SKETCHES IN SUNSHINE.
II.
CARNIVAL ON THE CORNICE.
Carnival in an ordinary little Italian town seems, no doubt, commonplace enough to those who have seen its glories in Rome—the crowded Corso, the rush of the maddened horses, the firefly twinklings of the Maccoletti. A single evening of simple fun, a few peasants laughing in the sunshine, a few children scrambling for bonbons, form an almost ridiculous contrast to the gorgeous outburst of revelry and colour that ushers in Lent at the capital. But there are some people after all who still find a charm in the simple and the commonplace, and to whom the everyday life of Italy is infinitely pleasanter than the stately ceremonial of Rome. At any rate the stranger who has fled from Northern winters to the shelter of the Riviera is ready to greet in the homeliest Carnival the incoming of spring. His first months of exile have probably been months of a little disappointment. He is far from having found the perpetual sunshine which poets and guide-books led him to hope for. He has shivered at Christmas just as he shivered at home, he has had his days of snowfall and his weeks of rain. If he is thoroughly British, he has growled and grumbled, and written to expose "the humbug of the sunny South" in the Times; if he is patient, he has jotted down day after day in his diary, and found a cold sort of statistical comfort in the discovery that the sunny days after all outnumbered the gloomy ones. The worst winter of the Riviera, he is willing to admit, would be a very mild winter at home, but still, after each concession to one's diary and common sense, there remains a latent feeling of disappointment and deception.
But Carnival sweeps all this feeling away with the coming of the spring. From the opening of February week follows week in a monotony of warm sunshine. Day after day there is the same cloudless cope of blue overhead, the same marvellous colour in the sea, the same blaze of roses in the gardens, the same scent of violets in every lazy breath of air that wanders down from the hills. Every almond-tree is a mass of white bloom. The narcissus has found a rival along the terraces in the anemone, and already the wild tulip is preparing to dispute the palm of supremacy with both. It is the time for picnics, for excursions, for donkey-rides, for dreams beneath the clump of cypresses that shoot up black into the sky, for siestas beneath the olives. It is wonderful what a prodigious rush of peace and good temper follows on the first rush of spring. The very doctors of the winter resort shake hands with one another, the sermons of the chaplain lose their frost-bitten savour and die down into something like charity, scandal and tittle-tattle go to sleep in the sunshine. The stolid, impassive English nature blooms into a life strangely unlike its own. Papas forget their Times. Mammas forget their propriety. The stout British merchant finds himself astride of a donkey, and exchanging good-humoured badinage with the labourers in the olive-terraces. The Dorcas of Exeter Hall leaves her tracts at home, and passes without a groan the pictured Madonna on every wall. Carnival comes, and completes the wreck of the proprieties. The girls secure their window and pelt their black-bearded Professor in the street below without dread of a scolding on the "convenances." The impassive spinster whose voice never rises at home above the most polite whisper screams with delight at the first sugarplum that hits her, and furtively supplies her nieces with ammunition to carry on the war. "It is such fun, isn't it, papa?" shout the boys as they lean breathless over the balcony, laughing and pelting at the crowd that laughs and pelts back again. And papa, who "puts down" fairs in England, and wonders what amusement people can find in peepshows and merry-go-rounds, finds himself surprised into a "Very jolly, indeed!"
It is the same welcome to the spring that gives its charm to the Carnival in the minds of the Italians themselves. To the priest of course Carnival is simply a farewell to worldly junketings and a welcome to Lent, but like every other Church festival it is flinging off its ecclesiastical disguise and donning among the people themselves its old mask as a sheer bit of nature-worship. The women still observe Lent, and their power as housekeepers forces its observance to a certain extent on their husbands and sons. The Italian shrugs his shoulders and submits in a humorous way to what is simply a bit of domestic discipline, revenges himself by a jest on the priesthood, and waits with his quiet "pazienza" till the progress of education shall have secured him a wife who won't grudge him his dinner. But Lent is no reality to him, and spring is a very real thing indeed. The winter is so short that the whole habit of his life and the very fabric of his home is framed on the apparent supposition that there is no such thing as winter at all. His notion of life is life in the open air, life in the sunshine. The peasant of the Cornice looks on with amazement at an Englishman tramping along in the rain. A little rainfall or a little snow keeps every labourer at home with a murmur of "cattivo Dio" between his teeth. A Scotchman or a Yorkshireman wraps his plaid around him and looks with contempt on an idle race who are "afraid of a sprinkle." But the peasant of North Italy is no more of an idler than the peasant of the Lowlands. The truth is, that both he and his home are absolutely unprepared for bad weather. His clothes are thin and scanty. His diet is low. The wonder is how he gets through a hard day's work on food which an English pauper would starve upon. He has no fireplace at home, and, if he had, he has no fuel. Wood is very dear, and coal there is none. If he gets wet through there is no hearth to dry himself or his clothes at. Cold means fever, and fever with low diet means death. Besides, there is little loss in staying at home on rainy days. In England or the Lowlands the peasant farmer who couldn't "bide a shower" would lose half the year, but a rainy day along the Cornice is so rare a thing that it makes little difference in the year's account.
It is much the same with the townsman, the trader, the professional man. When work in the shop or office is over his life circles round the café. Society and home mean for him the chatty, gesticulating group of friends camped out round their little tables on the pavement under the huge awning that gives them shade. When winter breaks up the pleasant circle, and the dark, chilly evenings drive him, as we say, "home," he has no home to flee unto. He is not used to domestic life, or to conversation with his wife or his children. Above all there is no fire, no "hearth and home." Going home in fact means going to bed. An Italian doctor or an Italian lawyer knows nothing of the cosy evenings of the North, of the bright fire, the brighter chat round it, or the quiet book till sleep comes. Somebody has said truly enough that if a man wanted to see human life at its best he would spend his winters in England and his summers in Italy. We have so much winter that we have faced it, made a study of it, and beaten it. Our houses are a great nuisance in warm weather, but their thick walls and close-fitting windows and broad fireplaces are admirably adapted for cold. Italians, on the other hand, have so little winter that when the cold does come it is completely their master. The large, dark, cool rooms that are so grateful in July are simply ice-houses in December. The large windows are full of crevices and draughts. An ordinary Italian positively dreads a fire from his knowledge of the perils it entails in rooms so draughty as Italian rooms commonly are. He infinitely prefers to rub his blue little hands and wait till this inscrutable mystery of bad weather be overpast. But it is only the thought of what he suffers during the winter, short as it is in comparison with our own, that enables us to understand the ecstasy of his joy at the reappearance of the spring. Everybody meets everybody with greetings on the warmth and the sunshine. The mother comes down again to bask herself at every doorstep, and the little street is once more alive with chat and laughter. The very beggars exchange their whine for a more cheerful tone of insidious persuasion. The women sing as they jog down the hill-paths with the big baskets of olives on their heads. The old dispossessed friar slumbers happily by the roadside. The little tables come out on to the pavement, and the society of the place forms itself afresh into buzzing groups of energetic conversers. The dormouse-life of winter is over, and the spring and the Carnival has come.
Carnival in a little Italian town, as we have said, is no very grand thing, and as a mere question of fun it is no doubt amusing only to people who are ready to be amused. And yet there is a quaint fascination in it as a whole, in the rows of old women with demure little children in their laps ranged on the stone seats along the bridge, the girls on the pavement, the grotesque figures dancing along the road, the harlequins, the mimic Capuchins, the dominoes with big noses, the carriages rolling along amidst a fire of sugarplums, the boys darting in and out and smothering one with their handfuls of flour, the sham cook with his pots and pans wreathed with vine-branches, the sham cavalier in theatrical cloak and trunk hose who dashes about on a pony, the solemn group tossing a doll to a church-like chant in a blanket, the chaff and violet bunches flung from the windows, the fun and life and buzz and colour of it all. It is something very different, one feels, from the common country fair of home. In the first place it is eminently picturesque. As one looks down from the balcony through a storm of sugarplums the eye revels in a perfect feast of colour. Even the russet-brown of every old woman's dress glows in the sunshine into a strange beauty. Every little touch of red or blue in the girls' head-dresses shines out in the intense light. As the oddly attired maskers dart in and out or whirl past in the dance the little street seems like a gay ribbon of shifting hues winding between its grey old houses with touches of fresh tints at every window and balcony. The crimson caps of the peasants stand out in bold relief against the dark green of the lemon-garden behind them. Overhead the wind is just stirring in the big pendant leaves of the two palm-trees in the centre of the street, and the eye once caught by them ranges on to the white mass of the town as it stands glowing on its hill-side and thence to the brown hilltops, and the intense blue of the sky.
The whole setting of the scene is un-English, and the scene itself is as un-English as its setting. The fun, the enjoyment, is universal. There is nothing of the complicated apparatus which an English fair requires, none of the contrivances to make people laugh—the clowns, the cheap-jacks, the moveable theatres, the vans with fat women and two-headed calves, the learned pigs, the peepshows, the peripatetic photographers, the weighing-machines, the swings, the merry-go-rounds. And so there are none of the groups of vacant faces, the joyless chawbacons lounging gloomily from stall to stall, the settled inanity and dreariness of the crowd that drifts through an English fair. An English peasant goes to be amused, and the clown finds it wonderfully hard work to amuse him. The peasant of Italy goes to Carnival to amuse himself and to amuse everybody else. He is full of joyousness and fun, and he wishes everybody to be as funny and as joyous as himself. He has no notion of doing his merriment by deputy. He claps his mask on his face or takes his bag of flour in his hand, and is himself the fun of the fair. His neighbour does precisely the same. The two farmers who were yesterday chaffering over the price of maize meet each other in Carnival as Punch and Harlequin. Every boy has his false nose or his squeaking whistle. The quiet little maiden whom you saw yesterday washing her clothes in the torrent comes tripping up the street with a mask on her face. The very mothers with their little ones in their laps throw in their contribution of smart speeches and merry taunts to the fun of the affair. It is wonderful how simple the elements of their amusement are and how perfectly they are amused. A little masquerading, a little dancing, a little pelting with flour and sugarplums, and everybody is as happy as possible.
And it is a happiness that is free from any coarse intermixture. The badinage is childish enough, but it has none of the foul slang in which an English crowd delights to express its notions of humour. The girls bandy "chaff" with their disguised lovers, but the "chaff" is what their mothers might hear. There is none of the brutal horseplay of home. Harlequin goes by with his little bladder suspended from a string, but the dexterous little touch is a touch and no more. The tiny sugarplums rain like hail on one's face, but there is the fun of catching them and seeing the children hunt after them in the dust. The flour-pelting is the hardest to bear, but the annoyance is redeemed by the burst of laughter from the culprit and the bystanders. It is a rare thing to see anybody lose his temper. It is a yet rarer thing to see anybody drunk. The sulky altercations, the tipsy squabbles, of Northern amusements are unknown. The characteristic "prudence" of the Italian is never better displayed than in his merriment. He knows how far to carry his badinage. He knows when to have done with his fun. The tedious length of an English merry-making would be unintelligible to him; he doesn't care to spoil the day's enjoyment by making a night of it. A few hours of laughter satisfy him, and when evening falls and the sunshine goes, he goes with the sunshine.
It is in the Carnival that one sees most conspicuously displayed that habit of social equality which is one of the special features of Italian life. Nothing is more unlike the social jealousy of the Frenchman, or the surly incivility with which a Lancashire operative thinks proper to show the world that he is as good a man as his master. In either case one feels the taint of a mere spirit of envious levelling, and a latent confession that the levelling process has still in reality to be accomplished. But the ordinary Italian has nothing of the leveller about him. The little town is proud of its Marchese and of the great palazzo that has entertained a King. It is a matter of public concern when the Count gambles away his patrimony. An Italian noble is no object of jealousy to his fellow-citizens, but then no one gives himself less of the airs of a privileged or exclusive caste. Cavour was a popular man because, noble as he was, he would smoke a cigar or stop for a chat with anybody. The Carnival brings out this characteristic of Italian manners amusingly enough. The mask, the disguise, levels all distinctions. The Count's whiskers are white with the flour just flung at him by the town-crier. The young nephews of the Baron are the two harlequins who are exchanging badinage with the group of country girls at the corner. A general pelting of sugarplums salutes the appearance of the Marchese's four-in-hand with the Marchese himself in an odd mufti on the box.
Social equality is possible, because among rich and poor alike there is the same social ease. Barber or donkey-driver chats to you with a perfect frankness and unconsciousness of any need of reserve. In both rich and poor, too, there is the same social taste and refinement. The coarse dress of the peasant girl is worn with as native a dignity as the robe of a queen. An unconscious elegance breathes through the very disguises of the Carnival, grotesque as many of them are. The young fellow who has wreathed himself with flowers and vine-leaves shows a knowledge of colour and effect which an artist might envy him. But there is not one among the roughest of the peasants or of the townsfolk who has not that indescribable thing we call manner, or who would betray our insular awkwardness when we speak to a lord. And, besides this social equality, there is a family equality too. In England old people enjoy fun, but it is held to be indecorous in them to afford amusement to others. A Palmerston may be a jester at eighty, but the jest must never go beyond words. But in an Italian Carnival the old claim just as much a part in the fun as the young. Grandfathers and grandmothers think it the most natural thing in the world to turn out in odd costumes to give a good laugh to the grandchildren. Papa pops on the most comical mask he can find, and walks down the street arm-in-arm with his boy. In no country perhaps is the filial regard stronger than in Italy; nowhere do mothers claim authority so long over their sons. But this seems to be compatible with a domestic liberty and ease which would be impossible in the graver nations of the North. If once we laughed at our mother's absurdities a mother's influence would be gone. But an Italian will laugh and go on reverencing and obeying in a way we should never dream of. Altogether, it is wonderful how many sides of social life and national character find their illustration in a country carnival.