He was Count Matteo, a nobleman of the days when the Messenians revolted against the chancellor of Queen Margaret. He was placed over this castle; and when a certain Count Riccardo was discovered in a conspiracy to murder the chancellor, and was taken captive, he was given into Matteo's charge, and imprisoned here. The Messenians came and surprised the lower city of Taormina, but they could not gain Mola nor persuade Matteo to yield Riccardo up to them. So they thought to overcome his fidelity cruelly. They took his wife and children, who were at Messina, threw them into a dungeon, and condemned them to death. Then they sent Matteo's brother-in-law to treat with him. But when the count knew the reason of the visit he said: "It seems to me that you little value the zeal of an honest man who, loyal to his office, does not wish, neither knows how, to break his sworn faith. My wife and children would look on me with scornful eyes should I be renegade; for shame is not the reward that sweetens life, but burdens it. If the Messenians stain themselves with innocent blood, I shall weep for the death of my wife and sons, but the heart of an honest citizen will have no remorse." Then he was silent. But treachery could do what such threats failed to accomplish. One Gavaretto was found, who unlocked the prison, and Riccardo was already escaping when Matteo, roused at a slight noise, came, sword in hand, and would have slain him; but the traitor behind, "to save his wages," struck Matteo in the body, and the faithful count fell dead in his blood. I thought of this story, standing there, and nothing else in the castle's filled with bloom; then the infinite beauty, slowly fading, withdrew the scene, and sweetly it parted from my eyes.
VIII
Yet once more I step out upon the terrace into the night. I hear the long roar of the breakers; I see the flickering fishers' lights, and Etna pale under the stars. The place is full of ghosts. In the darkness I seem to hear vaguely arising, half sense, half thought, the murmur of many tongues that have perished here, Sicanian and Siculian and the lost Oscan, Greek and Latin and the hoarse jargon of barbaric slaves, Byzantine and Arabic confused with strange African dialects, Norman and Sicilian, French and Spanish, mingling, blending, changing, the sharp battle-cry of a thousand assaults rising from the low ravines, the death-cry of twenty bloody massacres within these walls, ringing on the hard rock and falling to silence only to rise more full with fiercer pain—century after century of the battle-wrath and the battle-woe. My fancy shapes the air till I see over the darkly lifted, castle-rock the triple crossing swords of Greek, Carthaginian, and Roman in the age-long duel, and as these fade, the springing brands of Byzantine, Arab, and Norman, and yet again the heavy blades of France, Spain, and Sicily; and ever, like rain or snow, falls the bloody dew on this lone hill-wide. "Oh, wherefore?" I whisper; and all is silent save the surge still lifting round the coast the far voices of the old Ionian sea. I have wondered that the children of Etna should dwell in its lovely paradise, as I thought how often, how terribly, the lava has poured forth upon it, the shower of ashes fallen, the black horror of volcanic eruption overwhelmed the land. Yet, sum it all, pang by pang, all that Etna ever wrought of woe to the sons of men, the agonies of her burnings, the terrors of her living entombments, all her manifold deaths at once, and what were it in comparison with the blood that has flowed on this hillside, the slaughter, the murder, the infinite pain here suffered at the hands of man. O Etna, it is not thou that man should fear! He should fear his brother-man.
IX
The stars were paling over Etna, white and ghostly, as I came out to depart. In the dark street I met a woman with a young boy clinging to her side. Her black hair fell down over her shoulders, and her bosom was scantily clothed by the poor garment that fell to her ankles and her feet. She was still young, and from her dark, sad face her eyes met mine with that fixed look of the hopeless poor, now grown familiar; the child, half naked, gazed up at me as he held his mother's hand. What brought her there at that hour, alone with her child? She seemed the epitome of the human life I was leaving behind, come forth to bid farewell; and she passed on under the shadows of the dawn. The last star faded as I went down the hollow between the spurs. Etna gleamed white and vast over the shoulder of the ravine, and, as I dipped down, was gone.
A NEW DEFENCE OF POETRY
There was an old cry, Return to Nature! Let us rather return unto the soul. Nature is great, and her science marvellous; but it is man who knows it. In what he knows it is partial and subsidiary. Know thyself, was the first command of reason; and wisdom was an ancient thing when the sweet influences of the Pleiades and the path of Arcturus with his sons were young in human thought. These late conquests of the mind in the material infinities of the universe, its exploring of stellar space, its exhuming of secular time, its harnessing of invisible forces, this new mortal knowledge, its sudden burst, its brilliancy and amplitude of achievement, thought winnowing the world as with a fan; the vivid spectacle of vast and beneficent changes wrought by this means in human welfare, the sense of the increase of man's power springing from unsuspected and illimitable resources,—all this has made us forgetful of truth that is the oldest heirloom of the race. In the balances of thought the soul of man outweighs the mass that gravitation measures. Man only is of prime interest to men; and man as a spirit, a creature but made in the likeness of something divine. The lapse of aeons touches us as little as the reach of space; even the building of our planet, and man's infancy, have the faint and distant reality of cradle records. Science may reconstruct the inchoate body of animal man, the clay of our mould, and piece together the primitive skeleton of the physical being we now wear; but the mind steadily refuses to recognize a human past without some discipline in the arts, some exercise in rude virtue, and some proverbial lore handed down from sire to son. The tree of knowledge is of equal date with the tree of life; nor were even the tamer of horses, the worker in metals, or the sower, elder than those twin guardians of the soul,—the poet and the priest. Conscience and imagination were the pioneers who made earth habitable for the human spirit; they are still its lawgivers and where they have lodged their treasures, there is wisdom. I desire to renew the long discussion of the nature and method of idealism by engaging in a new defence of poetry, or the imaginative art in any of its kinds, as the means by which this wisdom, which is the soul's knowledge of itself, is stored up for the race in its most manifest, enduring, and vital forms. It is, by literary tradition and association, a proud task. May I not take counsel of Spenser and be bold at the first door? Sidney and Shelley pleaded this cause. Because they spoke, must we be dumb? or shall not a noble example be put to its best use in trying what truth can now do on younger lips? The old hunt is up in the Muses' bower; and I would fain speak for that learning which has to me been light. I use this preface not unwillingly in open loyalty to studies on which my youth was nourished, and the masters I then loved whom the natural thoughts of youth made eloquent; my hope is to continue their finer breath, as they before drank from old fountains; but chiefly I name them as a reminder that the main argument is age-long; it does not harden into accepted dogma; and it is thus ceaselessly tossed because it belongs in that sphere of our warring nature where conflict is perpetual. It goes on in the lives as well as on the lips of men. It is a question how to live as well as how to express life. Each race uses its own tongue, each age its dialect; but, change the language as man may, he ever remains the questioner of his few great thoughts.
The defenders of the soul inherit an old cause that links them together in a long descent; but the battle is always to a present age. Continually something is becoming superfluous, inapplicable, or wanting in the work of the past. Victory itself makes arms useless, and consigns them to dark closets. New times, new weapons, is the history of all warfare. The doubt of the validity of the ideal, never absent from any intellectual period, is active on all sides, and in more than one quarter passes into denial. Literature and the other arts of expression suffer throughout the world. To that point is it come that those of the old stock who believe that the imagination exercises man's faculty at its highest pitch, and that the method of idealism is its law, are bid step down, while others more newly grounded in what belongs to literature possess the city; but seeing the shrines interdicted, the obliteration of ancient names, the heroes' statues thrown down, shall we learn what our predecessors never knew—to abdicate and abandon? I hear in the temples the footsteps of the departing gods—