Читать книгу Italian Journeys - William Dean Howells - Страница 12

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The Ghetto was in itself indifferent to us; it was merely our way to the Library, whither the great memory of Ariosto invited us to see his famous relics treasured there.

We found that the dead literati of Ferrara had the place wholly to themselves; not a living soul disputed the solitude of the halls with the custodians, and the bust of Ariosto looked down from his monument upon rows of empty tables, idle chairs, and dusty inkstands.

The poet, who was painted by Titian, has a tomb of abandoned ugliness, and sleeps under three epitaphs; while cherubs frescoed on the wall behind affect to disclose the mausoleum, by lifting a frescoed curtain, but deceive no one who cares to consider how impossible it would be for them to perform this service, and caper so ignobly as they do at the same time. In fact this tomb of Ariosto shocks with its hideousness and levity. It stood formerly in the Church of San Benedetto, where it was erected shortly after the poet's death, and it was brought to the Library by the French, when they turned the church into a barracks for their troops. The poet's dust, therefore, rests here, where the worm, working silently through the vellum volumes on the shelves, feeds upon the immortality of many other poets. In the adjoining hall are the famed and precious manuscripts of Ariosto and of Tasso. A special application must be made to the librarian, in order to see the fragment of the Furioso in Ariosto's hand, and the manuscript copy of the Gerusalemma, with the corrections by Tasso. There are some pages of Ariosto's Satires, framed and glazed for the satisfaction of the less curious; as well as a letter of Tasso's, written from the Hospital of St. Anna, which the poet sends to a friend, with twelve shirts, and in which he begs that his friend will have the shirts mended, and cautions him "not to let them be mixed with others." But when the slow custodian had at last unlocked that more costly fragment of the Furioso, and placed it in my hands, the other manuscripts had no value for me. It seems to me that the one privilege which travel has reserved to itself, is that of making each traveller, in presence of its treasures, forget whatever other travellers have said or written about them. I had read so much of Ariosto's industry, and of the proof of it in this manuscript, that I doubted if I should at last marvel at it. But the wonder remains with the relic, and I paid it my homage devoutly and humbly, and was disconcerted afterward to read again in my Valery how sensibly all others had felt the preciousness of that famous page, which, filled with half a score of previous failures, contains in a little open space near the margin, the poet's final triumph in a clearly written stanza. Scarcely less touching and interesting than Ariosto's painful work on these yellow leaves, is the grand and simple tribute which another Italian poet was allowed to inscribe on one of them: "Vittorio Alfieri beheld and venerated;" and I think, counting over the many memorable things I saw on the road to Rome and the way home again, this manuscript was the noblest thing and best worthy to be remembered.

When at last I turned from it, however, I saw that the custodian had another relic of Messer Lodovico, which he was not ashamed to match with the manuscript in my interest. This was the bone of one of the poet's fingers, which the pious care of Ferrara had picked up from his dust (when it was removed from the church to the Library), and neatly bottled and labeled. In like manner, they keep a great deal of sanctity in bottles with the bones of saints in Italy; but I found very little savor of poesy hanging about this literary relic.

As if the melancholy fragment of mortality had marshaled us the way, we went from the Library to the house of Ariosto, which stands at the end of a long, long street, not far from the railway station. There was not a Christian soul, not a boy, not a cat nor a dog to be seen in all that long street, at high noon, as we looked down its narrowing perspective, and if the poet and his friends have ever a mind for a posthumous meeting in his little reddish brick house, there is nothing to prevent their assembly, in broad daylight, from any part of the neighborhood. There was no presence, however, more spiritual than a comely country girl to respond to our summons at the door, and nothing but a tub of corn-meal disputed our passage inside. Directly I found the house inhabited by living people, I began to be sorry that it was not as empty as the Library and the street. Indeed, it is much better with Petrarch's house at Arquà, where the grandeur of the past is never molested by the small household joys and troubles of the present. That house is vacant, and no eyes less tender and fond than the poet's visitors may look down from its windows over the slope of vines and olives which it crowns; and it seemed hard, here in Ferrara, where the houses are so many and the people are so few, that Ariosto's house could not be left to him. Parva sed apta mihi, he has contentedly written upon the front; but I doubt if he finds it large enough for another family, though his modern housekeeper reserves him certain rooms for visitors. To gain these, you go up to the second story—there are but two floors—and cross to the rear of the building, where Ariosto's chamber opens out of an ante-room, and looks down upon a pinched and faded bit of garden. [In this garden the poet spent much of his time—chiefly in plucking up and transplanting the unlucky shrubbery, which was never suffered to grow three months in the same place—such was the poet's rage for revision. It was probably never a very large or splendid garden, for the reason that Ariosto gave when reproached that he who knew so well how to describe magnificent palaces should have built such a poor little house: "It was easier to make verses than houses, and the fine palaces in his poem cost him no money."] In this chamber they say the poet died. It is oblong, and not large. I should think the windows and roof were of the poet's time, and that every thing else had been restored; I am quite sure the chairs and inkstand are kindly-meant inventions; for the poet's burly great arm-chair and graceful inkstand are both preserved in the Library. But the house is otherwise decent and probable; and I do not question but it was in the hall where we encountered the meal-tub that the poet kept a copy of his "Furioso," subject to the corrections and advice of his visitors.

The ancestral house of the Ariosti has been within a few years restored out of all memory and semblance of itself; and my wish to see the place in which the poet was born and spent his childhood resulted, after infinite search, in finding a building faced newly with stucco and newly French-windowed.

Our portier said it was the work of the late English Vice-Consul, who had bought the house. When I complained of the sacrilege, he said: "Yes, it is true. But then, you must know, the Ariosti were not one of the noble families of Ferrara."