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For a thought begins about the year 1796 to recur throughout Alfieri's letters and sonnets, and whenever he mentions the Countess in his autobiography; a thought too terrible not to be genuine: he or his beloved must die first; one or the other must have the horror of remaining alone, widowed of all interest on earth.
Then Alfieri's varied life-story is well told, his sad period of youth, when taken from his mother to suffer much educational and other neglect, the difficulties he passed through owing to his Piedmontese origin and consequent ignorance of the pure Italian language. She closes the modern Italian poets with Monti and Ugo Foscolo, whose sad life in London is exhibited.
That is the Saul of the Bible and of Alfieri's tragedy; and that is the Saul whom Salvini embodied. It was a colossal monument of human suffering that the actor presented, and no one could look upon it without being awed and chastened. Salvini's embodiment of King Lear was a remarkable manifestation of physical resources and of professional skill.
One fancies one can hear the politely indifferent question put with a charming smile by some powdered and embroidered French wit to Mme. d'Albany in Alfieri's hearing; nay, to Alfieri himself.
In all probability, the man had found out that von Kerber and Mrs. Haxton were no longer in the camp. The negro syces and other attendants were inveterate gossips, and it would be strange if they had not told him that some of their number were marching towards the sea with the Hakim-Effendi and one of the Giaour women. What would happen were this knowledge to come to Alfieri's ears?
His ideal, even more so than the ideal of other idealising minds, was the mere outcome of himself; it contained his faults as well as his virtues. Now all that fell short of, or went beyond, his ideal that is to say, himself was abomination in Alfieri's eyes.
Next he appeared in Alfieri's Saul, and then all Italy declared that Modena's mantle had fallen on worthy shoulders. His fame was now prodigious, and wherever he went he was received with boundless enthusiasm. He visited Paris, where he played Orasmane, Orestes, Saul and Othello.
Then after the first ten days of rain, which seemed to refer us fatally to Alfieri's 'piove e ripiove, came as perpetual a divine sunshine, such cloudless, exquisite weather that we ask whether it may not be June instead of November. Every day I am out walking while the golden oranges look at me over the walls, and when I am tired Robert and I sit down on a stone to watch the lizards.
He had, moreover, at this moment, when all the energies of his nature suddenly burst out, a power of deliberate, complacent, and pitiless moral self-vivisection, a power of performing upon his character such cutting and ripping-open operations as he thought beneficial to himself, which makes one think of the abnormal faculty of enduring pain, the abnormal and almost cruel satisfaction in examining the mechanism of one's own suffering, occasionally displayed by hysterical women; and which brings back the impression already conveyed by the morbid sensitiveness, the frenzied violence, the moody torpor of his youth, that there was something abnormal in Alfieri's whole nature.
'Because you never questioned me; but, I repeat, there is nothing to conceal in the matter. The lady took a fancy to me, and, being fond of the arts, drew my portrait; she said the expression of my countenance put her in mind of Alfieri's Saul. 'And do you still visit her? 'No, she soon grew tired of me, and told people that she found me very stupid; she gave me the Armenian books, however.
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