Monday 10th.
The moonlight nights are most inviting. I spent several hours on the water this evening. We put out just at sunset: when we reached Menaggio the full moon had risen above the mountain tops, and strewed a silver path upon the waves; instead of returning, we rowed along the shining track, towards the lake of Lecco. We hunted for the tinkling fisher-bells, and loitered delicious hours away. This evening I heard for the first time Manzoni’s Ode on Napoleon—strange, I had never before met with it. It was now repeated to me. It is a glorious poem; the opening calls at once the attention; its rapid sketching of events is full of fire; the recurrence to the poet’s self noble and appropriate; and the last stanza instinct with charity and pious hope. The hero, with all his faults, was fitly praised in verse as majestic as ever yet a poet wrote. It is a double pleasure to find poetry worthy of its better days spring up in modern Italy, showing that the genius of the Italians survives the blighting influence of misrule and oppression. The more I see of the inhabitants of this country, the more I feel convinced that they are highly gifted with intellectual powers, and possess all the elements of greatness. They are made to be a free, active, inquiring people. But they must cast away their dolce far niente. They must learn to practise the severer virtues; their youth must be brought up in more hardy and manly habits; they must tread to earth the vices that cling to them as the ivy around their ruins. They must do this to be free; yet without freedom how can they? for the governments of Italy know that to hold their own they must debase their subjects; they jealously bar their doors against all improvement; and every art and power is used to crush any who would rise above the vices and indolence of the day.
I love the Italians. It is impossible to live among them and not love them. Their faults are many—the faults of the oppressed—love of pleasure, disregard of truth, indolence, and violence of temper. But their falsehood is on the surface—it is not deceit. Under free institutions, and where the acquirement of knowledge is not as now a mark inviting oppression and wrong, their love of pleasure were readily ennobled into intellectual activity. They are affectionate, simple, and earnestly desirous to please. There is life, energy, and talent in every look and word; grace and refinement in every act and gesture. They are a noble race of men—a beautiful race of women; the time must come when again they will take a high place among nations. Their habits, fostered by their governments, alone are degraded and degrading; alter these, and the country of Dante and Michael Angelo and Raphael still exists.
LETTER VIII.
Voyage to Como.—The Opera.—Walk towards Menaggio.
Cadenabbia, August 15.
Time speeds on; yet every hour being occupied, it appears to move slowly. How often do a few weeks—such as we have spent here—seem a mere shred of life, hardly counted in the passage of a year! But these weeks “drag a slow length along,” day succeeding day, each gifted with the calmest yet most living enjoyment. Calm; for no event disturbs us: instinct with glowing life, inspired by the beauty of the scenery and the delicious influence of the climate.
We hear from the boatmen on the lake snatches of the “Lucia”—the Bell’ Alma innamorata, especially. The Opera-house at Como is open; and, now and then, to vary their day, my companions have visited it, going by the steamer at four in the afternoon, and returning the next morning. I have been tempted thither once. The steamer, the Lario (a better is promised for next year), is a very primitive and slow boat. I now made a voyage I had made years before, when putting off from Como in a skiff we had visited Tremezzo. How vividly I remembered and recognised each spot. I longed inexpressibly to land at the Pliniana, which remained in my recollection as a place adorned by magical beauty. The abrupt precipices, the gay-looking villas, the richly-wooded banks, the spire-like cypresses—a thousand times scarcely less vividly had they recurred to my memory, than now they appeared again before my eyes. Sometimes these thoughts and these revisitings were full of inexpressible sadness; a yearning after the past—a contempt for all that has occurred since, that throws dark and chilling shadows over the soul. Just now, my mind was differently attuned; the young and gay were around; and in them I lived and enjoyed.
Madame Pasta has a villa on the lake, some miles distant from Como. She has an excessive fear of the water, and never goes to Como by the steamer. Unluckily there is no road on her side of the lake; and she has a house on the opposite shore, in which to remain, if the weather is stormy, to wait for the smoothing of the waters. Methinks the elements are rude indeed not to obey her voice—never did any so move, so penetrate the human heart. In “Giulietta,” in “Medea,” and, above all, in the melting and pathetic tenderness of the opening air of the “Nina Pazza per Amore” of the divine Paesiello, she has in truth taken from the heart its last touch of hardness, and melted it into sweetest tears. Pasta and Paganini alone have had this power over me, but yet different in its kind. By Pasta, the tenderest sympathy was awakened, joined to that soft return to one’s own past afflictions, which subdued the soul and opened the fountain of tears. Paganini excited and agitated violently—it was rather nervous hysterics than gentle sorrowing—it was irresistible—as a friend said, it realised the fables of Orpheus—it had the power of an enchantment. We heard him in a garish theatre, seeing him on a stage, playing simply to attract admiration and gain money. The violent emotions he excited, rose and faded in the bosom without any visible sign. But could we have listened in the wooded solitudes of Greece or Italy, and known that he himself was animated by some noble purpose, surely he might have inspired passion, animated to glorious action, and caused obstacles seemingly irresistible to give way—no fabled power of music ever transcended his.
It is bathos to return to the opera of Como—but it was very creditable. The house was clean and pretty. Teresa Brambilla sang the part of “Lucia” very tolerably, and it was an agreeable change. In the hotel at Como were staying some Italians, whose singing, however, far transcended that of the theatre. Prince B——, in the days of his exile and poverty, often said jestingly, that were his fortunes at their last ebb, the stage would be a sure resource. Perhaps no finer voice than his has been heard in a theatre for many years.
August 30th.