_INTRODUCTION._
_Giovanni Verga was born at Catania, in Sicily, in 1840. His youth was
spent in Florence and Milan. He afterwards lived in Catania again,
where he had an opportunity of studying those types of the Sicilian
peasantry which he introduces so effectively, and with such dramatic
suggestion, into many of his stories and sketches. After experiencing
grievous family losses he returned to Milan, where he now resides._
_In "L'Amante di Gramigna" Verga gives, in the form of a letter to his
friend, the novelist, S. Farina, a sort of brief exposition of his
literary Creed. Much of the drama is left to the imagination of the
reader, who sees through the lines the action hinted at in a word or a
phrase. Thus, in the story just mentioned, no definite time-limit is
assigned. Months elapse, but only a passing expression gives the clue
to it. It is amazing how definite is the idea left in the mind. It
gives all the vividness of reality._
_"Cavalleria Rusticana," or "Rustic Chivalry," has been known all over
the world by its operatic setting by Mascagni. "La Lupa," which is
scarcely less strong and vital, has been chosen by another Italian
composer, Puccini, as the subject for a two-act opera. These two, as
well as "L'amante di Gramigna" and "Jeli il Pastore," illustrate the
deeper passions of the Sicilian peasantry. Verga's sardonic humor is
shown in "Gli Orfani." How the sordid poverty of the people stands out
in the comparison between the sorrow over the dying ass, and the
utterly materialistic grief at the loss of the painstaking second
wife!_
_"La Storia dell' Asino di San Giuseppe," well illustrates the average
treatment of the long-suffering, long-eared mules and asses which make
so picturesque a part of the scenery of Italian and Spanish countries.
It is a document for the Society for the Prevention of Cruelty to
Animals, and well deserves to be circulated together with "Black
Beauty." What pathos in the sudden transfer of the poor little beast
from comparative comfort, at least from the "dolce far niente" of its
foalhood, to the grim realities of life, and its steady and fatal
decline through all the gamut of wretchedness and degradation, to die
at last under the weight of its burdens! And what side glances on the
condition of those unfortunate Sicilians who live in what ought to be
the very garden and Paradise of the world, and yet are so oppressed by
unregulated Nature and too well regulated taxes!_
_It is no land of the imagination into which we are brought by Verga;
there is no fascinating glamour of the virtuous triumphing after many
vicissitudes, and seeing at last the wicked adequately punished. Here
it is grim reality. The poor and weak go relentlessly to the wall;
innocence and humble ignorance are crushed by experienced vice, the
butterfly is singed by the flame; there is little joy, little peace.
The fleckless sky shines down brilliantly on wreck of home and
fortune; the son must go to the army, and the daughter to her shame;
the father's gray hairs must be crowned with dishonor, and despair
must abide in the mother's breast. But yet the stories are not wholly
pessimistic, nor do they give an utterly hopeless idea of the Sicilian
peasant. He shows his capabilities; the woman her fiery zeal and
faithfulness, even when on the wrong track. You see that education and
a little real sympathy might make a great people out of Verga's
"Turiddus" and "Alfios." There are dozens of others of Verga's short
sketches which would repay translation, but the little collection of
Sicilian pictures here presented is marked by quite wonderful variety
and contrast. They well illustrate the author's genius at its best._