Critical Studies Part 3

Magnificent they are, true also, entirely true; but some mannerism there is in them, some over-intricate embroidery of phrase. The sea he knows best, and remembers always, is the Adriatic, of which the extreme beauty of the colour, like the leaves of the silverweed, as wind and sun pa.s.s over the meadows, has always before him been too little noted except, I may venture to say, by myself.

'O, fair, clear seas of September!' he cries in the _Piacere_.

'The water is calm and innocent as a sleeping child, and lies outstretched under a pearl-like sky. Sometimes it is all green of the brilliant and intense green of malachite, and on it the small rosy sails seem like wandering fires. Sometimes it is all azure, of an intense blue, like the ultramarine which heralds use for blazonries, veined with gold like lapis-lazuli, and on it the painted sails seem like a procession of standards, of banners, of spears borne on a Catholic holy day. And yet again at other moments it takes on a metallic gleam, a silvery paleness, the hues of a ripening lemon, something indefinable and strange, and on this mystical surface the boats then glide and fade, and are seen no more as the illumined wings of cherubim sink into the faint fundamental hues of an old Giottesque fresco.

'The sea was not alone for him a delight for the eyes, but it was a perennial wave in which he steeped his thirsting thoughts; a magical fountain of youth in which his body recovered health and his mind n.o.bility. The sea had for him the mysterious attraction of a native country, and he abandoned himself to it with filial confidence, as a weak child in the arms of an omnipotent father; and he derived consolation from it, for no one had ever confided his sorrows, his desires, or his dreams to the ear of the sea in vain.'

So, we are told by D'Annunzio, thinks Andrea Sperelli, and so thought also Giorgio Aurispa. But the sea has no permanent power on the soul of either; the one returns from his contemplations of it to his life of voluptuous pleasure, and the other drowns both himself and the woman, whom he has adored to frenzy, in its waves, whilst the dog mourns 'forsaken beneath the olive trees, and the waters murmur softly, rocking as in a cradle the reflections of the stars.'

Only once in D'Annunzio's work does genuine and yearning regret, of which it is impossible to doubt the spontaneity and sincerity, thrill through him, and move him to intense emotion and unstudied eloquence. It is when, in the person of Claudio Cantelmo, he speaks in furious invective of the modern desecration of Rome; in these pa.s.sages he is strong without effort, eloquent without study, and veracious alike in sorrow and in scorn. His invective is poured from his heart's depths, and thrills with the force of the Latin orators of the ruined Forum.

'I have lived several years in Rome; in that third Rome which should have represented "Love reigning by Latin blood on Latin soil," and have seen radiant on its heights the wondrous lights of a new Ideal. I have been witness to its most ignominious evolutions, to the most obscene unions that have ever desecrated a sacred place. And I have understood the symbolism hidden in that act of an Asiatic conqueror, who cast myriads of human heads in the fountains of Samarcand, when he desired to create a capital. The wise and cruel tyrant meant to signify the necessity of merciless destruction in the creation of a new order of things.

'The ship which bore the Thousand of Marsala only set sail that the art of exchange and barter should be protected and covered by the State!

'It was the epoch of the most frenzied fury of the destroyers and contractors on the site of Rome. With the storms of dust there were propagated a sort of lunacy of gain, a malignant delirium, seizing not only on the tradesman and money-lenders, and the workers in brick and mortar, but also on the elect heirs of the papal _majorat_, who primarily had looked with scorn and disgust on the newcomers from the windows of their palaces of travertine, indestructible under the encrustations of ages.

'The magnificent patrician races founded there, renewed and strengthened by nepotism, and the strife of opposing houses, descended and abased themselves one by one, slid down into the new mud, sank, and vanished. The ill.u.s.trious riches, ama.s.sed through centuries of gorgeous pillage and Maecenic luxury, were thrown into the whirlpool of the speculations of the Bourse.

'And around them, on these patrician lawns, where, only the previous spring, the violets had blossomed more numberless than the blades of gra.s.s, there were now mounds of lime, heaps of bricks, the wheels of stone-laden carts creaked on the turf, on the air were the oaths of the drivers, the shouts of the overseers, while every hour hastened on the brutal work which was to efface and occupy the sacred soil once dedicated to Beauty and to Dreams. There pa.s.sed over Rome a blighting blizzard of barbarism, menacing all that greatness and loveliness which were without equals in the memory of the world. Even the laurels and the rose trees of the Villa Schiarra, for so many nights of so many summers hymned by their nightingales, fell destroyed, or remained in their desecration behind the gates of little gardens parcelled out to the little c.o.c.kney boxes of tradesmen. The gigantic Ludovisian cypresses, those of the Aurora, those which spread the clouds of their solemn and mystic antiquity above the Olympian brows of Goethe, were now laid p.r.o.ne in line one after another, with all their dishonoured roots stretching towards the pallid sky, the black dishonoured roots which still seemed to hold in their immense network the web of a life greater than our own.

'Even over the box alleys of the Villa Albani, which had seemed as immortal as their Caryatides and their Hermes, there hung that shadow of a vandal's ruin. The contagion of destruction spread everywhere. In the ceaseless combat of gain, in the savage fury of avaricious greed and pa.s.sions, in the disordered haste of commercial activity, every sense of common decency was forgotten, all respect for the past was trampled under foot.

The struggle for gain was carried on with blind fury, with neither check nor curb. The pickaxe, the shovel, and the cunning of fraud were the weapons employed. And week after week, with incredible velocity, there arose on the violated earth the huge foolish cages of brick and mortar, pierced with square holes, surmounted with sham cornices, encrusted with shameful stucco ornaments. A kind of immense white tumour rose and spread on the wounded and bleeding side of the great Urbs and drained away its life.

'And then, day after day, at sunset, along the princely avenues of the Borghese Park, we could see in gorgeous brand-new equipages the new elect of Fortune, from whom not barber, nor tailor, nor boot-maker, had power to take away the ign.o.ble stamp. We could see them pa.s.s and repa.s.s with the sonorous trot of their shining bay and brown horses; they were recognisable at a glance by the insolence of their pose and the awkward carriage of their rapacious and vulgar hands; and they seemed to cry aloud,--

'"We are the new rulers of Rome. Bow down to us!"

'In truth such are its rulers; such the present masters of that Rome which prophets and poets once likened to the bow of Ulysses.'

Often have I myself written similar things, but in me they have been considered exaggerations. They cannot be so considered in Gabriele D'Annunzio of Francavilla.

All who love Rome and loathe her modern violation must thank him from their hearts for such pa.s.sages, and must mourn with him that we cannot drive out the spoilers from our desecrated temples.

This is, indeed, his greatest strength, that, whilst still a young man, he yet has the courage to resist the intellectual tendencies of his contemporaries, to refuse to worship their G.o.ds, to see and despise the falseness of those scientific pretensions which enslave the mult.i.tude in modern life. His intellect, richly stored by learning, is, in a large measure, free of prejudice. This is a great and rare distinction in a generation which more completely than any which has preceded it, is the timid slave of formula and the credulous servant of professional bigotry.

He has kept a complete mental liberty; free from the superst.i.tions of religion, which, in this day, it is easy to be; but also free from the superst.i.tions of science, which is far harder, and incurs far greater obloquy and opposition.

In his study on Giorgione, he says what it needs much courage to say in these days:--

'The scientific spirit has invaded the generation of the second half of our century. Struck by the surprising results of physics and calculation, men were inclined to believe for a time, that by the aid of the one or the other, they would be able to penetrate into all mysteries and solve all problems.

But to this proud exaltation has now succeeded a discouragement mingled with suspicion. They say to themselves, and not without reason: "Where is this certainty that science promised us?" If ever certainty were incomplete, deprived of solid criterion, it is that offered by natural science. As for the sciences called exact, some, like geometry, repose on a tottering base of arbitrary affirmations; others, like algebra, on mere methods of reasoning, and contain as much or as little certainty as the formula of a syllogism.'

This is emphatically true; but it is a fact which is by no means recognised by all, and which is still violently denied by those fanatics whose form of bigotry is either experimental or exact science.

The mind of D'Annunzio refuses all bondage. It is a law to itself, as the mind of the great writer should be. I imagine that the opinion of him held by others, is to him of the most absolute unimportance. His teaching is always to preserve the independence of the Ego, to live without attention to formula or usage, to be, both materially and spiritually, that which we were created to be by nature.

His morality is of the most primitive kind; or rather, he has none whatever, no more than has a South-Sea islander lying in the sun under a cocoa-nut tree whilst the surf bathes his naked limbs. It would be absurd to accuse him of immorality because the indulgence of the senses is as natural and as legitimate in his estimation, as Favetta's song amongst the golden furze, or the reapers' welcome of the purple wine.

Yet by a not rare anomaly, this demand for perfect freedom of the pa.s.sions is accompanied by a tendency to desire tyranny in political matters. He is disposed to deify force. In one or two expressions there is an echo of Carlyle which sounds oddly and jarringly amongst the amorous liberties and artistic debaucheries of the rest; and is not worthy of a writer who has so much courage in opposing scientific pharisaism and the thraldom of the schools. He is disposed to admire what is strong simply because it is strong, forgetful that such strength is sustained and nourished by the suffering of the weak. It is true that he has lived in an atmosphere in which the verities embodied in the aspirations, abortive but always n.o.ble, of the higher efforts of revolution have been received with fear and misunderstanding. The tendencies and training of the _Codini_ are visible through the eloquence of the poet and the conclusions of the philosopher. The entire lack in him of all altruism comes from this. Mazzini must be as unintelligible to him as Tolstoi. The ma.s.s of humanity is always to him the filthy, surging, b.e.s.t.i.a.l mult.i.tudes of the crowd at Casalbordino.

But even this absence of benevolence is better than the pitiful sycophancy of writers who are as fulsome in their flattery to Demos as to kings; is manlier than the nauseating self-worship of a Humanity at once its own pimp and pander, its own adorer and a.s.sa.s.sin.

In his scorn of the human flocks of sheep, he forgets, I admit, too entirely the justice to which the humblest unit amongst these flocks has right, but that scorn, even when misdirected, is fresh and bracing as the dash of his own Adriatic waves, when the east wind drives them hurrying on to the shingle beach. He has no fear; and he never stoops to that base flattery of his own species which is the most nauseous feature of modern politics and of modern science.

'This alone is your office,' he cries to his contemporaries, if they would resist the debasing influences of their time, 'defend the dream which is in you. Since in this day mortals no longer bring tribute of love and honour to the choristers of the Muses, defend yourselves, O poets, with all your weapons, steep the point of your rapiers in the most biting poisons. Let your satires bear such corrosive acid in them that they shall pierce to the very pith of the spine and destroy it. Brand to the very bone the stupid forehead of those fools who would mark every soul with the same label, and make every brain like another, as the heads of nails are beaten into a common likeness by the blows of the nailmaker. Let your mordant laughter reach to heaven when you hear the stablemen of the Great Beast shouting in the parliaments of the earth.... Defend the thought which they menace, defend the beauty which they outrage, defend the antique freedom of your masters and the future freedom of your disciples, against the insane a.s.saults of drunken slaves. Despair not, though you be few in number.

You have the supreme force of the world: the written word.'

The written word is indeed in his hand a scourge, a sword, a sheaf of arrows from the quiver of the divine Python Slayer.

And in no country more than in the Italy of his generation is such a scourge, such a sword, such flame-tipped arrows, needed to slay the courtiers, the usurers, the sycophants, the knaves, the brutes, the sellers of justice who fasten like leeches on her body.

This son of Italy is a great writer; a great poet. Read his works in the original text all ye who can, men and women for whom life has no secrets and truth has no terror.

He is young; the time will come, as it comes to all, when the joys of the senses will fade for him as the roses of the summer are scattered by autumn winds.

Let us hope that there will be later a second period of his creative art, in which there will be developed an original genius free of exotic influences, and untrammelled by the search for idioms and pruriencies.

Genius, like the river at its source, takes the colour of the earth it springs from. It is only when it has reached its full volume, its deepest currents, that it becomes clear and reflects the sky alone.

Let us hope that such a future awaits him, and that more and more fully will he realise what he has already said in n.o.ble words:--

'Art! Here is the one faithful pa.s.sion ever youthful, nay, immortal; here is the fountain of pure joy unknown to the mult.i.tude; here is the divine food which makes men like to G.o.ds. How could he have stooped to drink at other cups when he had once tasted of this?[3] How could he have bent to taste of other joys, once having known this ecstasy? How could his senses have let themselves be weakened and debased to lowest l.u.s.ts when they had once been stirred to that highest sensibility which beholds the invisible, which touches the impalpable, which divines the most hidden secrets in the heart of nature?'

[Footnote 3: He is writing of Andrea Sperelli in _Il Piacere_.]

With these words, which are the greatest in meaning that he has. .h.i.therto written, I will, for the present moment, take my leave of him.

II

GEORGES DARIEN

Of all countries, France remains the land in which it is possible to tell the most truth. The nation of Montaigne and Moliere is always the first to recognise and award the t.i.tle of talent to lay bare the shoulders of her community and use the scourge upon them. If at its first appearance the strange and terrible revelations contained in the work ent.i.tled _Biribi_ were met by official obstruction and attempted suppression, the book has conquered them, and has been allowed to carry the light of its torches into the dark places of military administration and oppression. In Italy, as in Germany and Austria, it would have been stopped by fine, exile, and seizure. In Russia it could never have been issued at all. In England it would have been as costly to the author as were his issues of Zola to the unhappy and martyrised Vizetelly. In France alone its pictures of the most terrible facts pa.s.s unarrested, by right of that literary liberty which the _esprit gaulois_ has always awarded, however much government and law may have been alarmed.

It has been said that the accusations contained in the works of Georges Darien are a _Retrissure a la France_, and as such should never have been made public by a patriotic writer and a ci-devant soldier. But here we merely meet again the hackneyed question whether the writer of talent is bound by patriotism or any other scruple to withhold truth, or whether he is not rather bound to disclose the truth as he believes it to be at all costs, whether to himself or to others. It is not necessary for me to say with which of these opinions I agree. The little which has been done towards any true progress of the human mind has been done by the expression of free thought, and by its fearless exposure of evils protected by the crystallisation of time, usage, and prejudice. Over the modern world which chatters of liberty, but does not anywhere possess it, or even know actually what it means, there hang, in heavy and icy weight, two ever-increasing despotisms: the scientific and the military.

Of the former it is not necessary to treat in these pages; of the latter the yearly increase throughout Europe, ever since the war of 1870-71, must alarm every unbia.s.sed thinker, bringing with it, as it does, the impoverishment of the people, the curse of youth and manhood, the endless strain of a fiscal burden, so enormous that every cla.s.s groans under it, and the perpetual and diseased anxiety in which every nation lives, suspecting its neighbours, and turn by turn affronting them insolently and cringing to them obsequiously, according as it is made to feel the power of its own strength or the weakness of its own inferiority. Every syllable printed which tends to show the reality of military tyranny at this moment is valuable, and should be welcomed, however odious it may be to military authority and government; and especially valuable when it comes from one who has pa.s.sed through the scenes which he depicts, and draws, not from imagination, but from memory.

Georges Darien has been the man whom he describes; treated as the worst of criminals, though wholly guiltless of breaking any criminal law.

Georges Darien in using the first person, both in _Biribi_ and in _Bas les Coeurs_, is but writing portions of his own autobiography; he was a boy of ten, like his young hero in the latter book, and a volunteer like the gunner of the second cla.s.s in the 41st battery of artillery in the former work, and to this fact there are owing that directness, simplicity, and virility which are the distinguishing characteristics of both these volumes. They are alive with life. The reader may resent them, detest them, dread them and their revelations; but he must be impressed by them; he must receive from their perusal that thrill which can only come from reality. They are saturated with the tears of blood of a strong man who feels his own impotency to rouse his generation and to change humanity; who knows that his voice is the voice of the prophet crying in the wilderness, and echoing over a desert of dead bones and drifting sand. There are few greater pangs than to see the truth and know it, and feel that the salvation of others lies in it, and to tell it in vain to deaf ears, and offer its water of life to lips closed by pride and cruelty and folly.

The name _Biribi_ sounds too light for such a subject; it sounds like a joke; but the joke is grim indeed, grim as the dance of skeletons round a gallows-tree. In actual fact _Biribi_ is the nickname given by French and native soldiers in Algeria to the punishment-battalions of the Franco-African army; a slangy _pet.i.t nom_ given in jest to one of the most awful h.e.l.ls that earth holds. The tortures which are suffered in every army, in the best army, and in the time of greatest peace, can scarcely ever be over-rated; and they are not the less, but the more terrible, because almost always endured in silence and ignored by authority. Now and then a voice is raised from the ranks, occasionally, very rarely, some punishment, or injustice, more brutal than usual, comes to light, and rouses public indignation. _Biribi_ is one of those rare utterances rising from the sealed pits, in which uncared-for and unpitied lives are beaten into senseless pulp of bruised and bleeding flesh.

There is great originality in the literary talent of Georges Darien. His style is all his own. His manner of relation resembles no other. He has nothing of the modern school, except its hopelessness; he is strong, intense, virile, rough; he seeks no ornament, he strives for no effect; he writes as he feels, boldly, pa.s.sionately, with that eloquence which is the offspring of simplicity and of veracity, and that potency which comes from wide knowledge of literatures and of mankind. Belonging by birth to the _bourgeoisie_, son of a Catholic father and a Calvinist mother, his early years were embittered by religious strife. He has later on travelled much; he has known the lowest cla.s.ses and the hardest ways of life; he is still young in years, but old in the most varied experiences; and he has, certainly, uncommon powers, which have as yet not been duly recognised, for he offends the prejudices and vested interests of his generation, and even in France prejudice and vested interests are strong and close many channels.

He disdains, moreover, to appeal to that large cla.s.s of readers who require a book, cast in the form of a story, to possess a story. Like the famous knife-grinder he has none to tell, if by story we understand, as most people do, a love-tale in some one of its forms. _Biribi_ is the stern and terrible narrative of the career of an _insoumis_; _Bas les Coeurs_ is the simple, domestic record of a boy's recollections of the _Annee Terrible_. In neither is there any hint or fragment of romance.