Pictures from Italy by Charles Dickens (animal farm read txt) 📕

ancient Rome; even these were dimmed, in their transcendent melancholy, by the dark ghost of its bloody holidays, erect and grim; haunting the old scene; despoiled by pillaging Popes and fighting Princes, but not laid; wringing wild hands of weed, and grass, and bramble; and lamenting to the night in every gap and broken arch--the shadow of its awful self, immovable!

As we lay down on the grass of the Campagna, next day, on our way to Florence, hearing the larks sing, we saw that a little wooden cross had been erected on the spot where the poor Pilgrim Countess was murdered. So, we piled some loose stones about it, as the beginning of a mound to her memory, and wondered if we should ever rest there again, and look back at Rome.


CHAPTER XI--A RAPID DIORAMA


We are bound for Naples! And we cross the threshold of the Eternal City at yonder gate, the Gate of San Giovanni Laterano, where the two last objects that attract the notice of a departing visitor, and the two first objects that attract the notice of an arriving one, are a proud church and a decaying ruin--good emblems of Rome.

Our way lies over the Campagna, which looks more solemn on a bright blue day like this, than beneath a darker sky; the great extent of ruin being plainer to the eye: and the sunshine through the arches of the broken aqueducts, showing other broken arches shining through them in the melancholy distance. When we have traversed it, and look back from Albano, its dark, undulating surface lies below us like a stagnant lake, or like a broad, dull Lethe flowing round the walls of Rome, and separating it from all the world! How often have the Legions, in triumphant march, gone glittering across that purple waste, so silent and unpeopled now! How often has the train of captives looked, with sinking hearts, upon the distant city, and beheld its population pouring out, to hail the return of their conqueror! What riot, sensuality and murder, have run mad in the vast palaces now heaps of brick and shattered marble! What glare of fires, and roar of popular tumult, and wail of pestilence and famine, have come sweeping over the wild plain where nothing is now heard but the wind, and where the solitary lizards gambol unmolested in the sun!

The train of wine-carts going into Rome, each driven by a shaggy peasant reclining beneath a little gipsy-fashioned canopy of sheep- skin, is ended now, and we go toiling up into a higher country where there are trees. The next day brings us on the Pontine Marshes, wearily flat and lonesome, and overgrown with brushwood, and swamped with water, but with a fine road made across them, shaded by a long, long avenue. Here and there, we pass a solitary guard-house; here and there a hovel, deserted, and walled up. Some herdsmen loiter on the banks of the stream beside the road, and sometimes a flat-bottomed boat, towed by a man, comes rippling idly along it. A horseman passes occasionally, carrying a long gun cross-wise on the saddle before him, and attended by fierce dogs; but there is nothing else astir save the wind and the shadows, until we come in sight of Terracina.

How blue and bright the sea, rolling below the windows of the inn so famous in robber stories! How picturesque the great crags and points of rock overhanging to-morrow's narrow road, where galley- slaves are working in the quarries above, and the sentinels who guard them lounge on the sea-shore! All night there is the murmur of the sea beneath the stars; and, in the morning, just at daybreak, the prospect suddenly becoming expanded, as if by a miracle, reveals--in the far distance, across the sea there!-- Naples with its islands, and Vesuvius spouting fire! Within a quarter of an hour, the whole is gone as if it were a vision in the clouds, and there is nothing but the sea and sky.

The Neapolitan frontier crossed, after two hours' travelling; and the hungriest of soldiers and custom-house officers with difficulty appeased; we enter, by a gateless portal, into the first Neapolitan town--Fondi. Take note of Fondi, in the name of all that is wretched and beggarly.

A filthy channel of mud and refuse meanders down the centre of the miserable streets, fed by obscene rivulets that trickle from the abject houses. There is not a door, a window, or a shutter; not a roof, a wall, a post, or a pillar, in all Fondi, but is decayed, and crazy, and rotting away. The wretched history of the town, with all its sieges and pillages by Barbarossa and the rest, might have been acted last year. How the gaunt dogs that sneak about the miserable streets, come to be alive, and undevoured by the people, is one of the enigmas of the world.

A hollow-cheeked and scowling people they are! All beggars; but that's nothing. Look at them as they gather round. Some, are too indolent to come down-stairs, or are too wisely mistrustful of the stairs, perhaps, to venture: so stretch out their lean hands from upper windows, and howl; others, come flocking about us, fighting and jostling one another, and demanding, incessantly, charity for the love of God, charity for the love of the Blessed Virgin, charity for the love of all the Saints. A group of miserable children, almost naked, screaming forth the same petition, discover that they can see themselves reflected in the varnish of the carriage, and begin to dance and make grimaces, that they may have the pleasure of seeing their antics repeated in this mirror. A crippled idiot, in the act of striking one of them who drowns his clamorous demand for charity, observes his angry counterpart in the panel, stops short, and thrusting out his tongue, begins to wag his head and chatter. The shrill cry raised at this, awakens half-a- dozen wild creatures wrapped in frowsy brown cloaks, who are lying on the church-steps with pots and pans for sale. These, scrambling up, approach, and beg defiantly. 'I am hungry. Give me something. Listen to me, Signor. I am hungry!' Then, a ghastly old woman, fearful of being too late, comes hobbling down the street, stretching out one hand, and scratching herself all the way with the other, and screaming, long before she can be heard, 'Charity, charity! I'll go and pray for you directly, beautiful lady, if you'll give me charity!' Lastly, the members of a brotherhood for burying the dead: hideously masked, and attired in shabby black robes, white at the skirts, with the splashes of many muddy winters: escorted by a dirty priest, and a congenial cross-bearer: come hurrying past. Surrounded by this motley concourse, we move out of Fondi: bad bright eyes glaring at us, out of the darkness of every crazy tenement, like glistening fragments of its filth and putrefaction.

A noble mountain-pass, with the ruins of a fort on a strong eminence, traditionally called the Fort of Fra Diavolo; the old town of Itri, like a device in pastry, built up, almost perpendicularly, on a hill, and approached by long steep flights of steps; beautiful Mola di Gaeta, whose wines, like those of Albano, have degenerated since the days of Horace, or his taste for wine was bad: which is not likely of one who enjoyed it so much, and extolled it so well; another night upon the road at St. Agatha; a rest next day at Capua, which is picturesque, but hardly so seductive to a traveller now, as the soldiers of Praetorian Rome were wont to find the ancient city of that name; a flat road among vines festooned and looped from tree to tree; and Mount Vesuvius close at hand at last!--its cone and summit whitened with snow; and its smoke hanging over it, in the heavy atmosphere of the day, like a dense cloud. So we go, rattling down hill, into Naples.

A funeral is coming up the street, towards us. The body, on an open bier, borne on a kind of palanquin, covered with a gay cloth of crimson and gold. The mourners, in white gowns and masks. If there be death abroad, life is well represented too, for all Naples would seem to be out of doors, and tearing to and fro in carriages. Some of these, the common Vetturino vehicles, are drawn by three horses abreast, decked with smart trappings and great abundance of brazen ornament, and always going very fast. Not that their loads are light; for the smallest of them has at least six people inside, four in front, four or five more hanging on behind, and two or three more, in a net or bag below the axle-tree, where they lie half-suffocated with mud and dust. Exhibitors of Punch, buffo singers with guitars, reciters of poetry, reciters of stories, a row of cheap exhibitions with clowns and showmen, drums, and trumpets, painted cloths representing the wonders within, and admiring crowds assembled without, assist the whirl and bustle. Ragged lazzaroni lie asleep in doorways, archways, and kennels; the gentry, gaily dressed, are dashing up and down in carriages on the Chiaji, or walking in the Public Gardens; and quiet letter-writers, perched behind their little desks and inkstands under the Portico of the Great Theatre of San Carlo, in the public street, are waiting for clients.

Here is a galley-slave in chains, who wants a letter written to a friend. He approaches a clerkly-looking man, sitting under the corner arch, and makes his bargain. He has obtained permission of the sentinel who guards him: who stands near, leaning against the wall and cracking nuts. The galley-slave dictates in the ear of the letter-writer, what he desires to say; and as he can't read writing, looks intently in his face, to read there whether he sets down faithfully what he is told. After a time, the galley-slave becomes discursive--incoherent. The secretary pauses and rubs his chin. The galley-slave is voluble and energetic. The secretary, at length, catches the idea, and with the air of a man who knows how to word it, sets it down; stopping, now and then, to glance back at his text admiringly. The galley-slave is silent. The soldier stoically cracks his nuts. Is there anything more to say? inquires the letter-writer. No more. Then listen, friend of mine. He reads it through. The galley-slave is quite enchanted. It is folded, and addressed, and given to him, and he pays the fee. The secretary falls back indolently in his chair, and takes a book. The galley-slave gathers up an empty sack. The sentinel throws away a handful of nut-shells, shoulders his musket, and away they go together.

Why do the beggars rap their chins constantly, with their right hands, when you look at them? Everything is done in pantomime in Naples, and that is the conventional sign for hunger. A man who is quarrelling with another, yonder, lays the palm of his right hand on the back of his left, and shakes the two thumbs--expressive of a donkey's ears--whereat his adversary is goaded to desperation. Two people bargaining for fish, the buyer empties an imaginary waistcoat pocket when he is told the price, and walks away without a word: having thoroughly conveyed to the seller that he considers it too dear. Two people in carriages, meeting, one touches his lips, twice or thrice, holding