- Series
- American writers in Italy
- Air Date
- Duration
- 00:27:50
- Episode Description
- Series Description
- Subject(s)
- Creator(s)
- Contributors
- Genre(s)
- Geographic Region(s)
- regions
- Time Period
[01:16 - 01:20]
And I believe you don't even know you resent
[01:20 - 01:25]
American writers in Italy a series of programmes especially produced in
[01:25 - 01:40]
Rome for this radio station.
[01:40 - 01:43]
Programme for Mark Twain and Henry J.
[01:43 - 02:02]
The theory originated by literary critic Philip arrive divides American
[02:02 - 02:07]
writers into two large categories red skins and pale faces
[02:07 - 02:13]
the red skin writers are down to earth vigorously descriptive and avid for
[02:13 - 02:18]
life experience is their surest teacher. They have done any
[02:18 - 02:22]
number of odd jobs and they always prefer the open road to schools
[02:22 - 02:28]
pale face writers on the other hand are sophisticated sensitive and
[02:28 - 02:33]
rather bloodless. They are afflicted by a languorous sentimentality.
[02:33 - 02:39]
They fester with European culture and are consumed by a love of books.
[02:39 - 02:44]
The distinction between the two types of writers simply corresponds to two ways
[02:44 - 02:49]
of approaching reality on the part of Americans. One way the
[02:49 - 02:52]
Redskin way is contemptuous of cultural traditions
[02:52 - 02:58]
aspiring to direct and immediate engagement. The other way
[02:58 - 03:02]
the pale faced way endeavors to make a richer and articulate impact
[03:02 - 03:08]
utilizing all the literary and cultural heritage available.
[03:08 - 03:13]
The Redskins are Mark Twain. They adored riser and Ernest
[03:13 - 03:17]
Hemmingway pale faces are Henry James Scott
[03:17 - 03:22]
Fitzgerald and J.D. Salinger. Look to acknowledge
[03:22 - 03:26]
masters of these opposing literary schools. I arrived in Italy in the
[03:26 - 03:31]
1870s. They set out to express in relation to Italy
[03:31 - 03:38]
if not to Europe itself. There are two absolutely different reactions.
[03:38 - 03:42]
These writers were Samuel Clemens better known as Mark Twain
[03:42 - 03:44]
and Henry James.
[03:44 - 04:00]
I'm a little a
[04:00 - 04:06]
little worn
[04:06 - 04:16]
during that memorable month I bask in the happiness of being for once in my
[04:16 - 04:21]
life drifting with the tide of a great popular movement.
[04:21 - 04:25]
Everybody was going to Europe. I too was going to Europe
[04:25 - 04:31]
and the steamship lines were carrying Americans out of the various ports of the country at the rate of
[04:31 - 04:36]
four or five thousand a week. If I met a dozen
[04:36 - 04:41]
individuals who were not going to Europe shortly and I have no distinct
[04:41 - 04:45]
remembrance of it this was Mark Twain's brother.
[04:45 - 04:50]
But first comment when in 1867 he accepted the offer of twelve hundred
[04:50 - 04:55]
and fifty dollars from a California newspaper to take part in what was called
[04:55 - 04:59]
the first organized pleasure party ever assembled for a transatlantic
[04:59 - 05:01]
voyage.
[05:01 - 05:06]
Mark Twain's notes of this journey were published under the rather lengthy
[05:06 - 05:11]
title the innocence of brod or the new Pilgrim's Progress
[05:11 - 05:16]
being some account of the steamship Quaker cities pleasure excursion to Europe and the Holy
[05:16 - 05:17]
Land.
[05:17 - 05:22]
Mark Twain displayed a little bit rude derision and irritated distrust.
[05:22 - 05:27]
When he was confronted with the old world. Americans who
[05:27 - 05:31]
stopped an open mouthed admiration before every stretch of landscape
[05:31 - 05:36]
got on his nerves. Young American girls deeply moved by the
[05:36 - 05:41]
picturesque made him furious. Is fellow countrymen who went
[05:41 - 05:46]
into ecstasies pretended to be for every picture in every
[05:46 - 05:51]
gallery. Simply gave him a pain. He frankly confessed
[05:51 - 05:56]
that the last supper of Leonardo da Vinci seemed to him much too
[05:56 - 06:01]
weathered by turning to allow him to decide whether it was beautiful or not.
[06:01 - 06:06]
And he wrote disparagingly of those who did not share his reaction.
[06:06 - 06:10]
People come here from all parts of the world and glorify this
[06:10 - 06:15]
masterpiece. They stand in trance before it with bated
[06:15 - 06:20]
breath and parted lips and when they speak it it is only the
[06:20 - 06:23]
catchy and Jackie Les shoes of rapture.
[06:23 - 06:41]
Twain confessed that looking around he liked just those things that no
[06:41 - 06:46]
one else seemed to like when he was in a gallery and saw a picture that
[06:46 - 06:51]
attracted him. He was careful not to let on that it did so that the guide wouldn't
[06:51 - 06:56]
look at him contemptuously. He doubted the greatness of the artist and the
[06:56 - 07:00]
painters who was Works he was being shown. He doubted the sincerity of the
[07:00 - 07:05]
apparent admiration expressed for the great art. And he doubted
[07:05 - 07:09]
that anything in Europe was as good as what was to be found in America
[07:09 - 07:16]
Italy. He described as a place where one found poetry and song
[07:16 - 07:21]
but never found soap in the hotels. There was a great deal of
[07:21 - 07:26]
natural beauty as well as plenty of natural poverty. One
[07:26 - 07:30]
found artistic refinement but also a good many
[07:30 - 07:34]
intolerably vulgar manners. He found everything false
[07:34 - 07:39]
adulterated and corrupt. The visit to the Duomo in Milan
[07:39 - 07:43]
is cited as an example of this by Mark Twain.
[07:43 - 07:48]
The priest showed his two St. Paul's fingers when one eye was St.
[07:48 - 07:53]
Peter's. The bone of Judas Iscariot. It was black.
[07:53 - 07:58]
And also bones of all the other disciples. A handkerchief in which the
[07:58 - 08:03]
Savior had left the impression of his face and a picture of the version in
[08:03 - 08:08]
child painted by the veritable hand of Saint look. Well this
[08:08 - 08:12]
is the second of St. Luke's virgins we've seen.
[08:12 - 08:17]
This theme of commercial exploitation of religious relics appears
[08:17 - 08:22]
frequently in innocence abroad possibly abetted by our Puritan
[08:22 - 08:27]
suspicion of institutionalized Catholicism. But Mark
[08:27 - 08:32]
Twain shows no more respect for literature for art or for poetry.
[08:32 - 08:37]
He displays a perverse pleasure in the banking realities which are presented as
[08:37 - 08:41]
precious and spiritual trying to show their other grossly
[08:41 - 08:46]
material side. A case in point is the comment on
[08:46 - 08:50]
Francesco Petrarca. One of the greatest of Italian poets.
[08:50 - 08:55]
We wish to go to the ambrosia in library and we did also. We
[08:55 - 09:00]
saw a manuscript of Virgil with annotations in the handwriting of
[09:00 - 09:04]
Petrarch the gentleman who loved another man's Laura and
[09:04 - 09:09]
lavished upon her all through life a love that was a clear waste of raw
[09:09 - 09:15]
material. It was sound of sentiment but bad judgment.
[09:15 - 09:20]
It brought both parties fame and created a fountain of commiseration for them in
[09:20 - 09:25]
sentimental breasts. That is running yet. But who says
[09:25 - 09:30]
a word on behalf of poor Mr. Law. I don't know is the other name.
[09:30 - 09:35]
Who glorifies him. Nobody. They got fame and
[09:35 - 09:38]
sympathy. He got neither.
[09:38 - 10:13]
Comments such as this make it more easy to understand what the critics mean when they speak of Mike
[10:13 - 10:18]
Twain's attitude as Westen The entity with which Mark Twain
[10:18 - 10:22]
tried to propagate and every American who was going abroad.
[10:22 - 10:27]
Leslie Fiedler defined the term as applied to Mark Twain.
[10:27 - 10:32]
The Mark Twain of 1867 was in short the kind of boy man we think
[10:32 - 10:37]
of referring to as a Westerner. One of whom the power of adulthood and the
[10:37 - 10:40]
irresponsibility of childhood ideally combined.
[10:40 - 10:46]
Obviously Mark Twain was trying to work off as quickly as possible and evident
[10:46 - 10:51]
sense of inferiority which he felt vaguely when he was faced with a
[10:51 - 10:55]
lofty old world and particularly with less pretentious.
[10:55 - 11:46]
Catchy a jackal ations of Raptor as Mike Twain called them
[11:46 - 11:51]
were probably still ringing in the air. Several years later when Daisy Miller
[11:51 - 11:55]
one of Henry James favorite heroines arrived in Italy
[11:55 - 12:01]
the year is 1879 and the atmosphere is changed
[12:01 - 12:06]
completely for Henry James. The encounter with Italy
[12:06 - 12:09]
created a moral conflict with countless ramifications
[12:09 - 12:15]
literary historians point out that aside from James's first tool long periods of
[12:15 - 12:20]
residence in Italy in 1869 and in 1874
[12:20 - 12:26]
he returned to the Peninsula another twelve times during the course of his lifetime.
[12:26 - 12:30]
And in noting the influence that Italy exerted on his work the literary
[12:30 - 12:35]
historians add that 20 of James's twenty two novels and fifty one
[12:35 - 12:41]
of his one hundred twelve short stories contain references to Italy.
[12:41 - 12:46]
Nor are these references intended merely for exterior background.
[12:46 - 12:51]
Henry James found Italy a gifted land with a beauty as he
[12:51 - 12:55]
expressed it almost impossible to support. In
[12:55 - 13:00]
Italian culture and Italian civilization James found a sense of
[13:00 - 13:05]
what he termed lived life. But it was a lived life
[13:05 - 13:10]
arranged around a conscious coherent style of living and James
[13:10 - 13:14]
spoke frequently of the vast respect he had for the artistic heritage of
[13:14 - 13:16]
Italy.
[13:16 - 13:20]
We go to Italy to gaze upon certain of the highest achievements of human power
[13:20 - 13:26]
which represent to the imagination the maximum of man's creative force.
[13:26 - 13:31]
In Italy one is conscious of the aesthetic presence of the past.
[13:31 - 13:35]
One is also ensnared by the analyzable lovable in this of the
[13:35 - 13:37]
country.
[13:37 - 13:42]
In regimes as characters living in Italy however were nevertheless projected on the
[13:42 - 13:47]
screen of passions and high drama as is demonstrated in both is
[13:47 - 13:52]
the portrait of a Lady and The Golden Bowl. But perhaps the
[13:52 - 13:57]
dreams book most easily accessible and the one most readable even through its
[13:57 - 13:59]
complex symbolism is Daisy Miller.
[13:59 - 14:43]
Ico.
[14:43 - 14:48]
Then SEE Miller is the story of a young American girl who arrives in Rome during the course of a
[14:48 - 14:53]
European tour. While in Switzerland. She had come to know Winterbourne
[14:53 - 14:58]
an aristocratic countryman who cannot seem to classify Daisy among the various
[14:58 - 15:03]
traveling types to which she is accustomed. Is she serious he wonders or is
[15:03 - 15:08]
she as he suspects a pretty American flirt. Daisy unsettles
[15:08 - 15:12]
him with her unusual mixture of extravagance and candor of ingenuity and
[15:12 - 15:17]
frankness. He invites her to come with him to visit the famous Baroni and
[15:17 - 15:22]
Castle of Chillon. She accepts and in so doing in those times
[15:22 - 15:27]
skin realizes the young man's rich and possessive and who finds Daisy
[15:27 - 15:31]
common. But the little excursion turns out to be a wholly innocent one.
[15:31 - 15:36]
Something which both disappoints and gratifies Winterbourne the two than
[15:36 - 15:39]
separate to meet again sometime later in Rome.
[15:39 - 16:01]
In the eternal city the Z has acquired a bad reputation because she is seen
[16:01 - 16:06]
often with a certain given in the dandy and a fortune hunter. But
[16:06 - 16:11]
apparently she puts up with this company most willingly Winterbourne is disturbed.
[16:11 - 16:16]
Meanwhile friends of the family arrive in Rome including a certain Mrs Walker.
[16:16 - 16:22]
They make public scenes and some of the most crowded spots in Rome apparently attempting to
[16:22 - 16:25]
defend Daisy's honor on one occasion.
[16:25 - 16:29]
Daisy is taking a walk in the Pincio accompanied by both juvenilia and
[16:29 - 16:34]
Winterbourne when a carriage grows up bearing a tightly furious Mrs Walker.
[16:34 - 16:41]
Henry James continued.
[16:41 - 16:46]
Daisy on learning that Mrs. Walker wished to speak to her. Retraced her steps with a
[16:46 - 16:51]
perfectly good grace and with Mr. Jordan nearly at her side. She declared that she
[16:51 - 16:56]
was delighted to have a chance to present this gentleman to Mrs. Walker. She immediately achieve the
[16:56 - 17:00]
introduction and declared that she had never in her life seen anything so lovely
[17:00 - 17:06]
as Mrs. Walker's carriage rug. Smiling sweetly. Mrs. Walker spoke.
[17:06 - 17:11]
I am glad you admire it. Will you get him in let me put it over you.
[17:11 - 17:16]
No thank you. I actually admire it much more as I see you driving around with it.
[17:16 - 17:21]
Do you drive with me. And it would be charming but
[17:21 - 17:26]
it is so enchanting just as I am. It may be in chanting dear child but it is
[17:26 - 17:30]
not the custom here when it ought to be then. If I didn't walk I should
[17:30 - 17:35]
expire. You should walk with your mother dear my
[17:35 - 17:39]
mother dear my mother never walk ten steps in your life
[17:39 - 17:45]
and then you know I am more than five years old. You are old enough
[17:45 - 17:50]
to be more reasonable. You are old enough dear Miss Miller to be talked about
[17:50 - 17:55]
talked about. What do you mean. Come into my carriage and I will tell you.
[17:55 - 18:00]
I don't think I want to know what you are. I don't think I should like you
[18:00 - 18:05]
should you prefer being thought of very reckless girl.
[18:05 - 18:10]
Daisy turned her quickened glance again from one of the gentleman beside her to the other. Mr
[18:10 - 18:15]
Joe now he was bowing to and fro rubbing down his gloves and laughing very agreeably.
[18:15 - 18:20]
We thought it a very unpleasant scene at this point.
[18:20 - 18:24]
Winterbourne would like very much for Mrs Walker to talk in her carriage rug and drive away.
[18:24 - 18:30]
Mrs Walker on the other hand is about to do no such thing. She does not like being
[18:30 - 18:35]
defied as she later tells Winterbourne and attempts to continue the conversation
[18:35 - 18:36]
but without success.
[18:36 - 19:07]
This scene is important not only because it amply demonstrates James's capacity for
[19:07 - 19:12]
ironic observation and his deafness and contrasting the fresh ingenuity of the
[19:12 - 19:16]
girl with a caustic good intentions of a lady of high society. But
[19:16 - 19:21]
also because it reflects the conflict imbedded in the structure of the story
[19:21 - 19:23]
itself.
[19:23 - 19:28]
Daisy insists on leading her life as she pleases. The
[19:28 - 19:33]
American colony in Rome is determined to blame her and to condemn her.
[19:33 - 19:38]
As for Winterbourne he continues to be perplexed as he was in Switzerland
[19:38 - 19:42]
when he first met Daisy Miller Winterbourne as a character in the novel
[19:42 - 19:48]
represents above all the observer. The point of view through which the author
[19:48 - 19:53]
looks at his subjects and narrative technique which Henry James brings to perfection
[19:53 - 19:58]
later in his writing career. At the time in which this story is
[19:58 - 20:02]
said Rome was threatened by a subtle and penetrating evil
[20:02 - 20:09]
the miasmic Fogg's of the surrounding countryside spread to the heart of the city
[20:09 - 20:13]
and inflicted the air especially at night. Many of the
[20:13 - 20:18]
admonitions given to Daisy Miller therefore I'm motivated more or less
[20:18 - 20:24]
by hygienic rather than moral considerations. But Daisy
[20:24 - 20:28]
pays attention neither to one nor the other. And this
[20:28 - 20:32]
recklessness in her character brings her to a difficult impasse
[20:32 - 20:38]
which is also the central scene of the story. Henry James leads up to it through his
[20:38 - 20:39]
observer Winterbourne.
[20:39 - 21:00]
One evening as Winterbourne returning from a walk across the dusky circle of
[21:00 - 21:05]
the Colosseum. It occurred to him as a lover of the picturesque that the
[21:05 - 21:10]
interior in the pale moonshine would be very worth a glance.
[21:10 - 21:14]
He turned aside. And walked to one of the empty arches near which as he observed
[21:14 - 21:20]
an open carriage one of the little Roman street Cabs was stationed.
[21:20 - 21:25]
Then he passed in among the cavernous shadows of the great structure and emerged upon the
[21:25 - 21:27]
clear and silent arena.
[21:27 - 21:31]
The place had never seemed to him more impressive.
[21:31 - 21:36]
One half of the gigantic circus was in deep shade. The other was sleeping in the
[21:36 - 21:38]
luminous dusk.
[21:38 - 21:44]
As he stood there he began to murmur Byron's famous lines of mine for it.
[21:44 - 21:49]
But before he had finished his quotation he remembered that if nocturnal meditation's in the
[21:49 - 21:54]
Colosseum were recommended by the poets they are deprecated by the doctor.
[21:54 - 21:59]
The historic atmosphere was there certainly. But the historic atmosphere scientifically
[21:59 - 22:02]
considered. Was no better than a villainous miasma.
[22:02 - 22:09]
Winterbourne walk to the middle of the arena to take a more general glance intending thereafter to make
[22:09 - 22:11]
a hasty retreat.
[22:11 - 22:15]
The great cross in the center was covered with shadow. It was only as he drew nearer that he
[22:15 - 22:20]
made it out distinctly. Then he saw that two persons were stationed upon the
[22:20 - 22:26]
low steps that formed its base. One of these was a woman seated.
[22:26 - 22:29]
Her companion was standing in front of.
[22:29 - 22:33]
The two persons were Daisy Miller and Joe by nearly. By placing
[22:33 - 22:35]
herself in this position.
[22:35 - 22:40]
Daisy has with one stroke violated two laws the
[22:40 - 22:44]
law of medicine and the law of moral proteids. It
[22:44 - 22:49]
becomes reasonable therefore and carrying out the basic structure of the book that she will
[22:49 - 22:54]
be punished in one way or the other. She is stricken with malaria and
[22:54 - 22:55]
she dies.
[22:55 - 23:05]
You know
[23:05 - 23:16]
and.
[23:16 - 23:20]
The meaning of the fate of Daisy Miller seems clear.
[23:20 - 23:25]
Immersion in the old world is fatal to American innocence.
[23:25 - 23:30]
The historic atmosphere when considered in a scientific pragmatic American
[23:30 - 23:35]
way is no better than a villainous miasma. However
[23:35 - 23:39]
the readers of Henry James know that he cannot be interpreted simply
[23:39 - 23:45]
behind the narrative lies a beckoning ambiguity and a warning
[23:45 - 23:50]
not to be deluded into thinking one has understood everything. It is enough to
[23:50 - 23:55]
think for a moment as the Italian critic and see Lottie has done very acutely
[23:55 - 24:00]
to realise that matters are not exactly as they seem. Malaria
[24:00 - 24:05]
has killed Daisy Miller physically but spiritually her own
[24:05 - 24:09]
compatriots have killed her by ostracizing her and excluding her from their favors
[24:09 - 24:15]
socially. They are timorous conformist and mean.
[24:15 - 24:20]
In the novel generally they cut very poor figures daises mother is a
[24:20 - 24:25]
stolid gross woman newly rich middle class and comically
[24:25 - 24:29]
caught in the snares of society life. Brother Randolph
[24:29 - 24:35]
is an overgrown boy impertinent intrusive and awkward.
[24:35 - 24:40]
He is always ready to compare Europe unfavorably to America. It might
[24:40 - 24:45]
even be said that he represents the negative side of American innocence.
[24:45 - 24:50]
Mrs. Costello went to Bond's poss. and is described by Henry James
[24:50 - 24:55]
as a person of much distinction who frequently intimated that if she were not
[24:55 - 25:00]
so dreadfully liable to sick headaches she would probably have left a deeper
[25:00 - 25:05]
impress upon her time Winterbourne himself is ambiguous
[25:05 - 25:09]
and indecisive incapable of fully understanding the source of daises
[25:09 - 25:14]
innocence. Although he is fascinated by her. Daisy Miller
[25:14 - 25:19]
really is innocent which Winterbourne at last understands when she is about to
[25:19 - 25:24]
die. She has promised nothing and has given nothing at all to
[25:24 - 25:29]
job in Italy and the fortune hunting job NLE who possesses a
[25:29 - 25:33]
distinct style of his own and a certain dis interested discretion
[25:33 - 25:38]
confirms this innocence and to Winterbourne himself. The
[25:38 - 25:43]
two men meet at Daisy's funeral Winterbourne senses that job NLE has
[25:43 - 25:48]
something to say but does not encourage him. Finally Joel and
[25:48 - 25:52]
Ellie says that Daisy Miller was the most beautiful young lady he had ever seen
[25:52 - 25:58]
and the most amiable. And after a moment of silence and add to that he
[25:58 - 26:02]
she was also the most innocent. The two men look at each other
[26:02 - 26:07]
and terminally only repeats the Daisy Miller was the most innocent.
[26:07 - 26:36]
The contrast and the confrontation to be found in the novel is not there for between Italy and
[26:36 - 26:41]
America. But within America itself. Between
[26:41 - 26:46]
persons like Daisy Miller who are really young and ingenuous. And persons who
[26:46 - 26:50]
are already old and dried out and paltry.
[26:50 - 26:55]
Mark Twain used Europe and Italy to externalize his own sense
[26:55 - 26:59]
of provincial inferiority and read James Hughes you were up and Italy
[26:59 - 27:04]
with their background of churches and ruins and pictures as a drama of
[27:04 - 27:09]
conscience as a typically American moral debate.
[27:09 - 27:14]
And it may be said that Henry James came to Europe and to Italy so that he might
[27:14 - 27:29]
know himself better.
[27:29 - 27:33]
This is concluded the fourth in our series of programs on American authors and their relationship to
[27:33 - 27:38]
Italy programs especially produced in Rome for this radio station
[27:38 - 27:43]
this fourth programme was titled Mark Twain and Henry James.
[27:43 - 27:59]
The music on this program included excerpts from the works of kata Loni
[27:59 - 28:04]
Verity Stephen Foster and then the
[28:04 - 28:28]
music is from the company to ecology and I took a course in.
[28:28 - 28:33]
The fifth programme in the series will be devoted to American writers and the Italian at least
[28:33 - 28:37]
argument will be with us next time when they're not.
[28:37 - 28:42]
I don't believe these you only get that again and will again present American writers
[28:42 - 28:59]
in Italy.
[28:59 - 29:03]
This is the national educational radio network.
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