The cobblers of Rome are also a gay and singing set. They do not imprison themselves in a dark cage of a shop, but sit "sub Jove" where they may enjoy the life of the street and all the "skyey influences." Their benches are generally placed near the portone of some palace, so that they may draw them under shelter when it rains. Here all day they sit and draw their waxed-ends and sing,—a row of battered-looking boots and shoes ranged along on the ground beside them, and waiting for their turn, being their only stock in trade.
They commonly have enough to do, and, as they pay nothing for shop-rent, every baiocco they get is nearly clear profit. They are generally as poor as Job's cat; but they are far happier than the proprietor of that interesting animal. Figaro is a high ideal of this class, and about as much like them as Raffaello's angels are like Jeames Yellowplush. What the cobblers and Figaro have in common is song and a love of scandal. One admirable specimen of this class sits at the corner of the Via Felice and Capo le Case, with his bench backed against the gray wall. He is an oldish man, with a long, gray beard and a quizzical face,—a sort of Hans Sachs, who turns all his life into verse and song. When he comes out in the morning, he chants a domestic idyl, in which he narrates in verse the events of his household, and the differences and agreements of himself and his wife, whom I take to be a pure invention. This over, he changes into song everything and every person that passes before him. Nothing that is odd, fantastic, or absurd escapes him, or fails to be chronicled and sarcastically commented on in his verse. So he sits all day long, his mind like a kaleidoscope, changing all the odd bits of character which chance may show him into rhythmic forms, and chirps and sings as perpetually as the cricket. Friends he has without number, who stop before his bench, from which he administers poetical justice to all persons, to have a long chat, or sometimes to bring him a friendly token; and from the dark interior of his drawer he often brings forth an orange, or a bunch of grapes, or handful of chestnuts, supplied by them, as a dessert for the thick cabbage-soup which he eats at mezzo giorno.
In the busiest street of Rome, the pure Campagna song may often be heard from the throat of some contadino, as he slowly rumbles along in his loaded wine-cart,—the little dog at his side barking a sympathetic chorus. This song is rude enough, and seems in measure founded upon the Church chant. It is in the minor key, and consists ordinarily of two phrases, ending in a screaming monotone, prolonged until the breath of the singer fails, and often running down at the close into a blurred chromatic. No sooner is one strain ended than it is suddenly taken up again in the prestissimo time and "slowed" down to the same dismal conclusion. Heard near, it is deafening and disagreeable. But when refined by distance, it has a sad and pleasant effect, and seems to belong to the place,—the long wail at the close being the very type of the melancholy stretches of the Campagna. In the same way I have frequently thought that the Jodeln of the Swiss was an imitation of the echo of the mountains, each note repeated first in octave, or fifth, and then in its third below. The Campagna song is to be heard not only in the Campagna, but everywhere in the country,—in the vineyards, in the grain-fields, in mountain and valley, from companies working together, and from solitary contadini,—wherever the influence and sentiment of the Roman Campagna is felt. The moment we get into Tuscany, on the one side, or over into Naples, on the other, it begins to be lost. It was only the other day, at nightfall, that I was sauntering out on the desolate Campagna towards Civita Vecchia. The shadows were deepening and the mists beginning to creep whitely along the deep hollows. Everything was dreary and melancholy enough. As I paused to listen to the solitude, I heard the grind of a distant invisible cart, and the sound of a distant voice singing. Slowly the cart came up over the crest of the hill, a dark spot against the twilight sky, and mounted on the top of a load of brushwood sat a contadino, who was singing to himself these words,—not very consolatory, perhaps, but so completely in harmony with the scene and the time that they struck me forcibly:—
"E, bella, tu non piangera-a-a-i,
Sul giorno ch'io saro mor-or-or-to-o-o-o-o-o."[D]
[Footnote D:
"And, dearest, you will never weep for me-e-e-e,
The day when I shall be no mo-o-o-ore.">[
Whether this constant habit of song among the Southern people, while at their work, indicates happiness and content, I will not undertake to say; but it is pleasanter in effect than the sad silence in which we Anglo-Saxons perform our tasks,—and it seems to show a less harassed and anxious spirit. But I feel quite sure that these people are more easily pleased, contented with less, less morose, and less envious of the ranks above them, than we are. They give little thought to the differences of caste, have little ambition to make fortunes or rise out of their condition, and are satisfied with the commonest fare, if they can get enough of it. The demon of dissatisfaction never harries them. When you speak to them, they answer with a smile which is nowhere else to be found. The nation is old, but the people are children in disposition. Their character is like their climate, generally sunny,—subject to violent occasional storms, but never growling life away in an uncomfortable drizzle of discontent. They live upon Nature, —sympathize with it and love it,—are susceptible to the least touch of beauty,—are ardent, if not enduring, in their affectations,—and, unless provoked and irritated, are very peaceful and amiable. The flaw in their nature is jealousy, and it is a great flaw. Their want of truth is the result of their education. We who are of the more active and busy nations despise them for not having that irritated discontent which urges us forward to change our condition; and we think our ambition better than their supineness. But there is good in both. We do more,—they enjoy more; we make violent efforts to be happy,—invent, create, labor, to arrive at that quiet enjoyment which they own without struggle, and which our anxious strife unfits us to enjoy when the means for it are obtained. The general, popular idea, that an Italian is quarrelsome, and ill-tempered, and that the best are only bandits in disguise, is quite a mistake; and when studied as they exist out of the track of travel, where they are often debased and denaturalized, they will be found to be simple, kind-hearted, and generous.
A LETTER TO A DYSPEPTIC.
Yes, my dear Dolorosus, I commiserate you. I regard your case, perhaps, with even sadder emotions than that excellent family-physician who has been sounding its depths these four years with a golden plummet, and has never yet touched bottom. From those generous confidences which, in common with most of your personal acquaintances, I daily share, I am satisfied that no description can do justice to your physical disintegration, unless it be the wreck of matter and the crush of worlds with which Mr. Addison winds up Cato's Soliloquy. So far as I can ascertain, there is not an organ of your internal structure which is in its right place, at present, or which could perform any particular service, if it were there. In the extensive library of medical almanacs and circulars which I find daily deposited by travelling agents at my front door, among all the agonizing vignettes of diseases which adorn their covers, and which Irish Bridget daily studies with inexperienced enjoyment in the front entry, there is no case which seems to afford a parallel to yours. I found it stated in one of these works, the other day, that there is iron enough in the blood of twenty-four men to make a broadsword; but I am satisfied that it would be impossible to extract enough from the veins of yourself and your whole family to construct a crochet-needle for your eldest daughter. And I am quite confident, that, if all the four hundred muscles of your present body were twisted together by a rope-maker, they would not furnish that patient young laborer with a needleful of thread.
You are undoubtedly, as you claim, a martyr to Dyspepsia; or if you prefer any other technical name for your disease or diseases, I will acquiesce in any, except, perhaps, the word "Neurology," which I must regard as foreign to etymological science, if not to medical. Your case, you think, is hard. I should think it would be. Yet I am impressed by it, I must admit, as was our adopted fellow-citizen by the contemplation of Niagara. He, you remember, when pressed to admire the eternal plunge of the falling water, could only inquire, with serene acquiescence in natural laws, "And what's to hinder?" I confess myself moved to similar reflections by your disease and its history. My dear Dolorosus, can you acquaint me with any reason, in the heavens above or on the earth beneath, why you should not have dyspepsia?