Il Cavalier d’ Anglante ove pui spesse
Vide le genti e l’arme, abbasso l’asta,
Ed uno in quella, e poscia un altro messe
E un altro, e un altro, che sembrar di pasta,
E fino a sei ve n’infilzò, e li resse
Tutti una lancia; e perche’ ella non basta
A piu Capir, lasciò il settimo fuore
Ferito si che di quel colpo muore.
This stanza our declaimer had no occasion to comment upon, as Ariosto has thought fit to illustrate19 it in a manner which seemed highly to the taste of this audience. For, in the verse immediately following, Orlando is compared to a man killing frogs in marshy20 ground, with a bow and arrow made for that purpose; an amusement very common in Italy, and still more so in France.
Veggiam le rane de’ canali e fosse
[189]
Dal cauto arcier ne i fianchi, e nella schiena
L’una vicina all’ altera esser percosse,
Non sia da un capo all’ altero esser rimosse.
I must however do this audience the justice to acknowledge, that they seemed to feel the pathetic and sublime22, as well as the ludicrous, parts of the ancient Bard23.
This practice of rehearsing the verses of Ariosto, Tasso, and other poets, in the street, I have not observed in any other town of Italy; and I am told it is less common here than it was formerly24. I remember indeed, at Venice, to have frequently seen mountebanks, who gained their livelihood25 by amusing the populace at St. Mark’s Place, with wonderful and romantic stories in prose.—“Listen, Gentlemen,” said one of them; “let me crave26 your attention, ye beautiful and virtuous27 ladies; I have something equally affecting and wonderful to tell you; a strange and stupendous adventure, which happened to a gallant[190] knight28.”—Perceiving that this did not sufficiently29 interest the hearers, he exalted30 his voice, calling out that his Knight was uno Cavalliero Cristiano. The audience seemed still a little fluctuating. He raised his voice a note higher, telling them that this Christian31 Knight was one of their own victorious32 countrymen, “un’ Eroe Veneziano.” This fixed17 them; and he proceeded to relate how the Knight, going to join the Christian army, which was on its march to recover the Sepulchre of Christ from the hands of the Infidels, lost his way in a vast wood, and wandered at length to a castle, in which a lady of transcendent beauty was kept prisoner by a gigantic Saracen, who, having failed in all his endeavours to gain the heart of this peerless damsel, resolved to gratify his passion by force; and had actually begun the horrid33 attempt, when the shrieks34 of this chaste35 maiden36 reached the ears of the Venetian hero; who, ever ready to relieve virgins38 in distress39, rushed into the apartment[191] from whence the cries issued. The brutal40 ravisher, alarmed at the noise, quits the struggling lady, at the very instant when her strength began to fail; draws his flaming sword; and a dreadful combat begins between him and the Christian Knight, who performs miracles of courage and address in resisting the blows of this mighty41 giant; till, his foot unfortunately slipping in the blood which flowed on the pavement, he fell at the feet of the Saracen; who, immediately seizing the advantage which chance gave him, raised his sword with all his might, and—Here the orator’s hat flew to the ground, open to receive the contributions of the listeners; and he continued repeating, “raised his sword over the head of the Christian Knight”—“raised his bloody42, murderous brand, to destroy your noble, valiant43 countryman.”—But he proceeded no farther in his narrative44, till all who seemed interested in it had thrown something into the hat. He then pocketed the[192] money with great gravity, and went on to inform them, that, at this critical moment, the Lady, seeing the danger which threatened her deliverer, redoubled her prayers to the Blessed Mary, who, a virgin37 herself, is peculiarly attentive45 and propitious46 to the prayers of virgins. Just as the Saracen’s sword was descending47 on the head of the Venetian, a large bee flew, quick as thought, in at the window, stung the former very smartly on the left temple, diverted the blow, and gave the Christian Knight time to recover himself. The fight then recommenced with fresh fury; but, after the Virgin Mary had taken such a decided48 part, you may believe it was no match. The Infidel soon fell dead at the feet of the Believer. But who do you think this beauteous maiden was, on whose account the combat had begun? Why no other than the sister of the Venetian Hero.—This young lady had been stolen from her father’s house, while she was yet a child, by an Armenian merchant, who[193] dealt in no other goods than women. He concealed49 the child till he found means to carry her to Egypt; where he kept her in bondage50, with other young girls, till the age of fifteen, and then sold her to the Saracen. I do not exactly remember whether the recognition between the brother and sister was made out by means of a mole51 on the young lady’s neck, or by a bracelet52 on her arm, which, with some other of her mother’s jewels, happened to be in her pocket when she was stolen; but, in whatever manner this came about, there was the greatest joy on the happy occasion; and the lady joined the army with her brother, and one of the Christian commanders fell in love with her, and their nuptials53 were solemnized at Jerusalem; and they returned to Venice, and had a very numerous family of the finest children you ever beheld54.
At Rome, those street-orators sometimes entertain their audience with interesting[194] passages of real history. I remember having heard one, in particular, give a full and true account how the bloody heathen emperor Nero set fire to the city of Rome, and sat at a window of his golden palace, playing on a harp55, while the town was in flames. After which the Historian proceeded to relate, how this unnatural56 emperor murdered his own mother; and he concluded by giving the audience the satisfaction of hearing a particular detail of all the ignominious57 circumstances attending the murderer’s own death.
This business of street-oratory, while it amuses the populace, and keeps them from less innocent and more expensive pastimes, gives them at the same time some general ideas of history. Street-orators, therefore, are a more useful set of men than another class, of which there are numbers at Rome, who entertain companies with extemporaneous58 verses on any given subject. The last are called Improuvisatoris; and some[195] people admire these performances greatly. For my own part, I am too poor a judge of the Italian language either to admire or condemn59 them; but, from the nature of the thing, I should imagine they are but indifferent. It is said, that the Italian is peculiarly calculated for poetry, and that verses may be made with more facility in this than in any other language. It may be more easy to find smooth lines, and make them terminate in rhime in Italian, than in any language; but to compose verses with all the qualities essential to good poetry, I imagine leisure and long reflection are requisite60. Indeed I understand, from those who are judges, that those extempore compositions of the Improuvisatori are in general but mean productions, consisting of a few fulsome61 compliments to the company, and some common-place observations, put into rhime, on the subject proposed. There is, however, a lady of an amiable62 character, Signora Corilla, whose extempore productions,[196] which she repeats in the most graceful9 manner, are admired by people of real taste. While we were at Rome, this lady made an appearance one evening, at the assembly of the Arcadi, which charmed a very numerous company; and of which our friend Mr. R—y has given me such an account, as makes me regret that I was not present. After much entreaty63, a subject being given, she began, accompanied by two violins, and sung her unpremeditated strains with great variety of thought and elegance64 of language. The whole of her performance lasted above an hour, with three or four pauses, of about five minutes each, which seemed necessary, more that she might recover her strength and voice, than for recollection; for that gentleman said, that nothing could have more the air of inspiration, or what we are told of the Pythian Prophetess. At her first setting out, her manner was sedate66, or rather cold; but gradually becoming animated, her voice rose, her eyes sparkled, and the[197] rapidity and beauty of her expressions and ideas seemed supernatural. She at last called on another member of the society to sing alternately with her, which he complied with; but Mr. R——y thought, though they were Arcades67 ambo, they were by no means cantare pares.
Naples is celebrated68 for the finest opera in Europe. This however happens not to be the season of performing; but the common people enjoy their operas at all seasons. Little concerts of vocal69 and instrumental music are heard every evening in the Strada Nuova, the Chiaca, the Strada di Toledo, and other streets; and young men and women are seen dancing to the music of ambulatory performers all along this delightful70 bay. To a mere71 spectator, the amusements of the common people afford more delight, than those of the great; because they seem to be more enjoyed by the one class, than by the other. This is the case every where, except in[198] France; where the high appear as happy as those of middle rank, and the rich are very near as merry as the poor. But, in most other countries, the people of great rank and fortune, though they flock to every kind of entertainment, from not knowing what to do with themselves, yet seem to enjoy them less than those of inferior rank and fortune.
The English particularly are said to be in this predicament. This may be true in some degree; though I imagine there is more appearance than reality in it; owing to an absurd affectation of indifference72, or what the French call nonchalance73, which has prevailed of late years. A few insipid74 characters in high life, whose internal vacancy75 leads them to seek amusement in public places, and whose insensibility prevents them from finding it, have probably brought this appearance of a want of all enjoyment76 into fashion. Those who wish to be thought of what is called the ton,[199] imitate the mawkish77 insipidity78 of their superiors in rank, and imagine it distinguishes them from the vulgar, to suppress all the natural expressions of pity, joy, or admiration79, and to seem, upon all occasions, in a state of complete apathy80. Those amiable creatures frequent public places, that it may be said of them, They are not as other men are. You will see them occasionally at the playhouse, placed in the boxes, like so many busts81, with unchanging features; and, while the rest of the audience yield to the emotions excited by the poet and the actors, those men of the ton preserve the most dignified82 serenity83 of countenance; and, except that they from time to time pronounce the words Pshaw! and Stuff!—one would think them the express representatives of the Pagan gods, who have eyes but do not see, and ears but do not hear.
I know not what may be the case at the opera; but I can assure you there are none[200] of those busts among the auditories which the street-performers at Naples gather around them. I saw very lately a large cluster of men, women, and children, entertained to the highest degree, and to all appearance made exceedingly happy, by a poor fellow with a mask on his face, and a guitar in his hands. He assembled his audience by the songs he sung to the music of his instrument, and by a thousand merry stories he told them with infinite drollery84. This assembly was in an open place, facing the bay, and near the palace. The old women sat listening, with their distaffs, spinning a kind of coarse flax, and wetting the thread with their spittle; their grandchildren sprawled85 at their feet, amused with the twirling of the spindle. The men and their wives, the youths and their mistresses, sat in a circle, with their eyes fixed on the musician, who kept them laughing for a great part of the evening with his stories, which he enlivened occasionally[201] with tunes86 upon the guitar. At length, when the company was most numerous, and at the highest pitch of good humour, he suddenly pulled off his mask, laid down his guitar, and opened a little box which stood before him, and addressed the audience in the following words, as literally87 as I can translate them:—“Ladies and gentlemen, there is a time for all things; we have had enough of jesting; innocent mirth is excellent for the health of the body, but other things are requisite for the health of the soul. I will now, with your permission, my honourable88 masters and mistresses, entertain you with something serious, and of infinitely89 greater importance; something for which all of you will have reason to bless me as long as you live.” Here he shook out of a bag a great number of little leaden crucifixes.—“I am just come from the Holy House of Loretto, my fellow christians,” continued he, “on purpose to furnish you with[202] those jewels, more precious than all the gold of Peru, and all the pearls of the ocean. Now, my beloved brethren and sisters, you are afraid that I shall demand a price for those sacred crosses, far above your abilities, and something correspondent with their value, by way of indemnification for the fatigue90 and expence of the long journey which I have made on your account, all the way from the habitation of the Blessed Virgin to this thrice renowned91 city of Naples, the riches and liberality of whose inhabitants are celebrated all over the globe. No, my generous Neapolitans; I do not wish to take the advantage of your pious92 and liberal dispositions93, I will not ask for those invaluable94 crucifixes (all of which, let me inform you, have touched the soot95 of the holy image of the Blessed Virgin, which was formed by the hands of St. Luke; and, moreover, each of them has been shaken[203] in the Santissima Scodella, the sacred porringer in which the Virgin made the pap for the infant Jesus); I will not, I say, ask an ounce of gold, no not even a crown of silver; my regard for you is such, that I shall let you have them for a penny a piece.”
You must acknowledge, my friend, that this morsel96 of eloquence97 was a very great pennyworth; and when we recollect65 the sums that some of our acquaintance receive for their oratory, though they never could produce so pathetic a specimen98, you will naturally conclude that eloquence is a much rarer commodity in England than in Italy.
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1
harangued
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| v.高谈阔论( harangue的过去式和过去分词 ) | |
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orator
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| n.演说者，演讲者，雄辩家 | |
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stanzas
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| 节，段( stanza的名词复数 ) | |
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4
stanza
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| n.（诗）节，段 | |
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5
pompous
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| adj.傲慢的，自大的；夸大的；豪华的 | |
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6
cadence
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| n.（说话声调的）抑扬顿挫 | |
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7
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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8
oratory
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| n.演讲术；词藻华丽的言辞 | |
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9
graceful
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| adj.优美的，优雅的；得体的 | |
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10
gracefully
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| ad.大大方方地；优美地 | |
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modulate
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| v.调整，调节(音的强弱)；变调 | |
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12
boisterous
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| adj.喧闹的，欢闹的 | |
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13
cane
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| n.手杖，细长的茎，藤条；v.以杖击，以藤编制的 | |
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14
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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15
animated
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| adj.生气勃勃的，活跃的，愉快的 | |
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16
killing
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| n.巨额利润；突然赚大钱，发大财 | |
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17
fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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fin
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| n.鳍；(飞机的)安定翼 | |
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19
illustrate
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| v.举例说明，阐明；图解，加插图 | |
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20
marshy
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| adj.沼泽的 | |
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arena
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| n.竞技场，运动场所；竞争场所，舞台 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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23
bard
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| n.吟游诗人 | |
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formerly
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| adv.从前，以前 | |
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livelihood
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| n.生计，谋生之道 | |
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26
crave
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| vt.渴望得到，迫切需要，恳求，请求 | |
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virtuous
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| adj.有品德的，善良的，贞洁的，有效力的 | |
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knight
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| n.骑士，武士；爵士 | |
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sufficiently
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| adv.足够地，充分地 | |
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30
exalted
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| adj.(地位等)高的，崇高的；尊贵的，高尚的 | |
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Christian
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| adj.基督教徒的；n.基督教徒 | |
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32
victorious
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| adj.胜利的，得胜的 | |
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33
horrid
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| adj.可怕的；令人惊恐的；恐怖的；极讨厌的 | |
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34
shrieks
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| n.尖叫声( shriek的名词复数 )v.尖叫( shriek的第三人称单数 ) | |
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chaste
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| adj.贞洁的；有道德的；善良的；简朴的 | |
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maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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virgins
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| 处女，童男( virgin的名词复数 )； 童贞玛利亚（耶稣之母） | |
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distress
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| n.苦恼，痛苦，不舒适；不幸；vt.使悲痛 | |
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brutal
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| adj.残忍的，野蛮的，不讲理的 | |
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mighty
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| adj.强有力的；巨大的 | |
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42
bloody
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| adj.非常的的；流血的；残忍的；adv.很；vt.血染 | |
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valiant
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| adj.勇敢的，英勇的；n.勇士，勇敢的人 | |
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44
narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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attentive
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| adj.注意的，专心的；关心(别人)的，殷勤的 | |
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propitious
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| adj.吉利的；顺利的 | |
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descending
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| n. 下行 adj. 下降的 | |
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48
decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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49
concealed
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| a.隐藏的，隐蔽的 | |
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50
bondage
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| n.奴役，束缚 | |
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51
mole
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| n.胎块；痣；克分子 | |
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52
bracelet
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| n.手镯，臂镯 | |
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53
nuptials
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| n.婚礼；婚礼( nuptial的名词复数 ) | |
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54
beheld
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| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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55
harp
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| n.竖琴；天琴座 | |
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56
unnatural
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| adj.不自然的；反常的 | |
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57
ignominious
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| adj.可鄙的，不光彩的，耻辱的 | |
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extemporaneous
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| adj.即席的，一时的 | |
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59
condemn
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| vt.谴责，指责；宣判(罪犯)，判刑 | |
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60
requisite
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| adj.需要的，必不可少的；n.必需品 | |
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fulsome
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| adj.可恶的，虚伪的，过分恭维的 | |
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amiable
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| adj.和蔼可亲的，友善的，亲切的 | |
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entreaty
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| n.恳求，哀求 | |
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elegance
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| n.优雅；优美，雅致；精致，巧妙 | |
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recollect
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| v.回忆，想起，记起，忆起，记得 | |
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sedate
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| adj.沉着的，镇静的，安静的 | |
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67
arcades
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| n.商场( arcade的名词复数 )；拱形走道（两旁有商店或娱乐设施）；连拱廊；拱形建筑物 | |
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celebrated
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| adj.有名的，声誉卓著的 | |
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vocal
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| adj.直言不讳的；嗓音的；n.[pl.]声乐节目 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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71
mere
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| adj.纯粹的；仅仅，只不过 | |
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indifference
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| n.不感兴趣，不关心，冷淡，不在乎 | |
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nonchalance
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| n.冷淡，漠不关心 | |
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insipid
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| adj.无味的，枯燥乏味的，单调的 | |
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vacancy
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| n.（旅馆的）空位，空房，（职务的）空缺 | |
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enjoyment
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| n.乐趣；享有；享用 | |
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mawkish
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| adj.多愁善感的的；无味的 | |
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insipidity
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| n.枯燥无味，清淡，无精神；无生气状 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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80
apathy
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| n.漠不关心，无动于衷；冷淡 | |
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81
busts
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| 半身雕塑像( bust的名词复数 )； 妇女的胸部； 胸围； 突击搜捕 | |
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82
dignified
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| a.可敬的，高贵的 | |
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83
serenity
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| n.宁静，沉着，晴朗 | |
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84
drollery
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| n.开玩笑，说笑话；滑稽可笑的图画（或故事、小戏等） | |
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85
sprawled
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| v.伸开四肢坐[躺]( sprawl的过去式和过去分词)；蔓延；杂乱无序地拓展；四肢伸展坐着（或躺着） | |
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86
tunes
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| n.曲调，曲子( tune的名词复数 )v.调音( tune的第三人称单数 )；调整；（给收音机、电视等）调谐；使协调 | |
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87
literally
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| adv.照字面意义，逐字地；确实 | |
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88
honourable
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| adj.可敬的；荣誉的，光荣的 | |
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89
infinitely
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| adv.无限地，无穷地 | |
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90
fatigue
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| n.疲劳，劳累 | |
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91
renowned
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| adj.著名的，有名望的，声誉鹊起的 | |
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92
pious
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| adj.虔诚的；道貌岸然的 | |
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93
dispositions
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| 安排( disposition的名词复数 )； 倾向； （财产、金钱的）处置； 气质 | |
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94
invaluable
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| adj.无价的，非常宝贵的，极为贵重的 | |
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95
soot
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| n.煤烟，烟尘；vt.熏以煤烟 | |
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96
morsel
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| n.一口，一点点 | |
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97
eloquence
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| n.雄辩；口才，修辞 | |
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98
specimen
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| n.样本，标本 | |
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