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Some years later my informant again found himself warmly accosted by the prepossessing young cabdriver. "Ah, caro signore," he exclaimed, "sono cinque anni che non lo vedo tre anni di militare, e due anni di disgrazia," &c. Of moral sense he showed not so much as a trace.
Wider, il quale e un galant' uomo come lei melo scrisse, ed jeri abbiamo finito il carnavale da lui, cenardo da lui e poi ballammo ed andammo colle perle in compagnie nel ridotto nuovo, che mi piacque assai. Quando sto dal Sign. Wider e guardando fuori della finestra vedo la casa dove lei abito quando lei fu in Venezia. Il nuovo non so niente. Venezia mi piace assai.
The song she had chosen was a fine setting of some words selected from Leopardi's grand Ode to Italy: "O patria mia, vedo le mura c gli archi E le colonne e i simula-cri e l'erme Torridegli avi nostri" This was recitative: then followed "Ma la gloria non vedo" a mournful melody, a rhythmic plaint.
They walked up the last and steepest hill, or rather bounded along the well known side path, catching at the long trailing wreaths of the dogrose, peeping over the gates which broke the high hedge, where Marian, as she saw the moors, could only relieve her heart by pronouncing to herself those words of Manzoni's Lucia, "Vedo i miei monti."
He wishes to have his recitative in the third act lengthened a couple of lines, which, owing to the chiaro oscuro and his being a good actor, will have a capital effect. For example, after the strophe, "Sei la citta del pianto, e questa reggia quella del duol," comes a slight glimmering of hope, and then, "Madman that I am! whither does my grief lead me?" "Ah! Creta tutta io vedo."
It was but eleven years before the first great movement of the Risorgimento swept over Italy in 1848 that he passed away; his poems were indeed songs before sunrise, a sunrise of which he failed to detect the far-off glimmering, so that he could only lament without hope the sad condition of his dismembered country, once the mistress and now the play-thing of the world, and the abject slave of hated Austria: “O patria mia, vedo le mure e gli archi E le colonne e i simulacri e l’ erme Torri degli avi nostri, Ma la gloria non vedo; Non vedo il lauro e’l ferro ond’ eran carchi I nostri padri antichi.”
And Lothair burst duly in with rapid, angry quavers: "Le Gare Generose, del Maestro Paesiello Che vedo? La Donna di Spirito, del Maestro Mariella. Briconaccio! Piro, Re di Epiro! Maledetti! del Maestro Zingarelli," &c. In a comic description of enthusiastic inspiration each seized the drift of the other's ideas. All the passages, imitations, &c.
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