Hawthorne, Nathaniel, 1804-1864 -- Friends and associates; Novelists, American -- 19th century -- Biography
the moccoli, there was no other illumination along the length of the
Corso. But their soft lights were there by myriads, and made a lovely
sight, to my eyes at least. "Senza moccolo!" was the universal cry;
young knights-errant, singly or in groups, pressed their way up and
down, shouting the battle-cry, and quenching all lights within reach,
while striving to maintain the flame of their own; using now the whisk
of a handkerchief, now a puff of breath, now the fillip of a finger;
contriving to extinguish a fair lady's taper with the same effusion of
vain words wherewith they told her of their passion. Most of the ladies
thus assailed sat in the lower balconies, elevated only a foot or two
above the level of the sidewalk; but those in the higher retreats made
war upon one another, and upon their own cavaliers; none was immune from
peril. The cry, uttered at once by such innumerable voices far and near,
made a singular murmur up and down the Corso; and the soft twinkling of
the lights, winking in and out as they were put out or relighted, gave
a singular fire-fly effect to the whole illumination. It seemed to me
then, and it still seems in the retrospect, that nothing more charming
and strange could be imagined; and through it all was the constant
blossoming of laughter, more inextinguishable than the moccoletti
themselves. The colors of the tapestries and stuffs dependent from the
windows and balconies glowed out in light, or were dimmed by shadow; and
the faces of the thousandfold crowd of festival-makers glimmered forth
and were lost again on the background of the night, like the features of
spirits in the glimpses of a dream. How long it all lasted I know not;
but it had its term, like other mortal things, even in this fairyland of
carnival; and when the last light was out the carnival was no more, and
Lent, unawares, had softly settled down upon us with the darkness.
Public-domain text, read in full here on John Shaqi.
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