LITMIR.BIZ

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Of my young hero shine upon the world

       In the clear day! Nay, night must follow still

       Her own inviolable laws, and droop

       With silent shades over one half the globe;

       And slowly moving on her dewy feet,

       She blends the varied colors infinite,

       And with the border of her mighty garments

       Blots everything; the sister she of Death

       Leaves but one aspect indistinct, one guise

       To fields and trees, to flowers, to birds and beasts,

       And to the great and to the lowly born,

       Confounding with the painted cheek of beauty

       The haggard face of want, and gold with tatters.

       Nor me will the blind air permit to see

       Which carriages depart, and which remain,

       Secret amidst the shades; but from my hand

       The pencil caught, my hero is involved

       Within the tenebrous and humid veil.

      

      The concluding section of the poem, by chance or by wise design of the author, remains a fragment. In this he follows his hero from the promenade to the evening party, with an account of which The Night is mainly occupied, so far as it goes. There are many lively pictures in it, with light sketches of expression and attitude; but on the whole it has not so many distinctly quotable passages as the other parts of the poem. The perfunctory devotion of the cavalier and the lady continues throughout, and the same ironical reverence depicts them alighting from their carriage, arriving in the presence of the hostess, sharing in the gossip of the guests, supping, and sitting down at those games of chance with which every fashionable house was provided and at which the lady loses or doubles her pin-money. In Milan long trains were then the mode, and any woman might wear them, but only patricians were allowed to have them carried by servants; the rich plebeian must drag her costly skirts in the dust; and the nobility of our hero's lady is honored by the flunkeys who lift her train as she enters the house. The hostess, seated on a sofa, receives her guests with a few murmured greetings, and then abandons herself to the arduous task of arranging the various partners at cards. When the cavalier serves his lady at supper, he takes his handkerchief from his pocket and spreads it on her lap; such usages and the differences of costume distinguished an evening party at Milan then from the like joy in our time and country.

      IV

      The poet who sings this gay world with such mocking seriousness was not himself born to the manner of it. He was born plebeian in 1729 at Bosisio, near Lake Pusiano, and his parents were poor. He himself adds that they were honest, but the phrase has now lost its freshness. His father was a dealer in raw silk, and was able to send him to school in Milan, where his scholarship was not equal to his early literary promise. At least he took no prizes; but this often happens with people whose laurels come abundantly later. He was to enter the Church, and in due time he took orders, but he did not desire a cure, and he became, like so many other accomplished abbati, a teacher in noble families (the great and saintly family Borromeo among others), in whose houses and in those he frequented with them he saw the life he paints in his poem. His father was now dead, and he had already supported himself and his mother by copying law-papers; he had, also, at the age of twenty-three, published a small volume of poems, and had been elected a shepherd of Arcadia; but in a country where one's copyright was good for nothing across the border—scarcely a fair stone's-throw away—of one's own little duchy or province, and the printers everywhere stole a book as soon as it was worth stealing, it is not likely that he made great gains by a volume of verses which, later in life, he repudiated. Baretti had then returned from living in London, where he had seen the prosperity of “the trade of an author” in days which we do not now think so very prosperous, and he viewed with open disgust the abject state of authorship in his own country. So there was nothing for Parini to do but to become a maestro in casa. With the Borromei he always remained friends, and in their company he went into society a good deal. Emiliani-Giudici supposes that he came to despise the great world with the same scorn that shows in his poem; but probably he regarded it quite as much with the amused sense of the artist as with the moralist's indignation; some of his contemporaries accused him of a snobbish fondness for the great, but certainly he did not flatter them, and in one passage of his poem he is at the pains to remind his noble acquaintance that not the smallest drop of patrician blood is microscopically discoverable in his veins. His days were rendered more comfortable when he was appointed editor of the government newspaper,—the only newspaper in Milan,—and yet easier when he was made professor of eloquence in the Academy of Fine Arts. In this employment it was his hard duty to write poems from time to time in praise of archdukes and emperors; but by and by the French Revolution arrived in Milan, and Parini was relieved of that labor. The revolution made an end of archdukes and emperors, but the liberty it bestowed was peculiar, and consisted chiefly in not allowing one to do anything that one liked. The altars were abased, and trees of liberty were planted; for making a tumult about an outraged saint a mob was severely handled by the military, and for “insulting” a tree of liberty a poor fellow at Como was shot. Parini was chosen one of the municipal government, which, apparently popular, could really do nothing but register the decrees of the military commandant. He proved so little useful in this government that he was expelled from it, and, giving his salary to his native parish, he fell into something like his old poverty. He who had laughed to scorn the insolence and folly of the nobles could not enjoy the insolence and folly of the plebeians, and he was unhappy in that wild ferment of ideas, hopes, principles, sentiments, which Milan became in the time of the Cisalpine Republic. He led a retired life, and at last, in 1799, having risen one day to studies which he had never remitted, he died suddenly in his arm-chair.

      Many stories are told of his sayings and doings in those troubled days when he tried to serve the public. At the theater once some one cried out, “Long live the republic, death to the aristocrats!” “No,” shouted Parini, who abhorred the abominable bloodthirstiness of the liberators, “long live the republic, death to nobody!” They were going to take away a crucifix from a room where he appeared on public business. “Very well,” he observed; “where Citizen Christ cannot stay, I have nothing to do,” and went out. “Equality doesn't consist in dragging me down to your level,” he said to one who had impudently given him the thou, “but in raising you to mine, if possible. You will always be a pitiful creature, even though you call yourself Citizen; and though you call me Citizen, you can't help my being the Abbate Parini.” To another, who reproached him for kindness to an Austrian prisoner, he answered, “I would do as much for a Turk, a Jew, an Arab; I would do it even for you if you were in need.” In his closing years many sought him for literary counsel; those for whom there was hope he encouraged; those for whom there was none, he made it a matter of conscience not to praise. A poor fellow came to repeat him two sonnets, in order to be advised which to print; Parini heard the first, and, without waiting further, besought him “Print the other!”

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