Albany, Louise Maximiliane Caroline Emanuele, Princess of Stolberg-Gedern, calling herself Countess of, 1752-1824
But this, although it is probably correct with regard to his visits to
Mme. d'Albany, with whom consideration for gossip prevented his staying
much after ten at night, must not be taken as the invariable rule; for
Alfieri, devoted as he was to his lady, by no means neglected other
society. He was finishing his allotted number of tragedies, and, as the
solemn moment of publication approached, he began to be tormented with
that same desire to display his work to others, to hear their praises
even if false, to understand their opinion even if unfavourable, which
came, by gusts, as one of the passions of his life. Rome was at that
time, like every Italian town, full of literary academies, conventicles
of very small intellectual fry meeting in private drawing-rooms or at
coffee-houses, and swayed by the overlordship of the famous Arcadia,
which had now sunk into being a huge club to which every creature who
scribbled, or daubed, or strummed, or had a coach-and-pair, or a bad
tongue, or a pretty face, or a title, belonged without further claims.
There were also several houses of women who affected intelligence or
culture, having no claims to beauty or fashion; and foremost among these,
but differing from them by the real originality and culture of the lady
of the house, the charm of her young daughter, and the superior quality
of the conversation and music to be enjoyed there, was the house of a
Signora Maria Pizzelli, of all women in Rome the one to whom, after the
Countess of Albany, Alfieri showed himself most assiduous. In her house
and in many others Alfieri began to give almost public readings of his
plays; trying to persuade himself that his object in so doing was to
judge, from the expression of face and even more from the restlessness
or quiescence of his listeners on their chairs, how his work might
affect the mixed audience of a theatre; but admitting in his heart of
hearts that the old desire to be remarked had as much to do with these
exhibitions as with the six-horse gallops which used to astonish the
people of Turin and Florence.
Public-domain text, read in full here on John Shaqi.
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