Delphi complete works of.., p.1499
Delphi Complete Works of William Dean Howells, page 1499
XXVIII. DANTE
I ran through an Italian grammar on my way across the Atlantic, and from my knowledge of Latin, Spanish, and French, I soon had a reading acquaintance with the language. I had really wanted to go to Germany, that I might carry forward my studies in German literature, and I first applied for the consulate at Munich. The powers at Washington thought it quite the same thing to offer me Rome; but I found that the income of the Roman consulate would not give me a living, and I was forced to decline it. Then the President’s private secretaries, Mr. John Nicolay and Mr. John Hay, who did not know me except as a young Westerner who had written poems in the Atlantic Monthly, asked me how I would like Venice, and promised that they would have the salary put up to a thousand a year, under the new law to embarrass privateers. It was really put up to fifteen hundred, and with this income assured me I went out to the city whose influence changed the whole course of my literary life.
No privateers ever came, though I once had notice from Turin that the Florida had been sighted off Ancona; and I had nearly four years of nearly uninterrupted leisure at Venice, which I meant to employ in reading all Italian literature, and writing a history of the republic. The history, of course, I expected would be a long affair, and I did not quite suppose that I could despatch the literature in any short time; besides, I had several considerable poems on hand that occupied me a good deal, and worked at these as well as advanced myself in Italian, preparatory to the efforts before me.
I had already a slight general notion of Italian letters from Leigh Hunt, and from other agreeable English Italianates; and I knew that I wanted to read not only the four great poets, Dante, Petrarch, Ariosto, and Tasso, but that whole group of burlesque poets, Pulci, Berni, and the rest, who, from what I knew of them, I thought would be even more to my mind. As a matter of fact, and in the process of time, I did read somewhat of all these, but rather in the minor than the major way; and I soon went off from them to the study of the modern poets, novelists, and playwrights who interested me so much more. After my wonted fashion I read half a dozen of these authors together, so that it would be hard to say which I began with, but I had really a devotion to Dante, though not at that time, or ever for the whole of Dante. During my first year in Venice I met an ingenious priest, who had been a tutor in a patrician family, and who was willing to lead my faltering steps through the “Inferno.” This part of the “Divine Comedy” I read with a beginner’s carefulness, and with a rapture in its beauties, which I will whisper the reader do not appear in every line.
Again I say it is a great pity that criticism is not honest about the masterpieces of literature, and does not confess that they are not every moment masterly, that they are often dull and tough and dry, as is certainly the case with Dante’s. Some day, perhaps, we shall have this way of treating literature, and then the lover of it will not feel obliged to browbeat himself into the belief that if he is not always enjoying himself it is his own fault. At any rate I will permit myself the luxury of frankly saying that while I had a deep sense of the majesty and grandeur of Dante’s design, many points of its execution bored me, and that I found the intermixture of small local fact and neighborhood history in the fabric of his lofty creation no part of its noblest effect. What is marvellous in it is its expression of Dante’s personality, and I can never think that his personalities enhance its greatness as a work of art. I enjoyed them, however, and I enjoyed them the more, as the innumerable perspectives of Italian history began to open all about me. Then, indeed, I understood the origins if I did not understand the aims of Dante, which there is still much dispute about among those who profess to know them clearly. What I finally perceived was that his poem came through him from the heart of Italian life, such as it was in his time, and that whatever it teaches, his poem expresses that life, in all its splendor and squalor, its beauty and deformity, its love and its hate.
Criticism may torment this sense or that sense out of it, but at the end of the ends the “Divine Comedy” will stand for the patriotism of medieval Italy, as far as its ethics is concerned, and for a profound and lofty ideal of beauty, as far as its aesthetics is concerned. This is vague enough and slight enough, I must confess, but I must confess also that I had not even a conception of so much when I first read the “Inferno.” I went at it very simply, and my enjoyment of it was that sort which finds its account in the fine passages, the brilliant episodes, the striking pictures. This was the effect with me of all the criticism which I had hitherto read, and I am not sure yet that the criticism which tries to be of a larger scope, and to see things “whole,” is of any definite effect. As a matter of fact we see nothing whole, neither life nor art. We are so made, in soul and in sense, that we can deal only with parts, with points, with degrees; and the endeavor to compass any entirety must involve a discomfort and a danger very threatening to our intellectual integrity.
Or if this postulate is as untenable as all the others, still I am very glad that I did not then lose any fact of the majesty, and beauty, and pathos of the great certain measures for the sake of that fourth dimension of the poem which is not yet made palpable or visible. I took my sad heart’s fill of the sad story of “Paolo and Francesca,” which I already knew in Leigh Hunt’s adorable dilution, and most of the lines read themselves into my memory, where they linger yet. I supped on the horrors of Ugolino’s fate with the strong gust of youth, which finds every exercise of sympathy a pleasure. My good priest sat beside me in these rich moments, knotting in his lap the calico handkerchief of the snuff-taker, and entering with tremulous eagerness into my joy in things that he had often before enjoyed. No doubt he had an inexhaustible pleasure in them apart from mine, for I have found my pleasure in them perennial, and have not failed to taste it as often as I have read or repeated any of the great passages of the poem to myself. This pleasure came often from some vital phrase, or merely the inspired music of a phrase quite apart from its meaning. I did not get then, and I have not got since, a distinct conception of the journey through Hell, and as often as I have tried to understand the topography of the poem I have fatigued myself to no purpose, but I do not think the essential meaning was lost upon me.
I dare say my priest had his notion of the general shape and purport, the gross material body of the thing, but he did not trouble me with it, while we sat tranced together in the presence of its soul. He seemed, at times, so lost in the beatific vision, that he forgot my stumblings in the philological darkness, till I appealed to him for help. Then he would read aloud with that magnificent rhythm the Italians have in reading their verse, and the obscured meaning would seem to shine out of the mere music of the poem, like the color the blind feel in sound.
I do not know what has become of him, but if he is like the rest of the strange group of my guides, philosophers, and friends in literature — the printer, the organ-builder, the machinist, the drug-clerk, and the bookbinder — I am afraid he is dead. In fact, I who was then I, might be said to be dead too, so little is my past self like my present self in anything but the “increasing purpose” which has kept me one in my love of literature. He was a gentle and kindly man, with a life and a longing, quite apart from his vocation, which were never lived or fulfilled. I did not see him after he ceased to read Dante with me, and in fact I was instructed by the suspicions of my Italian friends to be careful how I consorted with a priest, who might very well be an Austrian spy. I parted with him for no such picturesque reason, for I never believed him other than the truest and faithfulest of friends, but because I was then giving myself more entirely to work in which he could not help me.
Naturally enough this was a long poem in the terza rima of the “Divina Commedia,” and dealing with a story of our civil war in a fashion so remote that no editor would print it. This was the first fruits and the last of my reading of Dante, in verse, and it was not so like Dante as I would have liked to make it; but Dante is not easy to imitate; he is too unconscious, and too single, too bent upon saying the thing that is in him, with whatever beauty inheres in it, to put on the graces that others may catch.
XXIX. GOLDONI, MANZONI, D’AZEGLIO
However, this poem only shared the fate of nearly, all the others that I wrote at this time; they came back to me with unfailing regularity from all the magazine editors of the English-speaking world; I had no success with any of them till I sent Mr. Lowell a paper on recent Italian comedy for the North American Review, which he and Professor Norton had then begun to edit. I was in the mean time printing the material of Venetian Life and the Italian Journeys in a Boston newspaper after its rejection by the magazines; and my literary life, almost without my willing it, had taken the course of critical observance of books and men in their actuality.
That is to say, I was studying manners, in the elder sense of the word, wherever I could get at them in the frank life of the people about me, and in such literature of Italy as was then modern. In this pursuit I made a discovery that greatly interested me, and that specialized my inquiries. I found that the Italians had no novels which treated of their contemporary life; that they had no modern fiction but the historical romance. I found that if I wished to know their life from their literature I must go to their drama, which was even then endeavoring to give their stage a faithful picture of their civilization. There was even then in the new circumstance of a people just liberated from every variety of intellectual repression and political oppression, a group of dramatic authors, whose plays were not only delightful to see but delightful to read, working in the good tradition of one of the greatest realists who has ever lived, and producing a drama of vital strength and charm. One of them, whom I by no means thought the best, has given us a play, known to all the world, which I am almost ready to think with Zola is the greatest play of modern times; or if it is not so, I should be puzzled to name the modern drama that surpasses “La Morte Civile” of Paolo Giacometti. I learned to know all the dramatists pretty well, in the whole range of their work, on the stage and in the closet, and I learned to know still better, and to love supremely, the fine, amiable genius whom, as one of them said, they did not so much imitate as learn from to imitate nature.
This was Carlo Goldoni, one of the first of the realists, but antedating conscious realism so long as to have been born at Venice early in the eighteenth century, and to have come to his hand-to-hand fight with the romanticism of his day almost before that century had reached its noon. In the early sixties of our own century I was no more conscious of his realism than he was himself a hundred years before; but I had eyes in my head, and I saw that what he had seen in Venice so long before was so true that it was the very life of Venice in my own day; and because I have loved the truth in art above all other things, I fell instantly and lastingly in love with Carlo Goldoni. I was reading his memoirs, and learning to know his sweet, honest, simple nature while I was learning to know his work, and I wish that every one who reads his plays would read his life as well; one must know him before one can fully know them. I believe, in fact, that his autobiography came into my hands first. But, at any rate, both are associated with the fervors and languors of that first summer in Venice, so that I cannot now take up a book of Goldoni’s without a renewed sense of that sunlight and moonlight, and of the sounds and silences of a city that is at once the stillest and shrillest in the world.
Perhaps because I never found his work of great ethical or aesthetical proportions, but recognized that it pretended to be good only within its strict limitations, I recur to it now without that painful feeling of a diminished grandeur in it, which attends us so often when we go back to something that once greatly pleased us. It seemed to me at the time that I must have read all his comedies in Venice, but I kept reading new ones after I came home, and still I can take a volume of his from the shelf, and when thirty years are past, find a play or two that I missed before. Their number is very great, but perhaps those that I fancy I have not read, I have really read once or more and forgotten. That might very easily be, for there is seldom anything more poignant in any one of them than there is in the average course of things. The plays are light and amusing transcripts from life, for the most part, and where at times they deepen into powerful situations, or express strong emotions, they do so with persons so little different from the average of our acquaintance that we do not remember just who the persons are.
There is no doubt but the kindly playwright had his conscience, and meant to make people think as well as laugh. I know of none of his plays that is of wrong effect, or that violates the instincts of purity, or insults common sense with the romantic pretence that wrong will be right if you will only paint it rose-color. He is at some obvious pains to “punish vice and reward virtue,” but I do not mean that easy morality when I praise his; I mean the more difficult sort that recognizes in each man’s soul the arbiter not of his fate surely, but surely of his peace. He never makes a fool of the spectator by feigning that passion is a reason or justification, or that suffering of one kind can atone for wrong of another. That was left for the romanticists of our own century to discover; even the romanticists whom Goldoni drove from the stage, were of that simpler eighteenth-century sort who had not yet liberated the individual from society, but held him accountable in the old way. As for Goldoni himself, he apparently never dreams of transgression; he is of rather an explicit conventionality in most things, and he deals with society as something finally settled. How artfully he deals with it, how decently, how wholesomely, those who know Venetian society of the eighteenth century historically, will perceive when they recall the adequate impression he gives of it without offence in character or language or situation. This is the perpetual miracle of his comedy, that it says so much to experience and worldly wisdom, and so little to inexperience and worldly innocence. No doubt the Serenest Republic was very strict with the theatre, and suffered it to hold the mirror up to nature only when nature was behaving well, or at least behaving as if young people were present. Yet the Italians are rather plain-spoken, and they recognize facts which our company manners at least do not admit the existence of. I should say that Goldoni was almost English, almost American, indeed, in his observance of the proprieties, and I like this in him; though the proprieties are not virtues, they are very good things, and at least are better than the improprieties.
This, however, I must own, had not a great deal to do with my liking him so much, and I should be puzzled to account for my passion, as much in his case as in most others. If there was any reason for it, perhaps it was that he had the power of taking me out of my life, and putting me into the lives of others, whom I felt to be human beings as much as myself. To make one live in others, this is the highest effect of religion as well as of art, and possibly it will be the highest bliss we shall ever know. I do not pretend that my translation was through my unselfishness; it was distinctly through that selfishness which perceives that self is misery; and I may as well confess here that I do not regard the artistic ecstasy as in any sort noble. It is not noble to love the beautiful, or to live for it, or by it; and it may even not be refining. I would not have any reader of mine, looking forward to some aesthetic career, suppose that this love is any merit in itself; it may be the grossest egotism. If you cannot look beyond the end you aim at, and seek the good which is not your own, all your sacrifice is to yourself and not of yourself, and you might as well be going into business. In itself and for itself it is no more honorable to win fame than to make money, and the wish to do the one is no more elevating than the wish to do the other.
But in the days I write of I had no conception of this, and I am sure that my blindness to so plain a fact kept me even from seeking and knowing the highest beauty in the things I worshipped. I believe that if I had been sensible of it I should hays read much more of such humane Italian poets and novelists as Manzoni and D’Azeglio, whom I perceived to be delightful, without dreaming of them in the length and breadth of their goodness. Now and then its extent flashed upon me, but the glimpse was lost to my retroverted vision almost as soon as won. It is only in thinking back to there that I can realize how much they might always have meant to me. They were both living in my time in Italy, and they were two men whom I should now like very much to have seen, if I could have done so without that futility which seems to attend every effort to pay one’s duty to such men.
The love of country in all the Italian poets and romancers of the long period of the national resurrection ennobled their art in a measure which criticism has not yet taken account of. I conceived of its effect then, but I conceived of it as a misfortune, a fatality; now I am by no means sure that it was so; hereafter the creation of beauty, as we call it, for beauty’s sake, may be considered something monstrous. There is forever a poignant meaning in life beyond what mere living involves, and why should not there be this reference in art to the ends beyond art? The situation, the long patience, the hope against hope, dignified and beautified the nature of the Italian writers of that day, and evoked from them a quality which I was too little trained in their school to appreciate. But in a sort I did feel it, I did know it in them all, so far as I knew any of them, and in the tragedies of Manzoni, and in the romances of D’Azeglio, and yet more in the simple and modest records of D’Azeglio’s life published after his death, I profited by it, and unconsciously prepared myself for that point of view whence all the arts appear one with all the uses, and there is nothing beautiful that is false.
I am very glad of that experience of Italian literature, which I look back upon as altogether wholesome and sanative, after my excesses of Heine. No doubt it was all a minor affair as compared with equal knowledge of French literature, and so far it was a loss of time. It is idle to dispute the general positions of criticism, and there is no useful gainsaying its judgment that French literature is a major literature and Italian a minor literature in this century; but whether this verdict will stand for all time, there may be a reasonable doubt. Criterions may change, and hereafter people may look at the whole affair so differently that a literature which went to the making of a people will not be accounted a minor literature, but will take its place with the great literary movements.
