Pictures From Italy - Charles Dickens (best books to read in your 20s .txt) 📗

TEATRO DIURNO, or Day Theatre, is a covered stage in the open air, where the performances take place by daylight, in the cool of the afternoon; commencing at four or five o’clock, and lasting, some three hours. It is curious, sitting among the audience, to have a fine view of the neighbouring hills and houses, and to see the neighbours at their windows looking on, and to hear the bells of the churches and convents ringing at most complete cross-purposes with the scene. Beyond this, and the novelty of seeing a play in the fresh pleasant air, with the darkening evening closing in, there is nothing very exciting or characteristic in the performances. The actors are indifferent; and though they sometimes represent one of Goldoni’s comedies, the staple of the Drama is French. Anything like nationality is dangerous to despotic governments, and Jesuit-beleaguered kings.

The Theatre of Puppets, or Marionetti—a famous company from Milan-

-is, without any exception, the drollest exhibition I ever beheld in my life. I never saw anything so exquisitely ridiculous. They LOOK between four and five feet high, but are really much smaller; for when a musician in the orchestra happens to put his hat on the stage, it becomes alarmingly gigantic, and almost blots out an actor. They usually play a comedy, and a ballet. The comic man in the comedy I saw one summer night, is a waiter in an hotel. There never was such a locomotive actor, since the world began. Great pains are taken with him. He has extra joints in his legs: and a practical eye, with which he winks at the pit, in a manner that is absolutely insupportable to a stranger, but which the initiated audience, mainly composed of the common people, receive (so they do everything else) quite as a matter of course, and as if he were a man. His spirits are prodigious. He continually shakes his legs, and winks his eye. And there is a heavy father with grey hair, who sits down on the regular conventional stage-bank, and blesses his daughter in the regular conventional way, who is tremendous. No one would suppose it possible that anything short of a real man could be so tedious. It is the triumph of art.

In the ballet, an Enchanter runs away with the Bride, in the very hour of her nuptials, He brings her to his cave, and tries to soothe her. They sit down on a sofa (the regular sofa! in the regular place, O. P. Second Entrance!) and a procession of musicians enters; one creature playing a drum, and knocking himself off his legs at every blow. These failing to delight her, dancers appear. Four first; then two; THE two; the flesh-coloured two.

The way in which they dance; the height to which they spring; the impossible and inhuman extent to which they pirouette; the revelation of their preposterous legs; the coming down with a pause, on the very tips of their toes, when the music requires it; the gentleman’s retiring up, when it is the lady’s turn; and the lady’s retiring up, when it is the gentleman’s turn; the final passion of a pas-de-deux; and the going off with a bound!—I shall never see a real ballet, with a composed countenance again.

I went, another night, to see these Puppets act a play called ‘St.

Helena, or the Death of Napoleon.’ It began by the disclosure of Napoleon, with an immense head, seated on a sofa in his chamber at St. Helena; to whom his valet entered with this obscure announcement:

‘Sir Yew ud se on Low?’ (the ow, as in cow).

Sir Hudson (that you could have seen his regimentals!) was a perfect mammoth of a man, to Napoleon; hideously ugly, with a monstrously disproportionate face, and a great clump for the lower-jaw, to express his tyrannical and obdurate nature. He began his system of persecution, by calling his prisoner ‘General Buonaparte;’ to which the latter replied, with the deepest tragedy, ‘Sir Yew ud se on Low, call me not thus. Repeat that phrase and leave me! I am Napoleon, Emperor of France!’ Sir Yew ud se on, nothing daunted, proceeded to entertain him with an ordinance of the British Government, regulating the state he should preserve, and the furniture of his rooms: and limiting his attendants to four or five persons. ‘Four or five for ME!’ said Napoleon. ‘Me!

One hundred thousand men were lately at my sole command; and this English officer talks of four or five for ME!’ Throughout the piece, Napoleon (who talked very like the real Napoleon, and was, for ever, having small soliloquies by himself) was very bitter on ‘these English officers,’ and ‘these English soldiers;’ to the great satisfaction of the audience, who were perfectly delighted to have Low bullied; and who, whenever Low said ‘General Buonaparte’

(which he always did: always receiving the same correction), quite execrated him. It would be hard to say why; for Italians have little cause to sympathise with Napoleon, Heaven knows.

There was no plot at all, except that a French officer, disguised as an Englishman, came to propound a plan of escape; and being discovered, but not before Napoleon had magnanimously refused to steal his freedom, was immediately ordered off by Low to be hanged.

In two very long speeches, which Low made memorable, by winding up with ‘Yas!’—to show that he was English—which brought down thunders of applause. Napoleon was so affected by this catastrophe, that he fainted away on the spot, and was carried out by two other puppets. Judging from what followed, it would appear that he never recovered the shock; for the next act showed him, in a clean shirt, in his bed (curtains crimson and white), where a lady, prematurely dressed in mourning, brought two little children, who kneeled down by the bedside, while he made a decent end; the last word on his lips being ‘Vatterlo.’

It was unspeakably ludicrous. Buonaparte’s boots were so wonderfully beyond control, and did such marvellous things of their own accord: doubling themselves up, and getting under tables, and dangling in the air, and sometimes skating away with him, out of all human knowledge, when he was in full speech—mischances which were not rendered the less absurd, by a settled melancholy depicted in his face. To put an end to one conference with Low, he had to go to a table, and read a book: when it was the finest spectacle I ever beheld, to see his body bending over the volume, like a boot-jack, and his sentimental eyes glaring obstinately into the pit.

He was prodigiously good, in bed, with an immense collar to his shirt, and his little hands outside the coverlet. So was Dr.

Antommarchi, represented by a puppet with long lank hair, like Mawworm’s, who, in consequence of some derangement of his wires, hovered about the couch like a vulture, and gave medical opinions in the air. He was almost as good as Low, though the latter was great at all times—a decided brute and villain, beyond all possibility of mistake. Low was especially fine at the last, when, hearing the doctor and the valet say, ‘The Emperor is dead!’ he pulled out his watch, and wound up the piece (not the watch) by exclaiming, with characteristic brutality, ‘Ha! ha! Eleven minutes to six! The General dead! and the spy hanged!’ This brought the curtain down, triumphantly.

There is not in Italy, they say (and I believe them), a lovelier residence than the Palazzo Peschiere, or Palace of the Fishponds, whither we removed as soon as our three months’ tenancy of the Pink Jail at Albaro had ceased and determined.

It stands on a height within the walls of Genoa, but aloof from the town: surrounded by beautiful gardens of its own, adorned with statues, vases, fountains, marble basins, terraces, walks of orange-trees and lemon-trees, groves of roses and camellias. All its apartments are beautiful in their proportions and decorations; but the great hall, some fifty feet in height, with three large windows at the end, overlooking the whole town of Genoa, the harbour, and the neighbouring sea, affords one of the most fascinating and delightful prospects in the world. Any house more cheerful and habitable than the great rooms are, within, it would be difficult to conceive; and certainly nothing more delicious than the scene without, in sunshine or in moonlight, could be imagined.

It is more like an enchanted place in an Eastern story than a grave and sober lodging.

How you may wander on, from room to room, and never tire of the wild fancies on the walls and ceilings, as bright in their fresh colouring as if they had been painted yesterday; or how one floor, or even the great hall which opens on eight other rooms, is a spacious promenade; or how there are corridors and bed-chambers above, which we never use and rarely visit, and scarcely know the way through; or how there is a view of a perfectly different character on each of the four sides of the building; matters little. But that prospect from the hall is like a vision to me. I go back to it, in fancy, as I have done in calm reality a hundred times a day; and stand there, looking out, with the sweet scents from the garden rising up about me, in a perfect dream of happiness.

There lies all Genoa, in beautiful confusion, with its many churches, monasteries, and convents, pointing up into the sunny sky; and down below me, just where the roofs begin, a solitary convent parapet, fashioned like a gallery, with an iron across at the end, where sometimes early in the morning, I have seen a little group of dark-veiled nuns gliding sorrowfully to and fro, and stopping now and then to peep down upon the waking world in which they have no part. Old Monte Faccio, brightest of hills in good weather, but sulkiest when storms are coming on, is here, upon the left. The Fort within the walls (the good King built it to command the town, and beat the houses of the Genoese about their ears, in case they should be discontented) commands that height upon the right. The broad sea lies beyond, in front there; and that line of coast, beginning by the light-house, and tapering away, a mere speck in the rosy distance, is the beautiful coast road that leads to Nice. The garden near at hand, among the roofs and houses: all red with roses and fresh with little fountains: is the Acqua Sola-

-a public promenade, where the military band plays gaily, and the white veils cluster thick, and the Genoese nobility ride round, and round, and round, in state-clothes and coaches at least, if not in absolute wisdom. Within a stone’s-throw, as it seems, the audience of the Day Theatre sit: their faces turned this way. But as the stage is hidden, it is very odd, without a knowledge of the cause, to see their faces changed so suddenly from earnestness to laughter; and odder still, to hear the rounds upon rounds of applause, rattling in the evening air, to which the curtain falls.

But, being Sunday night, they act their best and most attractive play. And now, the sun is going down, in such magnificent array of red, and green, and golden light, as neither pen nor pencil could depict; and to the ringing of the vesper bells, darkness sets in at once, without a twilight. Then, lights begin to shine in Genoa, and on the country road; and the revolving lanthorn out at sea there, flashing, for an instant, on this palace front and portico, illuminates it as if there were a bright moon bursting from behind a cloud; then, merges it in deep obscurity. And this, so far as I know, is the only reason why the Genoese avoid it after dark, and think