"Do you wis zo haut can be?"
This was what the guide asked when we were looking up at the bronze horses on the Arch of Peace. It meant, do you wish to go up there? I give it as a specimen of guide-English. These are the people that make life a burthen to the tourist. Their tongues are never still. They talk forever and forever, and that is the kind of billingsgate they use. Inspiration itself could hardly comprehend them. If they would only show you a masterpiece of art, or a venerable tomb, or a prison house, or a battlefield, hallowed by touching memories or historical reminiscences, or grand traditions, and then step aside and hold still for ten minutes and let you think, it would not be so bad. But they interrupt every dream, every pleasant train of thought, with their tiresome cackling. Sometimes when I have been standing before some cherished old idol of mine that I remembered years and years ago in pictures in the geography at school, I have thought I would give a whole world if the human parrot at my side would suddenly perish where he stood and leave me to gaze and ponder and worship.
No, we did not "wis zo haut can be." We wished to go to La Scala, the largest theater in the world, I think they call it. We did so. It was a large place. Seven separate and distinct masses of humanity--six great circles and a monster parquette.
We wished to go to the Ambrosian Library, and we did that also. We saw a manuscript of Vergil, with annotations in the handwriting of Petrarch, the gentleman who loved another man's Laura and lavished upon her all through life a love which was a clear waste of the raw material. It was sound sentiment, but bad judgment. It brought both parties fame and created a fountain of commiseration for them in sentimental breasts that is running yet. But who says a word in behalf of poor Mr. Laura? (I do not know his other name.)Who glorifies him? Who bedews him with tears? Who writes poetry about him?
Nobody. How do you suppose he liked the state of things that has given the world so much pleasure? How did he enjoy having another n following his wife everywhere and ****** her name a familiar word in every garlic-exterminating mouth in Italy with his sonnets to her preempted eyebrows? They got fame and sympathy--he got neither. This is a peculiarly felicitous instance of what is called poetical justice. It is all very fine, but it does not chime with my notions of right. It is too one-sided--too ungenerous.
Let the world go on fretting about Laura and Petrarch if it will; but as for me, my tears and my lamentations shall be lavished upon the unsung defendant.
We saw also an autograph letter of Lucrezia Borgia, a lady for whom I have always entertained the highest respect, on account of her rare histrionic capabilities, her opulence in solid gold goblets made of gilded wood, her high distinction as an operatic screamer, and the facility with which she could order a ***tuple funeral and get the corpses ready for it. We saw one single coarse yellow hair from Lucrezia's head, likewise. It awoke emotions, but we still live. In this same library we saw some drawings by Michelangelo (these Italians call him Mickelangelo) and Leonardo da Vinci. (They spell it Vinci and pronounce it Vinchy; foreigners always spell better than they pronounce.) We reserve our opinion of these sketches.
In another building they showed us a fresco representing some lions and other beasts drawing chariots; and they seemed to project so far from the wall that we took them to be sculptures. The artist had shrewdly heightened the delusion by painting dust on the creatures' backs, as if it had fallen there naturally and properly. Smart fellow--if it be smart to deceive strangers.
Elsewhere we saw a huge Roman amphitheater, with its stone seats still in good preservation. Modernized, it is now the scene of more peaceful recreations than the exhibition of a party of wild beasts with Christians for dinner. Part of the time the Milanese use it for a racetrack, and at other seasons they flood it with water and have spirited yachting regattas there. The guide told us these things, and he would hardly try so hazardous an experiment as the telling of a falsehood, when it is all he can do to speak the truth in English without getting the lockjaw.
In another place we were shown a sort of summer arbor with a fence before it. We said that was nothing. We looked again and saw, through the arbor, an endless stretch of garden and shrubbery and grassy lawn. We were perfectly willing to go in there and rest, but it could not be done. It was only another delusions painting by some ingenious artist with little charity in his heart for tired folk. The deception was perfect. No one could have imagined the park was not real. We even thought we smelled the flowers at first.
We got a carriage at twilight and drove in the shaded avenues with the other nobility, and after dinner we took wine and ices in a fine garden with the great public. The music was excellent, the flowers and shrubbery were pleasant to the eye, the scene was vivacious, everybody was genteel and well behaved, and the ladies were slightly moustached, and handsomely dressed, but very homely.
We adjourned to a café and played billiards an hour, and I made six or seven points by the doctor pocketing his ball, and he made as many by my pocketing my ball. We came near ****** a carom sometimes, but not the one we were trying to make. The table was of the usual European style--cushions dead and twice as high as the balls; the cues in bad repair. The natives play only a sort of pool on them. We have never seen anybody playing the French three-ball game yet, and I doubt if there is any such game known in France or that there lives any man mad enough to try to play it on one of these European tables. We bad to stop playing finally because Dan got to sleeping fifteen minutes between the counts and paying no attention to his marking.
