Delphi Complete Works of Nathaniel Hawthorne (Illustrated) (769 page)

I was to go with my friend to the shop to see him make the purchase; and I was at his house betimes in the morning. But what a stupendous surprise awaited me! Eddy was too much excited to say anything; with a face beaming with emotion, he led me into the sitting-room, and there, upon the table, was a microscope. But such a microscope! It was of such unheard-of magnificence and elaborateness that it took my breath away, and we both stood gazing at it in voiceless rapture. It was tall and elegant, shining with its polished brass and mirrors, and its magnifying powers were such as to disclose to us the very heart of nature's mystery. It was quiet Mr. Thompson's birthday present to his son. That gentleman sat smiling in his armchair by the window, and presently he said, with a delightful archness, “Well, Eddy, I suppose you are ready to give me back all that money you've been collecting?” Eddy grinned radiantly. He spent his savings for microscope-slides and other appurtenances, and for weeks thereafter he could hardly take his eye away from the object-lens. He was luminous with happiness, and I reflected his splendor from my sympathetic heart. Dear old Eddy! In after years he entered West Point and became a soldier, and he died early; I never saw him after parting from him in Italy in 1859. But he is still my first friend, and there has been no other more dear.

I am not aware that Rome has ever been described from the point of view of a twelve-year-old boy, and it might be worth doing; but I have delayed attempting it somewhat too long; the moving pictures in my mind have become too faded and confused. And yet I am surprised at the minuteness of some of my recollections; they have, no doubt, been kept alive by the numerous photographs of Rome which one carries about, and also by the occasional perusal of The Marble Faun and other Roman literature. But much is also due to the wonderful separateness which Rome retains in the mind. It is like nothing else, and the spirit of it is immortal. It seems as if I must have lived a lifetime there; and yet I cannot make out that our total residence in the city extended over fourteen months. Certainly no other passage of my boyhood time looms so large or is rooted so deep.

But the passion for Rome (unless one be a Byron) is not a plant of sudden growth, and I dare say that, during those first frigid weeks, I may have shared my father's whimsical aversion to the city. He has described, in his journals, how all things seemed to be what they should not; and he was terribly disgusted with the filth that defiled the ruins and the street corners. He was impressed by the ruins, but deplored their nakedness. “The marble of them grows black or brown, it is true,” says he, “and shows its age in that way; but it remains hard and sharp, and does not become again a part of nature, as stone walls do in England; some dry and dusty grass sprouts along the ledges of a ruin, as in the Coliseum; but there is no green mantle of ivy spreading itself over the gray dilapidation.” We stumbled upon the Fountain of Trevi in one of our early rambles, not knowing what it was. “One of these fountains,” writes my father, referring to it, “occupies the whole side of a great edifice, and represents Neptune and his steeds, who seem to be sliding down with a cataract that tumbles over a ledge of rocks into a marble-bordered lake, the whole — except the fall of water itself — making up an exceedingly cumbrous and ridiculous affair.” He goes to St. Peter's, and “it disappointed me terribly by its want of effect, and the little justice it does to its real magnitude externally; as to the interior, I am not sure that it would not be even more grand and majestic if it were less magnificent, though I should be sorry to see the experiment tried. I had expected something dim and vast, like the great English cathedrals, only more vast and dim and gray; but there is as much difference as between noonday and twilight.” The pictures, too, were apt in these first days to go against the grain with him. Contemplating a fresco representing scenes in purgatory, he broke forth: “I cannot speak as to the truth of the representation, but, at all events, it was purgatory to look at this poor, faded rubbish. Thank Heaven, there is such a thing as whitewash; and I shall always be glad to hear of its application to old frescoes, even at the sacrifice of remnants of real excellence!” Such growlings torture the soul of the connoisseur; but the unregenerate man, hearing them, leaps up and shouts for joy. He found the old masters, in their sacred subjects, lacking in originality and initiative; and when they would represent mythology, they engendered an apotheosis of nakedness. His conclusion was that “there is something forced, if not feigned, in our taste for pictures of the old Italian school.” Of the profane subjects, he instances the Fornarina, “with a deep bright glow on her face, naked below the waist, and well pleased to be so, for the sake of your admiration — ready for any extent of nudity, for love or money — the brazen trollop that she is! Raphael must have been capable of great sensuality to have painted this picture of his own accord, and lovingly.” These are the iconoclasms of the Goth and Vandal at their first advent to Rome. They remained to alter their mood, and extol what they had before assaulted; and so did my father, as we shall see presently. But at first he was sick and cold and uncomfortable; and he consoled himself by hitting out at everything, in the secret privacy of his diary, since opened to the world. With warmer weather came equanimity and kinder judgments; but there is a refreshing touch of truth and justice even in these mutterings of exasperation.

It was not so much, I suppose, that Rome was cold as that my father had expected it to be otherwise. When one is in a place where tradition and association invite the soul forth to be warmed and soothed and rejoiced, and the body, venturing out, finds nothing but chill winds and frigid temperature and discomfort, the shock is much greater and more disagreeable than if one had been in some northern Canada or Spitzbergen, where such conditions are normal. Ice in the arctic circle is all right and exhilarating, but in the Piazza of St. Peter's it is an outrage, and affects the mind and heart even more than the flesh.

Circumstances caused my father to pass through several distinct phases of feeling while he was in Rome. First, his own indisposition and the inclement weather depressed and exasperated him.

Time, in due course, brought relief in these respects, and he began to enjoy himself and his surroundings. Anon, the springs of creative imagination, long dormant in him, were roused to activity by thoughts connected with the Faun of Praxiteles in the Capitol. He now became happy in the way of his genius and immediately took a new interest in all things, looking at them from the point of view of possible backgrounds or incidents for the romance which had begun to take form in his mind. He describes what he saw con amore, and all manner of harmonious ideas bloom through his thoughts, like anemones and other flowers in the Villa Pamphili and the Borghese. This desirable mood continued until, after our return to Rome from the Florentine visit, my sister caught the Roman fever. She lay for weeks in danger of death; and her father's anxiety about her not only destroyed in him all thoughts of literary production and care for it, but made even keeping his journal no longer possible for him. That strain, so long continued, broke him down, and he never recovered from it so as to be what he had been before. Nevertheless, when she became convalescent, the reaction from his dark misgivings made him, for a time, as light-hearted as a boy; and, the carnival happening to be coincident with her recovery, he entered into the fun of it with a zest and enjoyment that surprised himself. But, again, it presently became evident that her recovery was not complete, and probably never would be so; the injury to her health was permanent, and she was liable to recurrences of disease. His spirits sank again, not so low as before, but, on the other hand, they never again rose to their normal level. It was in this saddened mood that he once more took up the Roman romance and finished it; it is a sad book, and when there is a ray of sunshine across the page, it has a melancholy gleam. After we returned to Concord, his apprehensions concerning Una's unsound condition were confirmed; and, in addition, the bitter cleavage between North and South inspired in him the gloomiest forebodings. A wasting away of his whole physical substance ensued; and he died, almost suddenly, while in years he might be considered hardly past the prime of his life. A sensitive eye can trace the effects of the death-blow all through The Marble Faun, and still more in Septimius and Grimshawe, published after his death. In The Dolliver Romance fragment, which was the last thing he wrote, there is visible once more some reminiscence of the old sunshine of humor that was so often apparent in his time of youth and vigor; but it, too, has a sad touch in it, such as belongs to the last rays of the star of day before it sinks below the horizon forever. Night follows, and the rest is silence.

XV

The Roman carnival in three moods — Apples of Sodom — Poor, battered, wilted, stained hearts — A living protest and scourge — Dulce est desipere in loco — A rollicking world of happy fools — Endless sunshine of some sort — Greenwich Fair was worth a hundred of it — They thundered past, never drawing rein — ”Senza moccolo!” — Nothing more charming and strange could be imagined — Girls surprised in the midst of dressing themselves — A Unitarian clergyman with his fat wife — Apparent license under courteous restraint — He laughed and pelted and was pelted — William Story, as vivid as when I saw him last — A too facile power — A deadly shadow gliding close behind — Set afire by his own sallies — ”Thy face is like thy mother's, my fair child!” — Cleopatra in the clay — “War nie sein Brod mit thranen ass.”

THE Roman carnival opened about a month after our arrival in Rome. The weather was bad nearly all the time, and my father's point of view was correspondingly unsympathetic. The contrast between his mood now and a year later, when he was not only stimulated by his daughter's recovery from illness, but, also, was looking at everything rather as the romancer than as the man, is worth bringing out. My father likewise describes the carnival in the romance; there we see it in a third phase — as art. But the passages in the note-books are written from the realistic stand-point. In her transcriptions of the journals for the press my mother was always careful to omit from the former everything that had been “used” in the book; the principle, no doubt, was sound, but it might be edifying for once, in a way, to do just the opposite, in order to mark, if we choose to take the trouble, what kind of changes or modifications Hawthorne the romancer would make in the work of my father the observer of nature. Take your Marble Faun and turn to two of the latter chapters and compare them with the corresponding pages in my excerpts from the journals in the Biography. In the latter you will find him always in a critical and carping humor; seeing everything with abundant keenness, but recognizing nothing worth while in it. The bouquets, he noticed, for example, were often picked up out of the street and used again and again; “and,” he adds, “I suppose they aptly enough symbolized the poor, battered, wilted, stained hearts that had flown from one hand to another along the muddy pathway of life, instead of being treasured up in one faithful bosom. Really, it was great nonsense.”

It is true — such uncongenial interpretation — if you feel that way about it. And I remember, in my rambles along the famous thoroughfare, seeing a saturnine old fellow in a dingy black coat and slouch hat, with a sour snarl on his unprepossessing features, who made it his business, all day, to cuff and kick the little boys whom he caught throwing confetti, or picking up the fallen bouquets, and to shove the latter down into the sewer which ran beneath the street, through the apertures opening underneath the curb. He seemed to have stationed himself there as a living protest and scourge against and of the whole spirit of the carnival; to hate it just because the rest of the world enjoyed it, and to wish that he might make everybody else as miserable and uncharitable as he was. He was like a wicked and ugly Mrs. Partington, trying to sweep back the Atlantic of holiday merriment with his dirty mop. But this crabbed humor of his, while it made him conspicuous against the broad background of gayety, of course had no effect on the gayety itself. The flood of laughter, jocundity, and semi-boisterous frolic continued to roll up and down the Corso all day long, never attempting to be anything but pure nonsense, indeed, but achieving, nevertheless, the wise end of nonsense in the right time and place — that of refreshing and lightening the mind and heart. Dulce est desipere in loco — that old saw might have been made precisely to serve as the motto of the Roman carnival; and very likely it was actually suggested to its renowned author by some similar sport belonging to the old Roman days, before Christianity was thought of. The young fellows — English, American, or of whatever other nationality — would stride up and down the overflowing street hour after hour, clad in linen dust-coats down to their heels, with a bag of confetti slung on one side and another full of bouquets on the other; and they would plunge a warlike hand into the former and hurl ammunition at their rivals; or they would, pick out a bunch of flowers from the latter for a pretty girl — not that the flowers were worth anything intrinsically, nor was that their fault — but just to show the fitting sentiment. There was only one rule, the unwritten one that everybody was to take everything that came with a smile or a laugh, and never get angry at anything; and this universal good-humor lifted the whole affair into a wholesome and profitable sphere. Then there was the double row of carriages forever moving in opposite directions, and passing within easy arm's-reach of each other; and the jolly battle was waged between their occupants, with side conflicts with the foot-farers at the same time. And as the same carriages would repass one another every forty minutes or so, the persons in them would soon get to recognize one another; and, if they were of the sterner sex, they would be prepared to renew desperate battle; or if there was a pretty girl or two in one of them, she would be the recipient of a deluge of flowers or of really pretty bonbons. It was all play, all laughter, all a new, rollicking world of happy fools, of comic chivalry, of humorous gallantry. For my part, I thought it was the world which I had been born to live in; and I was too happy in it to imagine even that anybody could be less happy than I was. My sole grief was when my supply of confetti had given out, and I had no money to buy more. I used to look at those great baskets at the street-corners, filled with the white agglomeration, with longing eyes, and wish I had it all in my pockets. I picked up the fallen bouquets, muddy or not, with no misgiving, and flung them at the girls with the unquestioning faith of boyhood. I looked up at the people in the windows and on the draped balconies with romantic emotions, and exchanged smiles and beckonings with them. The February days were never long enough for me; I only wished that the whole year was made up of those days; if it rained, or was cold, I never knew it. There was an endless sunshine of some sort which sufficed for me. But my father, at this epoch, could catch not a glimpse of it. “I never in my life knew a shallower joke than the carnival at Rome; such a rainy and muddy day, too; Greenwich Fair (at the very last of which I assisted) was worth a hundred of it.”

The masking day, and the ensuing night of the moccolo, were the culminating features of the carnival; and it was on the afternoon of this day, I think, that the horse-race, with bare-backed horses, took place. The backs of these horses, though bare of riders, had attached to them by strings little balls with sharp points in them, which, as the horses ran, bobbed up and down, and did the office of spurs. The race was preceded by a thundering gallop of cavalry down the whole length of the Corso (the street having been cleared of carriages beforehand), ostensibly to prevent anybody from being run over by the race-horses; but, as a matter of fact, if any one were killed, it was much more likely to be by the ruthless riding of these helmeted dragoons than by the riderless steeds. They thundered past, never drawing rein, no matter what stood or ran in their way; and then, after an interval, during which the long crowds, packed back on the opposite sidewalks, craned forward as far as they dared to see them, came the eight or ten racers at a furious pace. They were come and gone in a breath; and finally, after the body of them were passed, came a laggard, who had been left at the post, and was trying to make up for lost time. I believe it was this horse who actually killed somebody on the course. The race over, back into the street thronged the crowd, filling it from wall to wall; then there was a gradual thinning away, as the people went home for supper; and finally came the night and the moccoli, with the biggest crowd of all. I was there with my twist of moccolo and a box of matches; except the moccoli, there was no other illumination along the length of the Corso. But their soft lights were there by myriads, and made a lovely sight, to my eyes at least. “Senza moccolo!” was the universal cry; young knights-errant, singly or in groups, pressed their way up and down, shouting the battle-cry, and quenching all lights within reach, while striving to maintain the flame of their own; using now the whisk of a handkerchief, now a puff of breath, now the fillip of a finger; contriving to extinguish a fair lady's taper with the same effusion of vain words wherewith they told her of their passion. Most of the ladies thus assailed sat in the lower balconies, elevated only a foot or two above the level of the sidewalk; but those in the higher retreats made war upon one another, and upon their own cavaliers; none was immune from peril. The cry, uttered at once by such innumerable voices far and near, made a singular murmur up and down the Corso; and the soft twinkling of the lights, winking in and out as they were put out or relighted, gave a singular fire-fly effect to the whole illumination. It seemed to me then, and it still seems in the retrospect, that nothing more charming and strange could be imagined; and through it all was the constant blossoming of laughter, more inextinguishable than the moccoletti themselves. The colors of the tapestries and stuffs dependent from the windows and balconies glowed out in light, or were dimmed by shadow; and the faces of the thousandfold crowd of festival-makers glimmered forth and were lost again on the background of the night, like the features of spirits in the glimpses of a dream. How long it all lasted I know not; but it had its term, like other mortal things, even in this fairyland of carnival; and when the last light was out the carnival was no more, and Lent, unawares, had softly settled down upon us with the darkness.

But let us now listen to my father when, for the second time, he made proof of the carnival in the year following our return from Florence, and after Una had left her sick-room and could be at his side. “The weather has been splendid,” he writes, “and the merriment far more free and riotous than as I remember it in the preceding year. Tokens of the festival were seen in flowers on street-stands, or borne aloft on people's heads, while bushels of confetti were displayed, looking like veritable sugarplums, so that a stranger might have thought that the whole commerce and business of stern old Rome lay in flowers and sweets. One wonders, however, that the scene should not be even more rich and various when there has been so long a time (the immemorial existence of the carnival) to prepare it, and adorn it with shapes of gayety and humor. There was an infinite number of clowns and particolored harlequins; a host of white dominoes; a multitude of masks, set in eternal grins, or with monstrous noses, or made in the guise of monkeys, bears, dogs, or whatever beast the wearer chooses to be akin to; a great many men in petticoats, and almost as many girls and women, no doubt, in breeches; figures, too, with huge, bulbous heads and all manner of such easy monstrosities and exaggerations.. It is strange how the whole humor of the thing, and the separate humor of each individual character, vanishes the moment I try to grasp it and describe it; and yet there really was fun in the spectacle as it flitted by — for instance, in the long line of carriages a company of young men in flesh-colored tights and chemises, representing a party of girls surprised in the midst of dressing themselves, while an old nurse in the midst of them expressed ludicrous horror at their predicament. Then the embarrassment of gentlemen who, while quietly looking at the scene, are surrounded by groups of maskers, grimacing at them, squeaking in their ears, hugging them, dancing round them, till they snatch an opportunity to escape into some doorway; or when a poor man in a black coat and cylinder hat is whitened all over with a half-bushel of confetti and lime-dust; the mock sympathy with which his case is investigated by a company of maskers, who poke their stupid, pasteboard faces close to his, still with the unchangeable grin; or when a gigantic female figure singles out some shy, harmless personage, and makes appeals to his heart, avowing her passionate love in dumb show, and presenting him with her bouquet; and a hundred other nonsensicalities, among which the rudest and simplest are not the least effective. A resounding thump on the back with a harlequin's sword, or a rattling blow with a bladder half full of dried pease or corn, answers a very good purpose. There was a good deal of absurdity one day in a figure in a crinoline petticoat, riding on an ass and almost filling the Corso with the circumference of crinoline from side to side. Some figures are dressed in old-fashioned garbs, perhaps of the last century, or, even more ridiculous, of thirty years ago, or in the stately Elizabethan (as we should call them) trunk hose, tunics, and cloaks of three centuries since. I do not know anything that I have seen queerer than a Unitarian clergyman (Mr. Mountford), who drives through the Corso daily with his fat wife in a one-horse chaise, with a wreath of withered flowers and oak leaves round his hat, the rest of his dress remaining unchanged, except that it is well powdered with the dust of confetti. That withered wreath is the absurdest thing he could wear (though, perhaps, he may not mean it to be so), and so, of course, the best. I can think of no other masks just now, but will go this afternoon and try to catch some more.” You see, he has that romance in view again. “Clowns, or zanies,” he resumes, after fresh inspection, “appear in great troupes, dancing extravagantly and scampering wildly; everybody seems to do whatever folly comes into his head; and yet, if you consider the matter, you see that all this apparent license is kept under courteous restraint. There is no rudeness, except the authorized pelting with confetti or blows of harlequins' swords, which, moreover, are within a law of their own. But nobody takes rough hold of another, or meddles with his mask, or does him any unmannerly violence. At first sight you would think that the whole world had gone mad, but at the end you wonder how people can let loose all their mirthful propensities without unchaining the mischievous ones. It could not be so in America or in England; in either of those countries the whole street would go mad in earnest and come to blows and bloodshed were the populace to let themselves loose to the extent we see here. All this restraint is self-imposed and quite apart from the presence of the soldiery.”