VI.
In Rome one's fellow-tourists are a constant source of gratification and surprise. I thought that American travellers were by no means the most absurd among those we saw, nor even the loudest in their approval of the Eternal City. A certain order of German greenness affords, perhaps, the pleasantest pasturage for the ruminating mind. For example, at the Villa Ludovisi there was, beside numerous Englishry in detached bodies, a troop of Germans, chiefly young men, frugally pursuing the Sehenswürdigkeiten in the social manner of their nation. They took their enjoyment very noisily, and wrangled together with furious amiability as they looked at Guercino's "Aurora." Then two of them parted from the rest, and went to a little summer-house in the gardens, while the others followed us to the top of the Casino. There they caught sight of their friends in the arbor, and the spectacle appeared to overwhelm them. They bowed, they took off their hats, they waved their handkerchiefs. It was not enough: one young fellow mounted on the balustrade of the roof at his neck's risk, lifted his hat on his cane and flourished it in greeting to the heart's-friends in the arbor, from whom he had parted two minutes before.
In strange contrast to the producer of this enthusiasm, so pumped and so unmistakably mixed with beer, a fat and pallid Englishwoman sat in a chair upon the roof and coldly, coldly sketched the lovely landscape. And she and the blonde young English girl beside her pronounced a little dialogue together, which I give, because I saw that they meant it for the public:
The Young Girl.—I wonder, you knoa, you don't draw-ow St. Petuh's!
The Artist.—O ah, you knoa, I can draw-ow St. Petuh's from so mennee powints.
I am afraid that the worst form of American greenness appears abroad in a desire to be perfectly up in critical appreciation of the arts, and to approach the great works in the spirit of the connoisseur. The ambition is not altogether a bad one. Still I could not help laughing at a fellow-countryman when he told me that he had not yet seen Raphael's "Transfiguration," because he wished to prepare his mind for understanding the original by first looking at all the copies he could find.
VII.
The Basilica San Paolo fuori le Mura surpasses every thing in splendor of marble and costly stone—porphyry, malachite, alabaster—and luxury of gilding that is to be seen at Rome. But I chiefly remember it because on the road that leads to it, through scenes as quiet and peaceful as if history had never known them, lies the Protestant graveyard in which Keats is buried. Quite by chance the driver mentioned it, pointing in the direction of the cemetery with his whip. We eagerly dismounted and repaired to the gate, where we were met by the son of the sexton, who spoke English through the beauteous line of a curved Hebrew nose. Perhaps a Christian could not be found in Rome to take charge of these heretic graves, though Christians can be got to do almost any thing there for money. However, I do not think a Catholic would have kept the place in better order, or more intelligently understood our reverent curiosity. It was the new burial-ground which we had entered, and which is a little to the right of the elder cemetery. It was very beautiful and tasteful in every way; the names upon the stones were chiefly English and Scotch, with here and there an American's. But affection drew us only to the prostrate tablet inscribed with the words, "Percy Bysshe Shelley, Cor Cordium," and then we were ready to go to the grave of him for whom we all feel so deep a tenderness. The grave of John Keats is one of few in the old burying-ground, and lies almost in the shadow of the pyramid of Caius Cestius; and I could not help thinking of the wonder the Roman would have felt could he have known into what unnamable richness and beauty his Greek faith had ripened in the heart of the poor poet, where it was mixed with so much sorrow. Doubtless, in his time, a prominent citizen like Caius Cestius was a leading member of the temple in his neighborhood, and regularly attended sacrifice: it would have been but decent; and yet I fancied that a man immersed like him in affairs might have learned with surprise the inner and more fragrant meaning of the symbols with the outside of which his life was satisfied; and I was glad to reflect that in our day such a thing is impossible.
The grave of our beloved poet is sunken to the level of the common earth, and is only marked by the quaintly lettered, simple stone bearing the famous epitaph. While at Rome I heard talk of another and grander monument which some members of the Keats family were to place over the dust of their great kinsman. But, for one, I hope this may never be done, even though the original stone should also be left there, as was intended. Let the world still keep unchanged this shrine, to which it can repair with at once pity and tenderness and respect.
A rose-tree and some sweet-smelling bushes grew upon the grave, and the roses were in bloom. We asked leave to take one of them; but at last could only bring ourselves to gather some of the fallen petals. Our Hebrew guide was willing enough, and unconsciously set us a little example of wantonness; for while he listened to our explanation of the mystery which had puzzled him ever since he had learned English, namely, why the stone should say "writ on water," and not written, he kept plucking mechanically at one of the fragrant shrubs, pinching away the leaves, and rending the tender twig, till I, remembering the once-sensitive dust from which it grew, waited for the tortured tree to cry out to him with a voice of words and blood, "Perchè mi schianti?"