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The Saint

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Since the condemnation of _The Saint_ by the Congregation of the Index,
the publishers of the authorized translation of this novel feel that, in
justice to its author, Senator Antonio Fogazzaro, they owe to the public
a word of explanation by way of making plain (what the author has in
more than one letter made plain to them) how it comes about that, in
spite of the decree of the Index, the Senator sanctions the appearance
of the book in America. The explanation is found in the fact that the
American publishers secured, before the sentence of the Congregation had
been passed, the sanction for the publication of their translation--a
sanction which the author, as a loyal Catholic, could not have given
later, but which, once it was given, he did not feel justified in
withdrawing.

NEW YORK, July, 1906.


THE SAINT

By ANTONIO FOGAZZARO




NOTE:

_The Saint_, though it is independent of Fogazzaro's earlier romances,
and though it explains itself completely when read in its entirety,
will perhaps be more readily understood and enjoyed, especially in the
opening chapters, if a few words are said with regard to certain of its
characters who have made an appearance in preceding stories by the
same author. All needful information of this kind is conveyed in the
following paragraph, for which we are indebted to Mrs. Crawford's
article, "The Saint in Fiction," which appeared in _The Fortnightly
Review_ for April, 1906:

"Readers of Fogazzaro's earlier novels will recognise in Piero Maironi,
the Saint, the son of the Don Franco Maironi who, in the _Piccolo Mondo
Antico_, gives his life for the cause of freedom, while he himself is
the hero of the _Piccolo Mondo Moderno_. For those who have not read
the preceding volumes it should be explained that his wife being in a
lunatic asylum, Maironi, artist and dreamer, had fallen in love with
a beautiful woman separated from her husband, Jeanne Dessalle, who
professed agnostic opinions. Recalled to a sense of his faith and his
honour by an interview with his wife, who sent for him on her death-bed,
he was plunged in remorse, and disappeared wholly from the knowledge
of friends and relatives after depositing in the hands of a venerable
priest, Don Giuseppe Flores, a sealed paper describing a prophetic
vision concerning his life that had largely contributed to his
conversion. Three years are supposed to have passed between the close of
the _Piccolo Mondo Moderno_ and the opening of _Il Santo_, when Maironi
is revealed under the name of Benedetto, purified of his sins by a life
of prayer and emaciated by the severity of his mortifications, while
Jeanne Dessalle, listless and miserable, is wandering around Europe
with Noemi d'Arxel, sister to Maria Selva, hoping against hope for the
reappearance of her former lover."




CONTENTS

INTRODUCTION (BY WILLIAM ROSCOE THAYER)

CHAPTER

I.--LAC D'AMOUR

II.--DON CLEMENTE

III.--A NIGHT OF STORMS

IV.--FACE TO FACE

V.--THE SAINT

VI.--THREE LETTERS

VII.--IN THE WHIRLPOOL OF THE WORLD

VIII.--JEANNE

IX.--IN THE WHIRLWIND OF GOD




Introduction


By William Roscoe Thayer

Author of "The Dawn of Italian Independence"

ANTONIO FOGAZZARO AND HIS MASTERPIECE


I

Senator Fogazzaro, in _The Saint_, has confirmed the impression of
his five and twenty years' career as a novelist, and now, through
the extraordinary power and pertinence of this crowning work, he has
suddenly become an international celebrity. The myopic censors of the
_Index_ have assured the widest circulation of his book by condemning it
as heretical. In the few months since its publication, it has been
read by hundreds of thousands of Italians; it has appeared in French
translation in the _Revue des Deux Mondes_ and in German in the
_Hochland_; and it has been the storm centre of religious and literary
debate. Now it will be sought by a still wider circle, eager to see what
the doctrines are, written by the leading Catholic layman in Italy, at
which the Papal advisers have taken fright. Time was when it was the
books of the avowed enemies of the Church--of some mocking Voltaire,
some learned Renan, some impassioned Michelet--which they thrust on the
_Index_; now they pillory the Catholic layman with the largest following
in Italy, one who has never wavered in his devotion to the Church.
Whatever the political result of their action may be, they have made the
fortune of the book they hoped to suppress; and this is good, for _The
Saint_ is a real addition to literature.

Lovers of Italy have regretted that foreigners should judge her
contemporary ideals and literary achievements by the brilliant, but
obscene and degenerate books of Gabriele d'Annunzio. Such books, the
products of disease no matter what language they may be written in,
quickly circulate from country to country. Like epidemics they sweep up
and down the world, requiring no passports, respecting no frontiers,
while benefits travel slowly from people to people, and often lose much
in the passage. D'Annunzio, speaking the universal language--Sin,--has
been accepted as the typical Italian by foreigners who know Carducci
merely as a name and have perhaps never heard of Fogazzaro. Yet it is in
these men that the better genius of modern Italy has recently expressed
itself. Carducci's international reputation as the foremost living poet
in Europe and a literary critic of the first class gains slowly, but its
future is secure. Thanks to the wider circulating medium of fiction,
Fogaz-* *zaro's name is a household word in thousands of Italian
families, and he combines in his genius so many rare and important
strands that the durability of his literary renown cannot be questioned.


II

Antonio Fogazzaro, the most eminent Italian novelist since Manzoni, was
born at Vicenza on March 25th, 1842. He was happy in his parents, his
father, Mariano Fogazzaro, being a man of refined tastes and sound
learning, while his mother, Teresa Barrera, united feminine sweetness
with wit and a warm heart. From childhood they influenced all sides of
his nature, and when the proper time came they put him in charge of a
wise tutor, Professor Zanella, who seems to have divined his pupil's
talents and the best way to cultivate them. Young Fogazzaro, having
completed his course in the classics went on to the study of the law,
which he pursued first in the University of Padua and then at Turin,
where his father had taken up a voluntary exile. For Vicenza, during the
forties and fifties, lay under Austrian subjection, and any Italian
who desired to breathe freely in Italy had to seek the liberal air of
Piedmont.

Fogazzaro received his diploma in due season, and began to practise as
advocate, but in that casual way common to young men who know that their
real leader is not Themis but Apollo. Erelong he abandoned the bar and
devoted himself with equal enthusiasm to music and poetry, for both of
which he had unusual aptitude. Down to 1881 he printed chiefly volumes
of verse which gave him a genuine, if not popular reputation. In that
year he brought out his first romance, _Malombra_, and from time to time
during the past quarter of a century he has followed it with _Daniele
Cortis_, _Il Mistero del Poeta_, _Piccolo Mondo Antico_, _Piccolo Mondo
Moderno_, and finally, in the autumn of 1905, _Il Santo_. This list by
no means exhausts his productivity, for he has worked in many fields,
but it includes the books by which, gradually at first, and with
triumphant strides of late, he has come into great fame in Italy and
has risen into the small group of living authors who write for a
cosmopolitan public.

For many years past Signer Fogazzaro has dwelt in his native Vicenza,
the most honoured of her citizens, round whom has grown up a band of
eager disciples, who look to him for guidance not merely in matters
intellectual or aesthetic, but in the conduct of life. He has conceived
of the career of man of letters as a great opportunity, not as a mere
trade. Nothing could show better his high seriousness than his waiting
until the age of thirty-nine before publishing his first novel, unless
it be the restraint which led him, after having embarked on the career
of novelist to devote four or five years on the average to his studies
in fiction. So his books are ripe, the fruits of a deliberate and rich
nature, and not the windfalls of a mere literary trick. And now the
publication of _The Saint_ confirms all his previous work, and entitles
him, at a little more than threescore years, to rank among the few
literary masters of the time.


III


Many elements in _The Saint_ testify to its importance; but these would
not make it a work of art. And after all it is as a work of art that it
first appeals to readers, who may care little for its religious purport.
It is a great novel--so great, that, after living with its characters,
we cease to regard it as a novel at all. It keeps our suspense on the
stretch through nearly five hundred pages. Will the Saint triumph--will
love victoriously claim its own? We hurry on, at the first reading,
for the solution; then we go back and discover in it another world of
profound interest. That is the true sign of a masterpiece.

In English we have only _John Inglesant_ and _Robert Elsmere_ to compare
it with; but such a comparison, though obviously imperfect, proves at
once how easily _The Saint_ surpasses them both, not merely by
the greater significance of its central theme, but by its subtler
psychology, its wider horizon, its more various contacts with life.
Benedetto, the Saint, is a new character in fiction, a mingling of St.
Francis and Dr. Dollinger, a man of to-day in intelligence, a medieval
in faith. Nothing could be finer than the way in which Signer Fogazzaro
depicts his zeal, his ecstasies, his visions, his depressions, his
doubts; shows the physical and mental reactions; gives us, in a word,
a study in religious morbid psychology--for, say what we will,
such abnormalities are morbid--without rival in fiction. We follow
Benedetto's spiritual fortunes with as much eagerness as if they were a
love story.

And then there is the love story. Where shall one turn to find another
like it? Jeanne seldom appears in the foreground, but we feel from first
to last the magnetism of her presence. There is always the possibility
that at sight or thought of her Benedetto may be swept back from
his ascetic vows to the life of passion. Their first meeting in the
monastery chapel is a masterpiece of dramatic climax, and Benedetto's
temptation in her carriage, after the feverish interview with the
cabinet officer, is a marvel of psychological subtlety. Both scenes
illustrate Signor Fogazzaro's power to achieve the highest artistic
results without exaggeration. This naturalness is the more remarkable
because the character of a saint is unnatural according to our modern
point of view. We have a healthy distrust of ascetics, whose anxiety
over their soul's condition we properly regard as a form of egotism;
and we know how easily the unco' guid become prigs. Fogazzaro's hero is
neither an egotist of the ordinary cloister variety, nor a prig.
That our sympathy goes out to Jeanne and not to him shows that we
instinctively resent the sacrifice of the deepest human cravings to
sacerdotal prescriptions. The highest ideal of holiness which medievals
could conceive does not satisfy us.

Why did Signer Fogazzaro in choosing his hero revert to that outworn
type? He sees very clearly how many of the Catholic practices are what
he calls "ossified organisms." Why did he set up a lay monk as a model
for 20th century Christians who long to devote their lives to uplifting
their fellow-men? Did he not note the artificiality of asceticism--the
waste of energy that comes with fasts and mortification of the flesh and
morbidly pious excitement? When asked these questions by his followers
he replied that he did not mean to preach asceticism as a rule for all;
but that in individual cases like Benedetto's, for instance, it was a
psychological necessity. Herein Signer Fogazzaro certainly discloses his
profound knowledge of the Italian heart--of that heart from which in its
early medieval vigour sprang the Roman religion, with its message
of renunciation. Even the Renaissance and the subsequent period of
scepticism have not blotted out those tendencies that date back more
than a thousand years: so that today, if an Italian is engulfed in a
passion of self-sacrifice, he naturally thinks first of asceticism as
the method. Among Northern races a similar religious experience does
not suggest hair shirts and debilitating pious orgies (except among
Puseyites and similar survivals from a different epoch); it suggests
active work, like that of General Booth of the Salvation Army.

No one can gainsay, however, the superb artistic effects which Signor
Fogazzaro attains through his Saint's varied experiences. He causes to
pass before you all classes of society,--from the poorest peasant of the
Subiaco hills, to duchesses and the Pope himself,--some incredulous,
some mocking, some devout, some hesitating, some spell-bound, in the
presence of a holy man. The fashionable ladies wish to take him up and
make a lion of him; the superstitious kiss the hem of his garment and
believe that he can work miracles, or, in a sudden revulsion, they
jeer him and drive him away with stones. And what a panorama of
ecclesiastical life in Italy! What a collection of priests and monks and
prelates, and with what inevitableness one after another turns the cold
shoulder on the volunteer who dares to assert that the test of religion
is conduct! There is an air of mystery, of intrigue, of secret messages
passing to and fro--the atmosphere of craft which has hung round the
ecclesiastical institution so many, many centuries. Few scenes in modern
romance can match Benedetto's interview with the Pope--he pathetic
figure who, you feel, is in sad truth a prisoner, not of the Italian
Government, but of the crafty, able, remorseless cabal of cardinals who
surround him, dog him with eavesdroppers, edit his briefs, check his
benign impulses, and effectually prevent the truth from penetrating to
his lonely study. Benedetto's appeal to the Pope to heal the four wounds
from which the Church is languishing is a model of impassioned argument.
The four wounds, be it noted, are the "spirit of falsehood," "the spirit
of clerical domination," "the spirit of avarice," and "the spirit of
immobility." The Pope replies in a tone of resignation; he does not
disguise his powerlessness; he hopes to meet Benedetto again--in heaven!



IV


_The Saint_ may be considered under many aspects--indeed, the critics,
in their efforts to classify it, have already fallen out over its real
character. Some regard it as a thinly disguised statement of a creed;
others, as a novel pure and simple; others, as a campaign document (in
the broadest sense); others, as no novel at all, but a dramatic sort of
confession. The Jesuits have had it put on the _Index_; the Christian
Democrats have accepted it as their gospel: yet Jesuits and Christian
Democrats both profess to be Catholics. Such a divergence of opinion
proves conclusively that the book possesses unusual power and that it
is many-sided. Instead of pitching upon one of these views as right and
declaring all the rest to be wrong, it is more profitable to try to
discover in the book itself what grounds each class of critics finds to
justify its particular and exclusive verdict.

On the face of it what does the book say? This is what it says: That
Piero Maironi, a man of the world, cultivated far beyond his kind, after
having had a vehement love-affair is stricken with remorse, "experiences
religion," becomes penitent, is filled with a strange zeal--an ineffable
comfort--and devotes himself, body, heart, and soul to the worship of
God and the succour of his fellow-men. As Benedetto, the lay brother, he
serves the peasant populations among the Sabine hills, or moves on his
errands of hope and mercy among the poor of Rome. Everybody recognises
him as a holy man--"a saint." Perhaps, if he had restricted himself to
taking only soup or simple medicines to the hungry and sick, he would
have been unmolested in his philanthropy; but after his conversion, he
had devoured the Scriptures and studied the books of the Fathers, until
the spirit of the early, simple, untheological Church had poured into
him. It brought a message the truth of which so stirred him that
he could not rest until he imparted it to his fellows. He preached
righteousness,--the supremacy of conduct over ritual,--love as the test
and goal of life; but always with full acknowledgment of Mother Church
as the way of salvation. Indeed, he seems neither to doubt the
impregnability of the foundations of Christianity, nor the validity of
the Petrine corner-stone; taking these for granted he aims to live the
Christian life in every act, in every thought. The superstructure--the
practices of the Catholic Church to-day, the failures and sins of
clerical society, the rigid ecclesiasticism--these he must in loyalty
to fundamental truth, criticise, and if need be, condemn, where they
interfere with the exercise of pure religion. But Benedetto engages very
little in controversy; his method is to glorify the good, sure that the
good requires only to be revealed in all its beauty and charm in order
to draw irresistibly to itself souls that, for lack of vision, have been
pursuing the mediocre or the bad.

Yet these utterances, so natural to Benedetto, awaken the suspicions of
his superiors, who--we cannot say without cause--scent heresy in them.
Good works, righteous conduct--what are these in comparison with blind
subscription to orthodox formulas? Benedetto is persecuted not by an
obviously brutal or sanguinary persecution,--although it might have
come to that except for a catastrophe of another sort,--but by the
very finesse of persecution. The sagacious politicians of the Vatican,
inheritors of the accumulated craft of a thousand years, know too much
to break a butterfly on a wheel, to make a martyr of an inconvenient
person whom they can be rid of quietly. Therein lies the tragedy of
Benedetto's experience, so far at least as we regard him, or as he
thought himself, an instrument for the regeneration of the Church.

On the face of it, therefore, _The Saint_ is the story of a man with a
passion for doing good, in the most direct and human way, who found the
Church in which he believed, the Church which existed ostensibly to do
good according to the direct and human ways of Jesus Christ, thwarting
him at every step. Here is a conflict, let us remark in passing, worthy
to be the theme of a great tragedy. Does not _Antigone_ rest on a
similar conflict between Antigone's simple human way of showing her
sisterly affection and the rigid formalism of the orthodoxy of her day?


V

Or, look next at _The Saint_ as a campaign document, the aspect under
which it has been most hotly discussed in Italy. It has been accepted
as the platform, or even the gospel of the Christian Democrats. Who are
they? They are a body of the younger generation of Italians, among them
being a considerable number of religious, who yearn to put into practice
the concrete exhortations of the Evangelists. They are really carried
forward by that ethical wave which has swept over Western Europe and
America during the past generation, and has resulted in "slumming,"
in practical social service, in all kinds of efforts to improve the
material and moral condition of the poor, quite irrespective of
sectarian or even Christian initiative. This great movement began,
indeed, outside of the churches, among men and women who felt grievously
the misery of their fellow-creatures and their own obligation to do what
they could to relieve it. From them, it has reached the churches, and,
last of all, the Catholic Church in Italy. No doubt the spread of
Socialism, with its superficial resemblance to some of the features of
primitive Christianity, has somewhat modified the character of this
ethical movement; so far, in fact, that the Italian Christian Democrats
have been confounded, by persons with only a blurred sense of outlines,
with the Socialists themselves. Whatever they may become, however,
they now profess views in regard to property which separate them by an
unbridgeable chasm from the Socialists.

In their zeal for their fellow-men, and especially for the poor
and down-trodden classes, they find the old agencies of charity
insufficient. To visit the sick, to comfort the dying, to dole out broth
at the convent gate, is well, but it offers no remedy for the cause
behind poverty and blind remediable suffering. Only through better
laws, strictly administered, can effectual help come. So the Christian
Democrats deemed it indispensable that they should be free to influence
legislation. At this point, however, the stubborn prohibition of the
Vatican confronted them. Since 1870, when the Italians entered Rome and
established there the capital of United Italy, the Vatican had forbidden
faithful Catholics to take part, either as electors or as candidates, in
any of the national elections, the fiction being that, were they to go
to the polls or to be elected to the Chamber of Deputies, they would
thereby recognise the Royal Government which had destroyed the temporal
power of the Pope. Then what would become of that other fiction--the
Pope's prisonership in the Vatican--which was to prove for thirty years
the best paying asset among the Papal investments? So long as the Curia
maintained an irreconcilable attitude towards the Kingdom, it could
count on kindling by irritation the sympathy and zeal of Catholics all
over the world. In Italy itself many devout Catholics had long protested
that, as it was through the acquisition of temporal power that the
Church had become worldly and corrupt, so through the loss of temporal
power it would regain its spiritual health and efficiency. They urged
that the Holy Father could perform his religious functions best if he
were not involved in political intrigues and governmental perplexities.
No one would assert that Jesus could have better fulfilled his mission
if he had been king of Judea; why, then, should the Pope, the Vicar of
Jesus, require worldly pomp and power that his Master disdained?

Neither Pius IX nor Leo XIII, however, was open to arguments of this
kind. Incidentally, it was clear that if Catholics as such were kept
away from the polls, nobody could say precisely just how many they
numbered. The Vatican constantly asserted that its adherents were in a
majority--a claim which, if true, meant that the Kingdom of Italy rested
on a very precarious basis. But other Catholics sincerely deplored the
harm which the irreconcilable attitude of the Curia caused to religion.
They regretted to see an affair purely political treated as religious;
to have the belief in the Pope's temporal power virtually set up as a
part of their creed. The Lord's work was waiting to be done; yet they
who ought to be foremost in it were handicapped. Other agencies had
stepped in ahead of them. The Socialists were making converts by
myriads; skeptics and cynics were sowing hatred not of the Church
merely but of all religion. It was time to abandon "the prisoner of the
Vatican" humbug, time to permit zealous Catholics, whose orthodoxy no
one could question, to serve God and their fellow-men according to the
needs and methods of the present age.

At last, in the autumn of 1905, the new Pope, Pius X, gave the faithful
tacit permission, if he did not officially command them, to take part in
the elections. Various motives were assigned for this change of front.
Did even the Ultra-montanes realise that, since France had repealed the
Concordat, they could find their best support in Italy? Or were they
driven by the instinct of self-preservation to accept the constitutional
government as a bulwark against the incoming tide of Anarchism,
Socialism, and the other subversive forces? The Church is the most
conservative element in Christendom; in a new upheaval it will surely
rally to the side of any other element which promises to save society
from chaos. These motives have been cited to explain the recent action
of the Holy See, but there were high-minded Catholics who liked to
think that the controlling reason was religious--that the Pope and his
counsellors had at last been persuaded that the old policy of abstention
wrought irreparable harm to the religious life of millions of the
faithful in Italy.

However this may be, Senator Fogazzaro's book, filled with the Liberal
and Christian spirit, has been eagerly caught up as the mouthpiece of
the Christian Democrats, and indeed of all intelligent Catholics in
Italy, who have always held that religion and patriotism are not
incompatible, and that the Church has most injured itself in prolonging
the antagonism. In this respect, _The Saint_, like _Uncle Tom's Cabin_
and similar books which crystallise an entire series of ideals or sum
up a crisis, leaped immediately into importance, and seems certain to
enjoy, for a long time to come, the prestige that crowns such works.
Putting it on the _Index_ can only add to its power.

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