Les morts, les pauvres morts, ont de grandes douleurs.

But as a whole, the rhymes of the Venetian nursery are not interesting, save from their extreme resemblance to the nursery rhymes of England, France, or any other European country. They need not, therefore, detain us.

Twilight is of an Eastern brevity on the Adriatic sh.o.r.e, both in nature and in life. The child of yesterday is the man of to-day, and as soon as the young Venetian discovers that he has a heart, he takes pains to lose it to a _Tosa_ proportionately youthful. The Venetian and Provencal word _Tosa_ signifies maiden, though whether the famous Cima Tosa is thus a sister to the Jungfrau is not sure, some authorities believing it to bear the more prosaic designation of baldheaded ("Tonsurata"). Our young Venetian may perhaps be unacquainted with the girl he has marked out for preference. In any case he walks up and down or rows up and down a.s.siduously under her window. One night he will sing to a slow, languorous air--possibly an operatic air, but so altered as to be not easy of recognition--"I wish all good to all in this house, to father and to mother and as many as there be; and to Marieta who is my beloved, she whom you have in your house." The name of the singer is most likely Nane, for Nane and Marieta are the commonest names in Venice, which is explained by the impression that persons so called cannot be bewitched, a serious advantage in a place where the Black Art is by no means extinct. The maiden long remembers the night when first her rest was disturbed by some such greeting as the above. She has rendered account of her feelings:

Ah! how mine eyes are weighed in slumber deep!

Now all my life it seems has gone to sleep; But if a lover pa.s.ses by the door, Then seems it this my life will sleep no more.

It does not do to appropriate a serenade with too much precipitation.

Don Quixote gave it as his experience that no woman would believe that a poem was written expressly for her unless it made an acrostic on her name spelt out in full. Venetian damsels proceed with less caution: hence now and then a sad disappointment. A girl who starts up all pit-a-pat at the tw.a.n.ging of a guitar may be doomed to hear the cruel sentence p.r.o.nounced in Lord Houghton's pretty lyric:

"I am pa.s.sing--Preme--but I stay not for you!

Preme--not for you!"

Even more unkind are the literal words of the Venetian: "If I pa.s.s this way and sing as I pa.s.s, think not, fair one, that it is for you--it is for another love, whose beauty surpa.s.ses yours!"

A brother or a friend occasionally undertakes the serenading. He is not paid like the professional Trovador whom the Valencian lover engages to act as his interpreter. He has no reward in view but empty thanks, and it is scarcely surprising if on damp nights he is inclined to fall into a rather querulous vein. "My song is meant for the _Morosa_ of my companion," says one of these accommodating minstrels.

"If only I knew where she was! But he told me that she was somewhere in here. The rain is wetting me to the skin!" Another exclaims more cheerfully, "Beautiful angel, if it pleases G.o.d, you will become my sister-in-law!"

After the singing of the preliminary songs, Nane seeks a hint of the effect produced on the beloved Marieta. As she comes out of church, he makes her a most respectful bow, and if it be returned ever so slightly, he musters up courage, and asks in so many words whether she will have him. Marieta reflects for about three days; then she communicates her answer by sign or song. If she does not want him, she shuts herself up in the house and will not look out for a moment.

Nane begs her to show her face at the window: "Come, oh! come! If thou comest not 'tis a sign that thou lovest me not; draw my heart out of all these pangs." Marieta, if she is quite decided, sings back from behind the half-closed shutters, "You pa.s.s this way, and you pa.s.s in vain: in vain you wear out shoes and soles; expect no fair words from me." It may be that she confesses to not knowing her own mind: "I should like to be married, but I know not to whom: when Nane pa.s.ses, I long to say 'Yes;' when Toni pa.s.ses, I am fain to look kindly at him; when Bepi pa.s.ses, I wish to cry, G.o.d bless you!" Or again, it may be that her heart is not hers to give:

Wouldst thou my love? For love I have no heart; I had it once, and gave it once away; To my first love I gave it on a day ...

Wouldst thou my love? For love I have no heart.

In the event of the girl intimating that she is disposed to listen to her _Moroso_ if all goes well, he turns to her parents and formally asks permission to pay his addresses to their daughter. That permission is, of course, not always granted. If the parents have thoughts of a wealthier match, the poor serenader finds himself unceremoniously sent about his business. A sad state of things ensues.

Marieta steals many a sorrowful glance at the despised Nane, who, on his side, vents his indignation on the authors of her being in terms much wanting in respect. "When I behold thee so impa.s.sioned," he cries, "I curse those who have caused this grief; I curse thy papa and thy mamma, who will not let us make love." No idea is here implied of dispensing with the parental fiat; the same cannot be said of the following observations: "When I pa.s.s this house, my heart aches. The girl wills me well, her people will me ill; her people will not hear of it, nor, indeed, will mine. So we have to make love secretly. But that cannot really be done. He who wishes for a girl, goes and asks for her--out of politeness. He who wants to have her, carries her off." It would seem that the maiden has been known to be the first to incite rebellion:

Do, my beloved, as other lovers do, Go to my father, and ask leave to woo; And if my father to reply is loth, Come back to me, for thou hast got my troth.

When the parents have no _prima facie_ objection to the youth, they set about inquiring whether he bears a good character, and whether the girl has a real liking for him. These two points cleared up satisfactorily, they still defer their final answer for some weeks or months, to make a trial of the suitor and to let the young people get better acquainted. The lover, borne up by hope, but not yet sure of his prize, calls to his aid the most effective songs in his repertory.

The last thing at night Marieta hears:--

Sleep thou, most fair, in all security, For I have made me guardian of thy gate, Safe shalt thou be, for I will watch and wait; Sleep thou, most fair, in all security.

The first thing in the morning she is greeted thus:

Art thou awake, O fairest, dearest, best?

Raise thy blond head and bid thy slumbers fly; This is the hour thy lover pa.s.ses by, Throw him a kiss, and then return to rest.

If she has any lurking doubts of Nane's constancy she receives the a.s.surance, "One of these days I will surely make thee my bride--be not so pensive, fairest angel!" If, on the other hand, Nane lacks complete confidence in her affection, he appeals to her in words resembling I know not what Eastern love-song: "Oh, how many steps I have taken to have thee, and how many more I would take to gain thee! I have taken so many, many steps that I think thou wilt not forsake me."

The time of probation over, the girl's parents give a feast, to which the youth and his parents are invited. He brings with him, as a first offering, a small ring ornamented with a turquoise or a cornelian.

Being now the acknowledged lover, he may come and openly pay his court every Sunday. On Sat.u.r.day Marieta says to herself, "_Ancuo xe sabo, doman xe festa_--to-morrow is fete day, and to-morrow I expect Nane!"

Then she pictures how he will come "dressed for the _festa_ with a little flower in his hand;" and her heart beats with impatience.

If, after all, by some chance--who knows? by some faithlessness perhaps--he fails to appear, what grief, what tears! Marieta's first thought when she rises on Sunday morning is this: "No one works to-day for it is _festa_; I pray you come betimes, dearest love!" Then comes the second thought: "If he does not come betimes, it is a sign that he is near to death; if later I do not see him, it is a sign that he is dead." The day pa.s.ses, evening is here--no Nane! "Vespers sound and my love comes not; either he is dead, or" (the third and bitterest thought of all) "a love-thief has stolen him from me!"

Some little while after the lover has been formally accepted, he presents the maiden with a plain gold ring called _el segno_, and a second dinner or supper takes place at her parent's house, answering to the German betrothal feast; henceforth he is the _sposo_ and she the _novizza_, and, as in Germany, people look on the pair as very little less than wedded. The new bride gives the bridegroom a silk handkerchief, to which allusion is made in a verse running, "What is that handkerchief you are wearing? Did you steal it or borrow it? I neither stole it nor borrowed it; my _Morosa_ tied it round my neck."

At Easter the _sposo_ gives a cake and a couple of bottles of Cyprus or Malaga; at Christmas a box of almond sweetmeats and a little jug of _mostarda_ (a Venetian _specialite_ composed of quinces dressed in honey and mustard); at the feast of St Martin, sweet chestnuts; at the feast of St Mark, _el bocolo_--that is, a rosebud, emblematical of the opening year. The lover may also employ his generosity on New Year's day, on the girl's name-day, and on other days not specified, taking in the whole 365. Some maidens show a decided taste for homage in kind. "My lover bids me sing, and to please him I will do it,"

observes one girl, thus far displaying only the most disinterested amiability. But presently she reveals her motives: "He has a ring with a white stone; when I have sung he will give it to me." A less sordid damsel asks only for a bunch of flowers; it shall be paid for with a kiss, she says. Certain things there are which may be neither given nor taken by lovers who would not recklessly tempt fate. Combs are placed under the ban, for they may be made to serve the purposes of witchcraft; saintly images and church-books, for they have to do with trouble and repentance; scissors, for scissors stand for evil speaking; and needles, for it is the nature of needles to p.r.i.c.k.

Whether through the unwise exchange of these prohibited articles, or from other causes, it does sometimes happen that the betrothed lovers who have been hailed by everybody as _novizza_ and _sposo_ yet manage to fall out beyond any hopes of falling in again. If it is the youth's fault that the match is broken off, all his presents remain in the girl's undisputed possession; if the girl is to blame, she must send back the _segno_ and all else that she has received. It is said that in some districts of Venetia the young man keeps an accurate account of whatever he spends on behalf of his betrothed, and in the case of her growing tired of him, she has to pay double the sum total, besides defraying the loss incurred by the hours he has sacrificed to her, and the boots he has worn out in the course of his visits.

It is more usual, as well as more satisfactory, for the betrothal to be followed in due time by marriage. After the _segno_ has been "pa.s.sed," the _sposo_ sings a new song. "When," asks he, "will be the day whereon to thy mamma I shall say 'Madona;' to thy papa 'Missier;'

and to thee, darling, 'Wife'?" "Madona" is still the ordinary term for mother-in-law at Venice; in Tuscan songs the word is also used in that sense, though it has fallen out of common parlance. Wherever it is to be found, it points to the days when the house-mother exercised an unchallenged authority over all members of the family. Even now the mother-in-law of Italian folk-songs is a formidable personage; to say the truth, there is no scant measure of self-congratulation when she happens not to exist. "Oh! Dio del siel, mandeme un ziovenin senza madona!" is the heartfelt prayer of the Venetian girl.

If the youth thinks of the wedding day as the occasion of forming new ties--above all that dearest tie which will give him his _anzola bela_ for his own--the maiden dreams of it as the _zornada santa_; the day when she will kneel at the altar and receive the solemn benediction of the church upon entering into a new station of life. "Ah! when shall come to pa.s.s that holy day, when the priest will say to me, 'Are you content?' when he shall bless me with the holy water--ah! when shall it come to pa.s.s?"

It has been noticed that the inst.i.tution of marriage is not regarded in a very favourable light by the majority of folk-poets, but Venetian rhymers as a rule take an encouraging view of it. "He who has a wife,"

sings a poet of Chioggia, "lives right merrily _co la sua cara sposa in compagnia_." Warning voices are not, however, wanting to tell the maiden that wedded life is not all roses: "You would never want to be married, my dear, if you knew what it was like," says one such; while another mutters, "Reflect, girls, reflect, before ye wed these gallants; on the Ponte di Rialto bird cages are sold."

The marriage generally comes off on a Sunday. Who weds on Monday goes mad; Tuesday will bring a bad end; Wednesday is a day good for nothing; Thursday all manner of witches are abroad; Friday leads to early death; and, as to Sat.u.r.day, you must not choose that, _parche de sabo piove_, "because on Sat.u.r.day it rains!"

The bride has two toilets--one for the church, one for the wedding dinner. At the church she wears a black veil, at the feast she appears crowned with flowers. After she is dressed and before the bridegroom arrives, the young girl goes to her father's room and kneeling down before him, she prays with tears in her eyes to be forgiven whatever grief she may have caused him. He grants her his pardon and gives her his blessing. In the early dawn the wedding party go to church either on foot or in gondolas, for it is customary for the marriage knot to be tied at the conclusion of the first ma.s.s. When the right moment comes the priest puts the _vera_, or wedding ring, on the tip of the bride's finger, and the bridegroom pushes it down into its proper place. If the _vera_ hitches, it is a frightfully bad omen. When once it is safely adjusted, the best man steps forward and restores to the bride's middle finger the little ring which formed the lover's earliest gift; for this reason he is called _compare de l'anelo_, a style and t.i.tle he will one day exchange for that of _compare de San Zuane_.

At the end of the service the bride returns to her father's house, where she remains quietly till it is time to get ready for dinner. As the clock strikes four, the entire wedding party, with the parents of bride and bridegroom and a host of friends and relations, start in gondolas for the inn at which the repast is to take place. The whole population of the _calle_ or _campo_ is there to see their departure, and to admire or criticise, as the case may be. After dinner, when everyone has tasted the good wine and enjoyed the good fare, the feast breaks up with cries of _Viva la novizza!_ followed by songs, stories, laughter, and much flirtation between the girls and boys, who make the most of the freedom of intercourse conceded to them in honour of the day. Then the music begins, the table is whisked away, and the a.s.sembled guests join l.u.s.tily in the dance; the women perhaps, singing at intervals, "Enota, enota, eno!" a burden borne over to Venice from the Grecian sh.o.r.e. The romance is finished; Marieta and Nane are married, the _zornada santa_ wanes to its close, the tired dancers accompany the bride to the threshold of her new home, and so adieu!

Before leaving the subject of Venetian love-songs it may be as well to glance at a few points characteristic of the popular mind which it has not been convenient to touch upon in following the Venetian youth and maiden from the _prima radice_ of their love to its consecration at the altar. What, for instance, does the Venetian singer say of poverty and riches?--for there is no surer test of character than the way of regarding money and the lack of it. It is taken pretty well for granted at Venice as elsewhere, that inequality of fortune is a bar to matrimony. The poor girl says to her better-to-do lover, "Thou pa.s.sest this way sad and grieving, thou thinkest to speak to my father, and on thy finger thou dost carry a little ring. But thy thought does not fall in with my thought, and thy thought is not worth a gazette. Thou art rich and I am a poor little one!" Here the girl puts all faith in the good intentions of her suitor: it is not his fault if her poverty divides them; it is the nature of things, against which there is no appeal. But there is more than one song that betrays the suspicion that if a girl grows poor her lover will be only too eager and ready to desert her. "My lady mother has always told me that she who falls into poverty loses her lover; loses friend and loses hope. The purse does not sing when there is no coin in it." Still, on the whole, a more high-minded view prevails. "Do not look to my being a poor man,"

says one lover,

Che povata no guasta gentilissa,

--"for poverty does not spoil or prevent gentle manners." A girl sings, "All tell me that I am poor, the world's honour is my riches; I am poor, I am of fair fame; poor both of us, let us make love." One is reminded of "how the good wife taught her daughter" in the old English poem of the fifteenth century:

I pray the, my dere childe, loke thou bere the so well That alle men may seyen thou art so trewe as stele; G.o.de name is golde worth, my leve childe!

A brave little Venetian maiden cries: "How many there are who desire fortune! and I, poor little thing, desire it not. This is the fortune I desire, to wed a youth of twenty-one years." One lover pines for riches, but only that he may offer them to his beloved: "Fair Marieta, I wish to make my fortune, to go where the Turk has his cradle, and work myself nearly to death, so that afterwards I may come back to thee, my fair one, and marry thee." Finally, a town youth says that if his country love has but a milk-pail for her dowry, what matters?

De dota la me da quel viso belo!

The Venetian displays no marked enthusiasm for fair hair, notwithstanding the fame of Giorgione's sunset heads and the traditional expedients by which Venetian ladies of past times sought to bring their dark locks into conformity with that painter's favourite hue. In Venetian songs there is nothing about the "golden spun silk" of Sicily; if a Venetian folk-poet does speak of fair hair, he calls it by the common-place generic term of blond. The available evidence goes rather to show that in his own heart he prefers a brunette. "My lady mother always told me that I should never be enamoured of white roses," says a sententious young man; "she told me that I should love the little mulberries, which are sweeter than honey." "Cara mora," _mora_, or mulberry, meaning brunette, is an ordinary caressing term. Two frank young people carry on this dialogue: "Will you come to me, fair maid?" "No; I will not come, for I am fair." "If you are fair, I am no less so; if you are the rose, I am the spotless lily." Beauty, therefore, is valued, especially by the possessors of it. But the Venetian admits the possibility of that which Keats found so hard to comprehend--the love of the plain. A girl says, and it is a pretty saying, "Se no so bela, ghe piaso al mio amore" ("If I am not fair, I please my beloved"). A soldier, whose _morosa_ dies, does not weep for her beauty, for she was not beautiful; nor for her riches, for she was not rich; he weeps for her sweet manners and conversation--it was that that made him love her.

The universal weakness for a little flattery from the hand of the portrait-painter is expressed in a sprightly little song:

What does it matter if I am not fair, Who have a lover, who a painter is?

He will portray me like a star, I wis; What does it matter if I am not fair?

We hear a good deal of lovers' quarrels, and of the transitoriness of love. "Oh! G.o.d! how the sky is overcast! It seems about to rain, and then it pa.s.ses; so is it with a man in love; he loves a fair woman, and then he leaves her." That is her version of the affair. He has not anything complimentary to say: "If I get out of this squall alive, never more shall woman in the world befool me. I have been befooled upon a pledge of sacred faith: mad is the man who believes in women."

Another man says, with more serious bitterness: "What time have I not lost in loving you! Had I lost it in saying so many prayers, I should have found favour before G.o.d, and my mother would have blessed me." A matter-of-fact girl remarks, "No one will grow thin on your account, nor will any one die on mine." When her lover says that he has sent her his heart in a basket, she replies that she sends back both basket and heart, being in want of neither; and if he should really happen to die, she unfeelingly meditates, "My love is dead, and I have not wept; I had thought to suffer more torment. A Pope dies, another is made; not otherwise do I weep for my love."

Certain vocations are looked upon with suspicion:

Sailor's trade--at sea to die!

Merchant's trade--that's bankruptcy; Gambler's trade in cursing ends, Thief's trade to the gallows sends.

But in spite of the second line about "l'arte del mercante," a girl does not much mind marrying a merchant or shopkeeper; nay, it is sometimes her avowed ambition:

I want no fisher with a fishy smell, A market gardener would not suit me well; Nor yet a mariner who sails the sea: A fine flour-merchant is the man for me.

A miller seems to think that he stands a good chance: "Come to the window, Columbine! I am that miller who brought thee, the other evening, the pure white flour." Shoemakers are in very bad odour: "I calegheri ga na trista fama." Fishermen are considered poor penniless folk, and she who weds a sailor, does so at her peril: