My own undocumented theory is that an enduring legend does not falsify the individual about whom it has formed. When a man falls in love with a woman he has an exalted perception of her as something rare and wonderful, yet perfectly definite, concrete, individual. From no one else could he receive that particular sensation. When he was in love before, he received one, equally sharp, from another woman; but it was not this sensation. If it were, I should agree with those who consider the poor creature merely deluded. Since it is not, I am inclined to believe that he has obtained a fleeting glimpse of truth. Not the average daily truth about the person worshipped, but an unrealized and unrealizable yet more significant truth—a vision of what that person might become at her best and truest. Presently the emotion fades and is gone, either utterly or to return but faintly for an instant now and then, ever so rarely; but it was surely, in its moment, too sharp and clear a fact to have been without significance. It was actually, I fancy, a sort of intensification of the personality glimpsed, together with a stripping away of everything unessential.
A somewhat similar intensification and stripping away it is at least possible that legend, an enduring legend, gives. Seizing on the individual’s essentially personal dreams, evil or good, divined beneath a few of his inadequate acts, and exaggerating, or perhaps only intensifying, them, legend gives us these as the man. Probably that was not the way the individual appeared to himself. Probably no other individual ever saw him like that, unless, for a moment, his passionate lover or his passionate enemy. Yet that, says legend confidently, is what he was.
TRUTH AND FICTION IN ITALY
There is in most contemporary Italian fiction a limpness, flaccidity—I hardly know what to call it—which at its least offensive expresses a feeble despair, and at its worst becomes a whine. It is not the expression of a rugged pessimism; there is nothing rugged about it. Rather, it reveals a lack of vitality, a thin-bloodedness, the spirit one is accustomed to think of as ‘womanish,’ though, as a matter of fact, the women writers of Italy appear less guilty in this respect than the men. Grazia Deledda and even Annie Vivanti show more virility than most of their confrères, and there is gusto in the slap-stick prose of Matilde Serao, despite its appalling sentimentality. But Marino Moretti, a fine and sensitive writer, is only too clear an exponent of the fault, Panzini himself often succumbs to it, and even the late Federico Tozzi, cut off by early death from what promised to be real achievement, was far from guiltless.
Clear as the fault appears to me, and arousing, as it does, an exasperated distaste, it is difficult for me to make it clear to any one else. This is because it is at bottom the result of an attitude of mind, a conventionally accepted attitude of mind, rather than anything more definite. It is easy to lay an accusing finger on the concomitants, the specifically annoying tricks and habits that go with it (more obviously, of course, in third-rate writers, such as Teresah or Luciano Zuccoli): the tender mournful contemplation of something small and helpless, the employment of pity for its own sweet sake, the abuse of diminutives (‘he took her poor, emaciated, little hand in his’), etc., but the thing itself, the spirit behind all this, remains elusive, and will remain so until we have got at its source.
Whatever this may turn out to be, the characteristic is doubly obnoxious: it is obnoxious not only in itself, but also because it grossly misrepresents Italian life and the Italian spirit. It is true that there is a vast deal of sentimentality loose in Italy, always readily on tap, as it were, but this national sentimentality is a hearty thing, a wasted by-product of exuberant life, like the sticky yellow foam churned up by a tumultuous sea; not thin-blooded, careful, and mauve-coloured, like that of the printed page.
Italy is overflowing with life, perhaps even lawless with it; for the race is too much alive, individual by individual, to permit of successful organization, still less of being standardized either in behaviour or thought. The foreigner who has come to know Italy will have encountered various national traits that displease him as conflicting too much with those of his own country, but nowhere in the whole peninsula will he have found the grey devitalized dullness of Anglo-Saxon suburbia or the poetic musical languor popularly ascribed to the Italian race—why, I have no idea, unless because Neapolitans frequently sing at night and because dolce far niente is the one Italian phrase with which all foreigners are acquainted. Misled in advance by a prolific and incredibly wayward literature, the foreigner, like a reversed Columbus, expects to find Cathay and instead discovers the New World. There are in Italians old, old traits that suddenly crop out at unexpected moments, there are roots that go down into an unfathomable past, but the spirit of the race is young, vivid, almost raw. Foreigners unacquainted with Italy were surprised by the phenomenon of Fascismo. No one with any knowledge of Italy can have been surprised either by Fascismo or by the sturdy opposition to it.
Nothing, in short, can be falser than the conception of Italy as a country of dreamers and idealists. On the contrary, the people, by and large, are matter-of-fact, hard-headed and practical; they like American bathrooms, central heating and the early operas of Verdi; I often wonder that no American business-man has had the acumen to open a branch five-and-ten-cent store in Italy. A full-blooded corkscrew at two lire, a hearty can-opener at one lira, would sell and sell and sell. Italians of my acquaintance fairly pore over the advertisements in the Saturday Evening Post; they would love the Sears-Roebuck catalogue.
Then, in the name of consistency, why this mournful emasculated prose?
Well, it is a long story. I think at bottom it goes back to the schools. At Harvard I went through a number of courses in English composition, in each of which I had to write a one-page theme every day and a three-page theme once a fortnight. It took me years to recover from the discipline, and I have an almost guilty feeling that even now when I have learned to write in my own way a Harvard professor would still cover my pages with red marks; but at least we were urged to write simply. Our rhetorical passages were ruthlessly stricken out; we were held down, even contemptuously, to a positive bareness of expression. ‘Say what you have to say, if anything, in as few words as possible’ was the message (only the word would never have been allowed) dinned into our ears. I still think it an excellent training.