Part 9 (1/2)

The troubled life of Ugo Foscolo is a career altogether wholesomer than Monti's to contemplate. There is much of violence, vanity, and adventure in it, to remind of Byron; but Foscolo had neither the badness of Byron's heart nor the greatness of his talent. He was, moreover, a better scholar and a man of truer feeling. Coming to Venice from Zante, in 1793, he witnessed the downfall of a system which Venetians do not yet know whether to lament or execrate; and he was young and generous enough to believe that Bonaparte really meant to build up a democratic republic on the ruins of the fallen oligarchy. Foscolo had been one of the popular innovators before the Republic perished, and he became the secretary of the provisional government, and was greatly beloved by the people. It is related that they were so used to his voice, and so fond of hearing it, that one day, when they heard another reading in his place, they became quite turbulent, till the president called out with that deliciously caressing Venetian familiarity, _Popolo, ste cheto; Foscolo xe rochio_! ”People, be quiet; Foscolo is hoa.r.s.e.” While in this office, he brought out his first tragedy, which met with great success; and at the same time Napoleon played the cruel farce with which he had beguiled the Venetians, by selling them to Austria, at Campo-Formio.

Foscolo then left Venice, and went to Milan, where he established a patriotic journal, in which a genuine love of country found expression, and in which he defended unworthy Monti against the attacks of the red republicans. He also defended the Latin language, when the legislature, which found time in a season of great public peril and anxiety to regulate philology, fulminated a decree against that cla.s.sic tongue; and he soon afterward quitted Milan, in despair of the Republic's future. He had many such fits of disgust, and in one of them he wrote that the wickedness and shame of Italy were so great, that they could never be effaced till the two seas covered her. There was fighting in those days, for such as had stomach for it, in every part of Italy; and Foscolo, being enrolled in the Italian Legion, was present at the battle of Cento, and took part in the defense of Genoa, but found time, amid all his warlike occupations, for literature. He had written, in the flush of youthful faith and generosity, an ode to Bonaparte Liberator; and he employed the leisure of the besieged in republis.h.i.+ng it at Genoa, affixing to the verses a reproach to Napoleon for the treaty of Campo-Formio, and menacing him with a Tacitus. He returned to Milan after the battle of Marengo, but his enemies procured his removal to Boulogne, whither the Italian Legion had been ordered, and where Foscolo cultivated his knowledge of English and his hatred of Napoleon. After travel in Holland and marriage with an Englishwoman there, he again came back to Milan, which he found full as ever of folly, intrigue, baseness, and envy.

Leaving the capital, says Arnaud, ”he took up his abode on the hills of Brescia, and for two weeks was seen wandering over the heights, declaiming and gesticulating. The mountaineers thought him mad.

One morning he descended to the city with the ma.n.u.script of the _Sepoleri_. It was in 1807. Not Jena, not Friedland, could dull the sensation it imparted to the Italian republic of letters.”

V

It is doubtful whether this poem, which Giudici calls the sublimest lyrical composition modern literature has produced, will stir the English reader to enthusiastic admiration. The poem is of its age--declamatory, ambitious, eloquent; but the ideas do not seem great or new, though that, perhaps, is because they have been so often repeated since. De Sanctis declares it the ”earliest lyrical note of the new literature, the affirmation of the rehabilitated conscience of the new manhood. A law of the Republic--”the French Republic”-- prescribed the equality of men before death. The splender of monuments seemed a privilege of the n.o.bles and the rich, and the Republicans contested the privilege, the distinction of cla.s.ses, even in this form ... This revolutionary logic driven to its ultimate corollaries clouded the poetry of life for him.... He lacked the religious idea, but the sense of humanity in its progress and its aims, bound together by the family, the state, liberty, glory--from this Foscolo drew his harmonies, a new religion of the tomb.”....

He touches in it on the funeral usages of different times and peoples, with here and there an episodic allusion to the fate of heroes and poets, and disquisitions on the aesthetic and spiritual significance of posthumous honors. The most-admired pa.s.sage of the poem is that in which the poet turns to the monuments of Italy's n.o.blest dead, in the church of Santa Croce, at Florence:

The urned ashes of the mighty kindle The great soul to great actions, Pindemonte, And fair and holy to the pilgrim make The earth that holds them. When I saw the tomb Where rests the body of that great one,{1} who Tempering the scepter of the potentate, Strips off its laurels, and to the people shows With what tears it doth reek, and with what blood; When I beheld the place of him who raised A new Olympus to the G.o.ds in Rome,{2}-- Of him{3} who saw the worlds wheel through the heights Of heaven, illumined by the moveless sun, And to the Anglian{4} oped the skyey ways He swept with such a vast and tireless wing,-- O happy!{5} I cried, in thy life-giving air, And in the fountains that the Apennine Down from his summit pours for thee! The moon, Glad in thy breath, laps in her clearest light Thy hills with vintage laughing; and thy vales, Filled with their cl.u.s.tering cots and olive-groves, Send heavenward th' incense of a thousand flowers.

And thou wert first, Florence, to hear the song With which the Ghibelline exile charmed his wrath,{6} And thou his language and his ancestry Gavest that sweet lip of Calliope,{7} Who clothing on in whitest purity Love in Greece nude and nude in Rome, again Restored him unto the celestial Venus;-- But happiest I count thee that thou keep'st Treasured beneath one temple-roof the glories Of Italy,--now thy sole heritage, Since the ill-guarded Alps and the inconstant Omnipotence of human destinies Have rent from thee thy substance and thy arms, Thy altars, country,--save thy memories, all.

Ah! here, where yet a ray of glory lingers, Let a light s.h.i.+ne unto all generous souls, And be Italia's hope! Unto these stones Oft came Vittorio{8} for inspiration, Wroth to his country's G.o.ds. Dumbly he roved Where Arno is most lonely, anxiously Brooding upon the heavens and the fields; Then when no living aspect could console, Here rested the Austere, upon his face Death's pallor and the deathless light of hope.

Here with these great he dwells for evermore, His dust yet quick with love of country. Yes, A G.o.d speaks to us from this sacred peace, That nursed for Persians upon Marathon, Where Athens gave her heroes sepulture, Greek ire and virtue. There the mariner That sailed the sea under Euboea saw Flas.h.i.+ng amidst the wide obscurity The steel of helmets and of clas.h.i.+ng brands, The smoke and lurid flame of funeral pyres, And phantom warriors, clad in glittering mail, Seeking the combat. Through the silences And horror of the night, along the field, The tumult of the phalanxes arose, Mixing itself with sound of warlike tubes, And clatter of the hoofs of steeds, that rushed Trampling the helms of dying warriors,-- And sobs, and hymns, and the wild Parcae's songs!{9}

Notes:

{1} Question of Machiavelli. Whether ”The Prince” was written in earnest, with a wish to serve the Devil, or in irony, with a wish to serve the people, is still in dispute.

{2} Michelangelo.

{3} Galileo.

{4} Newton.

{5} Florence.

{6} It is the opinion of many historians that the _Divina Commedia_ was commenced before the exile of Dante.--_Foscolo_.

{7} Petrarch was born in exile of Florentine parents.--_Ibid_.

{8} Alfieri. So Foscolo saw him in his last years.

{9} The poet, quoting Pausanias, says: ”The sepulture of the Athenians who fell in the battle took place on the plain of Marathon, and there every night is heard the neighing of the steeds, and the phantoms of the combatants appear.”

The poem ends with the prophecy that poetry, after time destroys the sepulchers, shall preserve the memories of the great and the unhappy, and invokes the shades of Greece and Troy to give an illusion of sublimity to the close. The poet doubts if there be any comfort to the dead in monumental stones, but declares that they keep memories alive, and concludes that only those who leave no love behind should have little joy of their funeral urns. He blames the promiscuous burial of the good and bad, the great and base; he dwells on the beauty of the ancient cemeteries and the pathetic charm of English churchyards. The poem of _I Sepolcri_ has peculiar beauties, yet it does not seem to me the grand work which the Italians have esteemed it; though it has the pensive charm which attaches to all elegiac verse. De Sanctis attaches a great political and moral value to it. ”The revolution, in the horror of its excesses, was pa.s.sing. More temperate ideas prevailed; the need of a moral and religious restoration was felt.

Foscolo's poem touched these chords ... which vibrated in all hearts.”

The tragedies of Foscolo are little read, and his unfinished but faithful translation of Homer did not have the success which met the facile paraphrase of Monti. His other works were chiefly critical, and are valued for their learning. The Italians claim that in his studies of Dante he was the first to reveal him to Europe in his political character, ”as the inspired poet, who availed himself of art for the civil regeneration of the people speaking the language which he dedicated to supreme song”; and they count as among their best critical works, Foscolo's ”exquisite essays on Petrarch and Boccaccio”. His romance, ”The Last Letters of Jacopo Ortis”, is a novel full of patriotism, suffering, and suicide, which found devoted readers among youth affected by ”The Sorrows of Werther”, and which was the first cry of Italian disillusion with the French. Yet it had no political effect, De Sanctis says, because it was not in accord with the popular hopefulness of the time. It was, of course, wildly romantic, of the romantic sort that came before the school had got its name, and it was supposed to celebrate one of Foscolo's first loves. He had a great many loves, first and last, and is reproached with a dissolute life by the German critic, Gervinius.

He was made Professor of Italian Eloquence at the University of Pavia in 1809; but, refusing to flatter Napoleon in his inaugural address, his professors.h.i.+p was abolished. When the Austrians returned to Milan, in 1815, they offered him the charge of their official newspaper; but he declined it, and left Milan for the last time. He wandered homeless through Switzerland for a while, and at last went to London, where he gained a livelihood by teaching the Italian language and lecturing on its literature; and where, tormented by homesickness and the fear of blindness, he died, in 1827. ”Poverty would make even Homer abject in London,”

he said.

One of his biographers, however, tells us that he was hospitably welcomed at Holland House in London, and ”entertained by the most ill.u.s.trious islanders; but the indispensable etiquette of the country, grievous to all strangers, was intolerable to Foscolo, and he soon withdrew from these elegant circles, and gave himself up to his beloved books.” Like Alfieri, on whom he largely modeled his literary ideal, and whom he fervently admired, Foscolo has left us his portrait drawn by himself, which the reader may be interested to see.

A furrowed brow, with cavernous eyes aglow; Hair tawny; hollow cheeks; looks resolute; Lips pouting, but to smiles and pleasance slow; Head bowed, neck beautiful, and breast hirsute; Limbs shapely; simple, yet elect, in dress; Rapid my steps, my thoughts, my acts, my tones; Grave, humane, stubborn, prodigal to excess; To the world adverse, fortune me disowns.