Vittoria — Complete — Inside the Classic
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For Vittoria — Complete — Inside the Classic, the stored edition analysis reports 200,314 words, 14 hr 31 min estimated reading time, and 22 detected text sections.
The text analysis averages about 16.0 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Historical fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
al equally toward all. Of strong devotion, of stout nobility, of unswerving faith and self-sacrifice, he must approve; and when these qualities are displayed in a contest of forces, the wisdom of means employed, or of ultimate views entertained, may be questioned and condemned; but the men themselves may not be.)
These men had sworn their oath, knowing the meaning of it, and the nature of the Fury against whom men who stand voluntarily pledged to any great resolve must thenceforward match themselves. Many of the original brotherhood had fallen, on the battle-field, on the glacis, or in the dungeon. All present, save the youthfuller Carlo, had suffered. Imprisonment and exile marked the Chief. Ugo Corte, of Bergamo, had seen his family swept away by the executioner and pecuniary penalties. Thick scars of wounds covered the body and disfigured the face of Giulio Bandinelli. Agostino had crawled but half-a-year previously out of his Piedmontese cell, and Marco Sana, the Brescian, had in such a place tasted of veritable torture. But if the calamity of a great oath was upon them, they had now in their faithful prosecution of it the support which it gives. They were unwearied; they had one object; the mortal anguish they had gone through had left them no sense for regrets. Life had become the field of an endless engagement to them; and as in battle one sees beloved comrades struck down, and casts but a glance at their prostrate forms, they heard the mention of a name, perchance, and with a word or a sign told what was to be said of a passionate glorious heart at rest, thanks to Austrian or vassal-Sardinian mercy.
So they lay there and discussed their plans.
“From what quarter do you apprehend the surprise?” Ugo Corte glanced up from the maps and papers spread along the grass to question Carlo ironically, while the latter appeared to be keeping rigid watch over the safety of the position. Carlo puffed the smoke of a cigarette rapidly, and Agostino replied for him:--“From the quarter where the best donkeys are to be had.”
It was supposed that Agostino had resumed the habit usually laid aside by him for the discussion of serious matters, and had condescended to father a coarse joke; but his eyes showed no spark of their well-known twinkling solicitation for laughter, and Carlo spoke in answer gravely:--“From Baveno it will be.”
“From Baveno! They might as well think to surprise hawks from Baveno. Keep watch, dear Ammiani; a good start in a race is a kick from the Gods.”
With that, Corte turned to the point of his finger on the map. He conceived it possible that Carlo Ammiani, a Milanese, had reason to anticipate the approach of people by whom he, or they, might not wish to be seen. Had he studied Carlo's face he would have been reassured. The brows of the youth were open, and his eyes eager with expectation, that showed the flying forward of the mind, and nothing of knotted distrust or wary watchfulness. Now and then he would move to the other side of the mountain, and look over upon Orta; or with the opera-glass clasped in one hand beneath an arm, he stopped in his sentinel-march, frowning reflectively at a word put to him, as if debating within upon all the bearings of it; but the only answer that came was a sharp assent, given after the manner of one who dealt conscientiously in definite affirmatives; and again the glass was in requisition. Marco Sana was a fighting soldier, who stated what he knew, listened, and took his orders. Giulio Bandinelli was also little better than the lieutenant in an enterprise. Corte, on the other hand, had the conspirator's head,--a head like a walnut, bulging above the ears,--and the man was of a sallying temper. He lay there putting bit by bit of his plot before the Chief for his approval, with a careful construction, that upon the expression of any doubt of its working smoothly in the streets of Milan, caused him to shout a defensive, “But Carlo says yes!”
The novel begins not with a character but with a mountain: Monte Motterone, whose dawn mists and piercing sunlight are described in a prose that treats landscape as a living, dramatic presence. The Lombard plain narrows, the Ticino and Sesia waters quiver, and the peaks take on the 'aspect of the storm.' This opening establishes a world where nature is both majestic and ominous, setting a tone of heightened observation.
Soon after, the narrative shifts abruptly to a tense interior scene. A cigar case with a blood-mark becomes the catalyst for a charged exchange between Vittoria and Countess Anna. The dialogue is clipped and urgent: 'Wounded? My God! my God!' The contrast between the expansive, painterly opening and the compressed, emotional confrontation is immediate and striking.
Landscape as Dramatic Prologue
The first chapter of Vittoria devotes several paragraphs to a description of Monte Motterone and the surrounding Alps. This is not mere scene-setting; the language is active and personifying. The mountain has 'an eagle eye for the far Venetian boundary'; the peaks 'wear the look of the revolted sons of Time, fast chained before scornful heaven in an iron peace.' The prose is dense with metaphor, comparing the distant range to 'a solitary monster of old seas crossing the Deluge.'
This treatment of landscape does more than establish location. It introduces a world where natural forces are in constant tension—mist and sunlight, youth and age, homeliness and sternness. The 'voice of youth and homeliness' of the Motterone's bells and rivulets contrasts with the 'Titan-heads, for whom the hawk and the vulture cry.' Such oppositions recur throughout the novel, often mirrored in human conflicts. The opening thus functions as a thematic overture, foreshadowing the political and personal struggles to come.
The Blood-Marked Cigar Case and Its Weight
A pivotal early scene revolves around a small object: a cigar case with a blood stain. Countess Anna, 'deadly pale,' turns it over and demands its meaning. Vittoria delivers the news: 'He lies in the Ultenthal, wounded; and his wish was that I should deliver it to you.' The case becomes a symbol of violence and obligation, carried from a dying man to a woman who reacts with a mix of shock and accusation.
The dialogue that follows is taut with suspicion. Anna questions whether the wound came from an 'honourable duel' or an assassination. She notes that 'the dagger is an assassin's weapon,' and quickly suspects Vittoria's party. The exchange reveals deep mistrust between the characters, rooted in political and personal loyalties. The cigar case, a mundane item, is transformed into evidence of a hidden conflict, its blood-mark a literal stain of guilt and grief.
Shifting Registers: From Lyricism to Confrontation
One of the most striking features of the excerpt is the abrupt shift in narrative register. The opening pages are written in a lyrical, almost rhapsodic style, with long sentences and elaborate similes. The mist 'dances,' the sunlight 'darts on a jewel in the deeps.' This is the voice of a narrator who sees the world as a painter might, composing a grand panorama.
In contrast, the scene with Anna and Vittoria is stark and dramatic. The sentences become shorter, the dialogue fragmented. Anna's speech is emotional and accusatory: 'I believe her to be blood-stained and abominable. She hates us. She has sworn an oath against us.' The priest's entrance introduces a third register—moralizing and gentle—but Anna dismisses him. This juxtaposition of styles suggests a novel that moves between epic description and intimate, psychological drama, keeping the reader off balance.
Readers should attend to how Meredith uses objects—like the cigar case—as focal points for larger tensions. The opening landscape, with its 'revolted sons of Time,' may also be read as a metaphor for the revolutionary Italy of 1848. The excerpts offer only a glimpse of the plot, but they reveal a writer who is as interested in the texture of a mountain as in the tremor of a voice. Approach the novel prepared for a work that demands attention to both its grand vistas and its small, telling details.
Some books stay like a room you once sat in, holding the hush of a tense conversation. I felt that with Vittoria — the way a landscape lingers behind heated words, the weight of a dying man’s secret. It reminded me of the quiet, layered ache in The rose of old St. Louis — Text and Context, where history breathes softly beneath the story. Both left me sitting still, long after turning the last page.
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