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Updated: May 24, 2025
"How happy I should have been," Benedetto continued, "to have worked in your garden, DANTE'S Paradiso, Canto iii. A stifled exclamation escaped Noemi when reminded of that evening full of memories she could not express. Giovanni took this opportunity of offering hospitality to Benedetto, Don Clemente having told him he intended leaving Jenne that night.
I will refer to three instances, which are, perhaps, the most striking: the description of the transformations of the serpents and the robbers, in the twenty-fifth canto of the Inferno, the passage concerning Nimrod, in the thirty-first canto of the same part, and the magnificent procession in the twenty-ninth canto of the Purgatorio.
I know it so well; everyone knows it; it's either Pagliacci or Boheme, or something. No, isn't it really? What is it? All the old Italian operas are coming in again, by the way, you know, my dear... Rigoletto, Lucia, Traviata the bel canto that sort of thing; there's nothing like it for showing off the voice. Paul La France still clings to Brahms Brahms suits his voice better than anyone else.
As each nebula of white illumination assembled itself, it began to move across the vast plain, drawn inwards towards Ikégami from every point of the compass as though by a magnetic force. These were the lantern processions of pilgrims. They looked like the souls of the righteous rising from earth to heaven in a canto from Dante.
It resembled one of Titian's women, with its broad shoulders, and boddice and sleeves differently coloured from the petticoat; and seemed literally framed in the unsashed window. "Natura il fece, e poi roppe la stampa." Canto x. st. 84. Nature made him, and then broke the mould.
"Its very thought is almost death to me; Yet, having found some good there, I will tell Of other things which there I chanced to see." "Tanto e amara, che poco e piu morte: Ma per trattar del teen ch' i' vi trovai, Diro dell' altre Bose, ch' io v' ho scorte." Inferno, I. 7-10. Again in Canto X. we find:
I sat and repeated to them the better part of the seventh canto of the second book of Master Spenser's "Faery Queen." Then I told them the story of the Moor of Venice, and ended by relating Smith's tale of the three Turks' heads. It all answered the purpose to admiration.
Beyond dining with a neighbouring incumbent or two, and an occasional chat sometimes dinner with Lord Luxellian, a connection of mine, I am in absolute solitude absolute. 'You have your studies, your books, and your daughter. 'Oh yes, yes; and I don't complain of poverty. Canto coram latrone. Well, Mr. Smith, don't let me detain you any longer in a sick room.
The third canto told the regulation story, in this instance, the famous anecdote of the cup-and-ball which all the world knows by heart, concerning a celebrated minister of Louis XVI. According to the sacred formula delivered by the "Debats" from 1810 to 1814, in praise of these glorious words, Gourdon's ode "borrowed fresh charms from poesy to embellish the tale."
From this time dates the supremacy, in Italy, of the bel canto, or beautiful song, which, however, gradually degenerated into mere circus music in which every artistic aim was deliberately sacrificed to sensuous tone-revelry and agility of execution, the voice being treated as a mere instrument, without any regard for its higher prerogative of interpreting poetry and heightening its effects.
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