Corinne; or, ItalyStaël, Madame de (Anne-Louise-Germaine)
History
Corinne; or, Italy
Staël, Madame de (Anne-Louise-Germaine)
Italy -- History -- 1789-1815 -- Fiction; Nobility -- Scotland -- Fiction; Women poets -- Fiction
vivacious; triumphant in delight; and rushing from voluptuous felicity
to despair and death. Its sudden love, we feel, from the first, will
never be effaced; for the force of nature, beneath a burning clime, and
not habitual fickleness, gives it birth. The sun is not capricious,
though the vegetation be rapid; and Shakspeare, better than any other
foreign poet, knew how to seize the national character of Italy--that
fertility of mind which invents a thousand varied expressions for the
same emotion; that Oriental eloquence which borrows images from all
nature, to clothe the sensations of young hearts. In Ossian, one chord
constantly replies to the thrill of sensibility; but in Shakspeare
nothing is cold nor same. A sunbeam divided and reflected in a thousand
varied ways, produces endlessly multiplied tints, all telling of the
light and heat from whence they are derived. Thus "Romeo and Juliet,"
translated into Italian, seems but resuming its own mother-tongue.
The first meeting of the lovers is at a ball given by the Capulets,
mortal enemies of the Montagues. Corinne was charmingly attired, her
tresses mixed with gems and flowers; and at first sight scarce appeared
herself: her voice, however, was soon recognised, as was her face,
though now almost deified by poetic fire. Unanimous applause rang
through the house as she appeared. Her first look discovered Oswald,
and rested on him, sparkling with hope and love. The gazers' hearts
beat with rapture and with fear, as if beholding happiness too great to
last on earth. But was it for Corinne to realize such a presentiment?
When Romeo drew near, to whisper his sense of her grace and beauty, in
lines so glowing in English, so magnificent in Italian, the spectators,
transported at being thus interpreted, fully entered into the passion
whose hasty dawn appeared more than excusable. Oswald became all
uneasiness; he felt as if every man was ready to proclaim her an angel
among women, to challenge him on what he felt for her, to dispute his
rights, and tear her from his arms. A dazzling cloud passed before his
eyes; he feared that he should faint, and concealed himself behind a
pillar. Corinne's eyes anxiously sought him, and with so deep a tone
did she pronounce--
"Too early seen unknown, and known too late!"
that he trembled as if she applied these words to their personal
situation. He renewed his gaze on her dignified and natural gestures,
her countenance which spoke more than words could tell, those mysteries
of the heart which must ever remain inexplicable and yet forever decide
our fate. The accents, the looks, the least movements of a truly
sensitive actor, reveal the depths of the human breast. The ideal
of the fine arts always mingles with these revelations; the harmony
of verse and the charm of attitude lending to passion the grace and
majesty it so often wants in real life--it is here seen through the
medium of imagination, without losing aught of its truth.
Public-domain text, read in full here on John Shaqi.
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