all Venetia, was given to Austria; the dukes of Parma, of Modena, and Tuscany were brought back and propped up on their thrones again. The Bourbons returned to Naples, and the Pope's temporal glory and power were restored to him. This condition of affairs endured, with more or less disturbance from the plots of the Carbonari and many other ineffectual aspirants and conspirators, until 1848, when, as we know, the Austrians were driven out, as well as the Pope and the various princes small and great, except the King of Sardinia, who not only gave a constitution to his people, but singularly kept the oath he swore to support it. The Pope and the other princes, even the Austrians, had given constitutions and sworn oaths, but their memories were bad, and their repute for veracity was so poor that they were not believed or trusted. The Italians had then the idea of freedom and independence, but not of unity, and their enemies easily broke, one at a time, the power of states which, even if bound together,