Hawthorne, Nathaniel, 1804-1864 -- Friends and associates; Novelists, American -- 19th century -- Biography
But let us now listen to my father when, for the second time, he made
proof of the carnival in the year following our return from Florence,
and after Una had left her sick-room and could be at his side. "The
weather has been splendid," he writes, "and the merriment far more free
and riotous than as I remember it in the preceding year. Tokens of
the festival were seen in flowers on street-stands, or borne aloft on
people's heads, while bushels of confetti were displayed, looking like
veritable sugarplums, so that a stranger might have thought that the
whole commerce and business of stern old Rome lay in flowers and sweets.
One wonders, however, that the scene should not be even more rich and
various when there has been so long a time (the immemorial existence
of the carnival) to prepare it, and adorn it with shapes of gayety
and humor. There was an infinite number of clowns and particolored
harlequins; a host of white dominoes; a multitude of masks, set in
eternal grins, or with monstrous noses, or made in the guise of monkeys,
bears, dogs, or whatever beast the wearer chooses to be akin to; a great
many men in petticoats, and almost as many girls and women, no doubt, in
breeches; figures, too, with huge, bulbous heads and all manner of such
easy monstrosities and exaggerations.. It is strange how the whole
humor of the thing, and the separate humor of each individual character,
vanishes the moment I try to grasp it and describe it; and yet there
really was fun in the spectacle as it flitted by--for instance, in the
long line of carriages a company of young men in flesh-colored tights
and chemises, representing a party of girls surprised in the midst of
dressing themselves, while an old nurse in the midst of them expressed
ludicrous horror at their predicament. Then the embarrassment of
gentlemen who, while quietly looking at the scene, are surrounded by
groups of maskers, grimacing at them, squeaking in their ears, hugging
them, dancing round them, till they snatch an opportunity to escape into
some doorway; or when a poor man in a black coat and cylinder hat is
whitened all over with a half-bushel of confetti and lime-dust; the mock
sympathy with which his case is investigated by a company of maskers,
who poke their stupid, pasteboard faces close to his, still with the
unchangeable grin; or when a gigantic female figure singles out some
shy, harmless personage, and makes appeals to his heart, avowing her
passionate love in dumb show, and presenting him with her bouquet; and a
hundred other nonsensicalities, among which the rudest and simplest
are not the least effective. A resounding thump on the back with a
harlequin's sword, or a rattling blow with a bladder half full of dried
pease or corn, answers a very good purpose. There was a good deal of
absurdity one day in a figure in a crinoline petticoat, riding on an ass
and almost filling the Corso with the circumference of crinoline from
side to side.
Public-domain text, read in full here on John Shaqi.
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