FOOTNOTES:[1]This is actually as the woman told it. I can only suggest there is some lacuna which my story-teller did not know how to fill up.[2]We retain the unusual spelling “Dominiddio,” which is evidently intended to indicate the pronunciation of the Tuscan peasants.—Ed.[3]Cf.The Story of The Three Sisters, in the Arabian Nights.[4]“Let us go, young men; let us go, young men, to those nice cialde, O—— h.”[5]Beppe’s home is more fully described in “A Tuscan Farmhouse,” p. 106.[6]The house is small, but great its restfulness.[7]Sacred to Jupiter, the patron of hospitality. Oh, thou, whoever thou mayst be, who, being an honest man, art perchance fleeing those worst of enemies, thy neighbours, enter this lonely house and rest.[8]Friends, enemies;Relations, serpents;Cousins, assassins;Brothers, knives.[9]For description of the marriage, see “A Wedding in the Pistoiese,” p. 87.[10]That Capoliveri was a Roman town seems to be proved by the manuscript of a Goth, quoted as travelling in these parts in about 530A.D.He tells us that the right name of the place isCaputliberum, for that Roman exiles deported to this village, without any difficulty, obtained the liberty of walking outside the walls within the jurisdiction of the city. It must have been a sort ofDomicilio Coatto. The author of the manuscript is called by Ninci and LambardiCeleteudoorCelteuso.[11]The copper mines, mentioned by Aristotle, are no longer open. That they were worked by the Etruscans was first proved by Raffaello Foresi, when, in 1865, he made known the discovery of various bronze objects. These were found by one of the Foresi peasants near the entrance into the ancient copper mines above Portoferraio, together with a mould for receiving the melted bronze. Finely-worked bronze ornaments were found about the same time during an investigation made at Foresi’s suggestion, associated in a sepulchral cavern with skulls of Etruscans and Ligurians.[12]“Storia dell’Isola dell’Elba.” Giuseppe Ninci. Portoferraio, 1815.[13]qui in portoferraionel MDCCCII fu recato pargolettovittore hugoqui nacque la sua parolache più tardi lava di fuoco sacrodovea correre le vene dei popolie forse tre annivissuti in quest’auracui danno atomi il ferro ed il mareafforzando il corpo infermiccio di luiserbavanol’orgoglio dei suoi natali alla franciala gloria del suo nome al secoloall’umanitaun apostolo e un genio immortale.[14]napoleon the greatpassing by this place in MDCCCXIV.took in the neighbouring field a ploughsharefrom the hands of a peasantand himself tried to plough butthe oxen rebellious to those handswhich yet had guided europeheadlongfled from the furrow.[15]napoleon I.having conquered empiresreduced kings to vassalageovercome by the snows of russia not by armsin this hermitagethrough him transformed into a palacedwelt from the 23 august to the 14 September 1814and having tempered afresh his immortal geniuson the 24 february 1815hence darted forth to amaze anew the worldat his daring.The municipality of marcianawith grateful and reverent soulto so great a namedecreed the erection of this memorialthe 18 february 1863.[16]1897.[17]The sky; formed, according to the ancient Finnic legend, by the wondrous smith Ilmarinen. In the “Song of the Sampo” he boasts that he has made it so well that “no hammer-marks remain; no pincer-marks are seen.”[18]The reader will recognise the allusion to cantos xxi. and xxiv. of Dante’s “Inferno,” of which the former describes the lake of pitch in which the barrators were tortured, and the latter the terrible valley in which the sacrilegious Vanni Fucci and his like were tormented with serpents.[19]Compare, for instance, the Italian and Latin versions of the following verse, taken from a short poem on a laurel branch which the poet, having plucked on the Appian Way, presented to a lady friend who bore the name of Daphne; and compare these again with the well-known Horatian ode “Integer Vitæ”:—“Io son, Daphne, la tua greca sorella:Che vergin bionda sul Peneo fuggia,E verdeggiai pur ieri arbore snellaPer l’Appia Via.En soror, Daphne, tua quæ fugaciJam pede ad Peneum pudibunda adibam;Appiæ et nuper virui tenellaMargine laurus.Integer vitæ scelerisque purusNon eget Mauris jaculis neque arcuNec venenatis gravida sagittis,Fusce, pharetra.”See also “Sei Odi Barbare di Giosué Carducci, con la versione Latina di Amedeo Crivellucci.” Citta di Castello, 1885.It must be observed in this connection that Carducci is very apt to change a descending Horatian rhythm into an ascending Italian one, beginning his line with an unaccented and rising to an accented syllable. In this way he obtains much movement and swing.[20]Reprinted by permission, from “La Perseveranza” Milano, Martedì, 20 Marzo 1900.
FOOTNOTES:[1]This is actually as the woman told it. I can only suggest there is some lacuna which my story-teller did not know how to fill up.[2]We retain the unusual spelling “Dominiddio,” which is evidently intended to indicate the pronunciation of the Tuscan peasants.—Ed.[3]Cf.The Story of The Three Sisters, in the Arabian Nights.[4]“Let us go, young men; let us go, young men, to those nice cialde, O—— h.”[5]Beppe’s home is more fully described in “A Tuscan Farmhouse,” p. 106.[6]The house is small, but great its restfulness.[7]Sacred to Jupiter, the patron of hospitality. Oh, thou, whoever thou mayst be, who, being an honest man, art perchance fleeing those worst of enemies, thy neighbours, enter this lonely house and rest.[8]Friends, enemies;Relations, serpents;Cousins, assassins;Brothers, knives.[9]For description of the marriage, see “A Wedding in the Pistoiese,” p. 87.[10]That Capoliveri was a Roman town seems to be proved by the manuscript of a Goth, quoted as travelling in these parts in about 530A.D.He tells us that the right name of the place isCaputliberum, for that Roman exiles deported to this village, without any difficulty, obtained the liberty of walking outside the walls within the jurisdiction of the city. It must have been a sort ofDomicilio Coatto. The author of the manuscript is called by Ninci and LambardiCeleteudoorCelteuso.[11]The copper mines, mentioned by Aristotle, are no longer open. That they were worked by the Etruscans was first proved by Raffaello Foresi, when, in 1865, he made known the discovery of various bronze objects. These were found by one of the Foresi peasants near the entrance into the ancient copper mines above Portoferraio, together with a mould for receiving the melted bronze. Finely-worked bronze ornaments were found about the same time during an investigation made at Foresi’s suggestion, associated in a sepulchral cavern with skulls of Etruscans and Ligurians.[12]“Storia dell’Isola dell’Elba.” Giuseppe Ninci. Portoferraio, 1815.[13]qui in portoferraionel MDCCCII fu recato pargolettovittore hugoqui nacque la sua parolache più tardi lava di fuoco sacrodovea correre le vene dei popolie forse tre annivissuti in quest’auracui danno atomi il ferro ed il mareafforzando il corpo infermiccio di luiserbavanol’orgoglio dei suoi natali alla franciala gloria del suo nome al secoloall’umanitaun apostolo e un genio immortale.[14]napoleon the greatpassing by this place in MDCCCXIV.took in the neighbouring field a ploughsharefrom the hands of a peasantand himself tried to plough butthe oxen rebellious to those handswhich yet had guided europeheadlongfled from the furrow.[15]napoleon I.having conquered empiresreduced kings to vassalageovercome by the snows of russia not by armsin this hermitagethrough him transformed into a palacedwelt from the 23 august to the 14 September 1814and having tempered afresh his immortal geniuson the 24 february 1815hence darted forth to amaze anew the worldat his daring.The municipality of marcianawith grateful and reverent soulto so great a namedecreed the erection of this memorialthe 18 february 1863.[16]1897.[17]The sky; formed, according to the ancient Finnic legend, by the wondrous smith Ilmarinen. In the “Song of the Sampo” he boasts that he has made it so well that “no hammer-marks remain; no pincer-marks are seen.”[18]The reader will recognise the allusion to cantos xxi. and xxiv. of Dante’s “Inferno,” of which the former describes the lake of pitch in which the barrators were tortured, and the latter the terrible valley in which the sacrilegious Vanni Fucci and his like were tormented with serpents.[19]Compare, for instance, the Italian and Latin versions of the following verse, taken from a short poem on a laurel branch which the poet, having plucked on the Appian Way, presented to a lady friend who bore the name of Daphne; and compare these again with the well-known Horatian ode “Integer Vitæ”:—“Io son, Daphne, la tua greca sorella:Che vergin bionda sul Peneo fuggia,E verdeggiai pur ieri arbore snellaPer l’Appia Via.En soror, Daphne, tua quæ fugaciJam pede ad Peneum pudibunda adibam;Appiæ et nuper virui tenellaMargine laurus.Integer vitæ scelerisque purusNon eget Mauris jaculis neque arcuNec venenatis gravida sagittis,Fusce, pharetra.”See also “Sei Odi Barbare di Giosué Carducci, con la versione Latina di Amedeo Crivellucci.” Citta di Castello, 1885.It must be observed in this connection that Carducci is very apt to change a descending Horatian rhythm into an ascending Italian one, beginning his line with an unaccented and rising to an accented syllable. In this way he obtains much movement and swing.[20]Reprinted by permission, from “La Perseveranza” Milano, Martedì, 20 Marzo 1900.
[1]This is actually as the woman told it. I can only suggest there is some lacuna which my story-teller did not know how to fill up.[2]We retain the unusual spelling “Dominiddio,” which is evidently intended to indicate the pronunciation of the Tuscan peasants.—Ed.[3]Cf.The Story of The Three Sisters, in the Arabian Nights.[4]“Let us go, young men; let us go, young men, to those nice cialde, O—— h.”[5]Beppe’s home is more fully described in “A Tuscan Farmhouse,” p. 106.[6]The house is small, but great its restfulness.[7]Sacred to Jupiter, the patron of hospitality. Oh, thou, whoever thou mayst be, who, being an honest man, art perchance fleeing those worst of enemies, thy neighbours, enter this lonely house and rest.[8]Friends, enemies;Relations, serpents;Cousins, assassins;Brothers, knives.[9]For description of the marriage, see “A Wedding in the Pistoiese,” p. 87.[10]That Capoliveri was a Roman town seems to be proved by the manuscript of a Goth, quoted as travelling in these parts in about 530A.D.He tells us that the right name of the place isCaputliberum, for that Roman exiles deported to this village, without any difficulty, obtained the liberty of walking outside the walls within the jurisdiction of the city. It must have been a sort ofDomicilio Coatto. The author of the manuscript is called by Ninci and LambardiCeleteudoorCelteuso.[11]The copper mines, mentioned by Aristotle, are no longer open. That they were worked by the Etruscans was first proved by Raffaello Foresi, when, in 1865, he made known the discovery of various bronze objects. These were found by one of the Foresi peasants near the entrance into the ancient copper mines above Portoferraio, together with a mould for receiving the melted bronze. Finely-worked bronze ornaments were found about the same time during an investigation made at Foresi’s suggestion, associated in a sepulchral cavern with skulls of Etruscans and Ligurians.[12]“Storia dell’Isola dell’Elba.” Giuseppe Ninci. Portoferraio, 1815.[13]qui in portoferraionel MDCCCII fu recato pargolettovittore hugoqui nacque la sua parolache più tardi lava di fuoco sacrodovea correre le vene dei popolie forse tre annivissuti in quest’auracui danno atomi il ferro ed il mareafforzando il corpo infermiccio di luiserbavanol’orgoglio dei suoi natali alla franciala gloria del suo nome al secoloall’umanitaun apostolo e un genio immortale.[14]napoleon the greatpassing by this place in MDCCCXIV.took in the neighbouring field a ploughsharefrom the hands of a peasantand himself tried to plough butthe oxen rebellious to those handswhich yet had guided europeheadlongfled from the furrow.[15]napoleon I.having conquered empiresreduced kings to vassalageovercome by the snows of russia not by armsin this hermitagethrough him transformed into a palacedwelt from the 23 august to the 14 September 1814and having tempered afresh his immortal geniuson the 24 february 1815hence darted forth to amaze anew the worldat his daring.The municipality of marcianawith grateful and reverent soulto so great a namedecreed the erection of this memorialthe 18 february 1863.[16]1897.[17]The sky; formed, according to the ancient Finnic legend, by the wondrous smith Ilmarinen. In the “Song of the Sampo” he boasts that he has made it so well that “no hammer-marks remain; no pincer-marks are seen.”[18]The reader will recognise the allusion to cantos xxi. and xxiv. of Dante’s “Inferno,” of which the former describes the lake of pitch in which the barrators were tortured, and the latter the terrible valley in which the sacrilegious Vanni Fucci and his like were tormented with serpents.[19]Compare, for instance, the Italian and Latin versions of the following verse, taken from a short poem on a laurel branch which the poet, having plucked on the Appian Way, presented to a lady friend who bore the name of Daphne; and compare these again with the well-known Horatian ode “Integer Vitæ”:—“Io son, Daphne, la tua greca sorella:Che vergin bionda sul Peneo fuggia,E verdeggiai pur ieri arbore snellaPer l’Appia Via.En soror, Daphne, tua quæ fugaciJam pede ad Peneum pudibunda adibam;Appiæ et nuper virui tenellaMargine laurus.Integer vitæ scelerisque purusNon eget Mauris jaculis neque arcuNec venenatis gravida sagittis,Fusce, pharetra.”See also “Sei Odi Barbare di Giosué Carducci, con la versione Latina di Amedeo Crivellucci.” Citta di Castello, 1885.It must be observed in this connection that Carducci is very apt to change a descending Horatian rhythm into an ascending Italian one, beginning his line with an unaccented and rising to an accented syllable. In this way he obtains much movement and swing.[20]Reprinted by permission, from “La Perseveranza” Milano, Martedì, 20 Marzo 1900.
[1]This is actually as the woman told it. I can only suggest there is some lacuna which my story-teller did not know how to fill up.
[2]We retain the unusual spelling “Dominiddio,” which is evidently intended to indicate the pronunciation of the Tuscan peasants.—Ed.
[3]Cf.The Story of The Three Sisters, in the Arabian Nights.
[4]“Let us go, young men; let us go, young men, to those nice cialde, O—— h.”
[5]Beppe’s home is more fully described in “A Tuscan Farmhouse,” p. 106.
[6]The house is small, but great its restfulness.
[7]Sacred to Jupiter, the patron of hospitality. Oh, thou, whoever thou mayst be, who, being an honest man, art perchance fleeing those worst of enemies, thy neighbours, enter this lonely house and rest.
[8]
Friends, enemies;Relations, serpents;Cousins, assassins;Brothers, knives.
[9]For description of the marriage, see “A Wedding in the Pistoiese,” p. 87.
[10]That Capoliveri was a Roman town seems to be proved by the manuscript of a Goth, quoted as travelling in these parts in about 530A.D.He tells us that the right name of the place isCaputliberum, for that Roman exiles deported to this village, without any difficulty, obtained the liberty of walking outside the walls within the jurisdiction of the city. It must have been a sort ofDomicilio Coatto. The author of the manuscript is called by Ninci and LambardiCeleteudoorCelteuso.
[11]The copper mines, mentioned by Aristotle, are no longer open. That they were worked by the Etruscans was first proved by Raffaello Foresi, when, in 1865, he made known the discovery of various bronze objects. These were found by one of the Foresi peasants near the entrance into the ancient copper mines above Portoferraio, together with a mould for receiving the melted bronze. Finely-worked bronze ornaments were found about the same time during an investigation made at Foresi’s suggestion, associated in a sepulchral cavern with skulls of Etruscans and Ligurians.
[12]“Storia dell’Isola dell’Elba.” Giuseppe Ninci. Portoferraio, 1815.
[13]
qui in portoferraionel MDCCCII fu recato pargolettovittore hugoqui nacque la sua parolache più tardi lava di fuoco sacrodovea correre le vene dei popolie forse tre annivissuti in quest’auracui danno atomi il ferro ed il mareafforzando il corpo infermiccio di luiserbavanol’orgoglio dei suoi natali alla franciala gloria del suo nome al secoloall’umanitaun apostolo e un genio immortale.
[14]
napoleon the greatpassing by this place in MDCCCXIV.took in the neighbouring field a ploughsharefrom the hands of a peasantand himself tried to plough butthe oxen rebellious to those handswhich yet had guided europeheadlongfled from the furrow.
[15]
napoleon I.having conquered empiresreduced kings to vassalageovercome by the snows of russia not by armsin this hermitagethrough him transformed into a palacedwelt from the 23 august to the 14 September 1814and having tempered afresh his immortal geniuson the 24 february 1815hence darted forth to amaze anew the worldat his daring.
The municipality of marcianawith grateful and reverent soulto so great a namedecreed the erection of this memorialthe 18 february 1863.
[16]1897.
[17]The sky; formed, according to the ancient Finnic legend, by the wondrous smith Ilmarinen. In the “Song of the Sampo” he boasts that he has made it so well that “no hammer-marks remain; no pincer-marks are seen.”
[18]The reader will recognise the allusion to cantos xxi. and xxiv. of Dante’s “Inferno,” of which the former describes the lake of pitch in which the barrators were tortured, and the latter the terrible valley in which the sacrilegious Vanni Fucci and his like were tormented with serpents.
[19]Compare, for instance, the Italian and Latin versions of the following verse, taken from a short poem on a laurel branch which the poet, having plucked on the Appian Way, presented to a lady friend who bore the name of Daphne; and compare these again with the well-known Horatian ode “Integer Vitæ”:—
“Io son, Daphne, la tua greca sorella:Che vergin bionda sul Peneo fuggia,E verdeggiai pur ieri arbore snella
Per l’Appia Via.
En soror, Daphne, tua quæ fugaciJam pede ad Peneum pudibunda adibam;Appiæ et nuper virui tenella
Margine laurus.
Integer vitæ scelerisque purusNon eget Mauris jaculis neque arcuNec venenatis gravida sagittis,
Fusce, pharetra.”
See also “Sei Odi Barbare di Giosué Carducci, con la versione Latina di Amedeo Crivellucci.” Citta di Castello, 1885.
It must be observed in this connection that Carducci is very apt to change a descending Horatian rhythm into an ascending Italian one, beginning his line with an unaccented and rising to an accented syllable. In this way he obtains much movement and swing.
[20]Reprinted by permission, from “La Perseveranza” Milano, Martedì, 20 Marzo 1900.