Vittoria — Volume 6 — Context and Discussion
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They were in a narrow way leading to the Piazza de' Mercanti. While the altercation was going on between them, a great push of men emerged from one of the close courts some dozen paces ahead of the horse, bearing forth a single young officer in their midst.
"Signore, would you like to be the froth of a boiling of that sort?" The vetturino seized the image at once to strike home his instance of the danger of outraging the will of the people.
Our traveller immediately unlocked a case that lay on the seat in front of him, and drew out a steel scabbard, from which he plucked the sword, and straightway leaped to the ground. The officer's cigar had been dashed from his mouth: he stood at bay, sword in hand, meeting a rush with a desperate stroke. The assistance of a second sword got him clear of the fray. Both hastened forward as the crush melted with the hiss of a withdrawing wave. They interchanged exclamations: "Is it you, Jenna!"
"In the devil's name, Pierson, have you come to keep your appointment in mid-winter?"
"Come on: I'll stick beside you."
They glanced behind them, heeding little the tail of ruffians whom they had silenced.
"We shall have plenty of fighting soon, so we'll smoke a cordial cigar together," said Lieutenant Jenna, and at once struck a light and blazed defiance to Milan afresh--an example that was necessarily followed by his comrade. "What has happened to you, Pierson? Of course, I knew you were ready for our bit of play--though you'll hear what I said of you. How the deuce could you think of running off with that opera girl, and getting a fellow in the mountains to stab our merry old Weisspriess, just because you fancied he was going to slip a word or so over the back of his hand in Countess Lena's ear? No wonder she's shy of you now."
"So, that's the tale afloat," said Wilfrid. "Come to my hotel and dine with me. I suppose that cur has driven my luggage there."
Jenna informed him that officers had to muster in barracks every evening.
"Come and see your old comrades; they'll like you better in bad luck-- there's the comfort of it: hang the human nature! She's a good old brute, if you don't drive her hard. Our regiment left Verona in November. There we had tolerable cookery; come and take the best we can give you."
But this invitation Wilfrid had to decline.
He replied: "I've stuck at Meran three months. I did it, in obedience to what I understood from Colonel Zofel to be the General's orders. When I was as perfectly dry as a baked Egyptian, I determined to believe that I was not only in disgrace, but dismissed the service. I posted to Botzen and Riva, on to Milan; and here I am. The least I can do is to show myself here."
"Very well, then, come and show yourself at our table," said Jenna. "Listen: we'll make a furious row after supper, and get hauled in by the collar before the General. You can swear you have never been absent from duty: swear the General never gave you forcible furlough. I'll swear it; all our fellows will swear it. The General will say, 'Oh! a very big lie's equal to a truth; big brother to a fact, or something; as he always does, you know. Face it out. We can't spare a good stout sword in these times. On with me, my Pierson."
"I would," said Wilfrid, doubtfully.
A douse of water from a window extinguished their cigars.
Lieutenant Jenna wiped his face deliberately, and lighting another cigar, remarked--"This is the fifth poor devil who has come to an untimely end within an hour. It is brisk work. Now, I'll swear I'll smoke this one out."
The cigar was scattered in sparks from his lips by a hat skilfully flung. He picked it up miry and cleaned it, observing that his honour was pledged to this fellow. The hat he trampled into a muddy lump. Wilfrid found it impossible to ape his coolness. He swung about for an adversary. Jenna pulled him on.
"A salute from a window," he said. "We can't storm the houses. The time'll come for it--and then, you cats!"
Wilfrid inquired how long this state of things had been going on. Jenna replied that they appeared to be in the middle of it;--nearly a week. Another week, and their, day would arrive; and then!
"Have you heard anything of a Count Ammiani here?" said Wilfrid.
The volume opens with a precise, almost ethnographic description of the Tobacco Riots in Milan, where a young man—later revealed as an Englishman—enters a cigar shop and encounters a woman who keeps her arms under her apron, a gesture of defiance against Austrian rule. The scene immediately establishes a pattern of concealment and public performance: the woman hides the cigar box under a cloak, the crowd howls 'No smoking in Milan,' and the protagonist tosses cigars to the mob as a diversion. This episode, drawn from chapter XXIX, exemplifies Meredith’s method of embedding political conflict in everyday objects and gestures.
The Cigar as a Political Object
The cigar is not merely a prop but a charged symbol of allegiance. In the opening scene, the woman’s refusal to serve openly and the mob’s organized cries—'Abasso il zigarro!'—turn a private act of smoking into a public test of loyalty. The narrative notes that Austrian soldiers and subalterns 'puffed the harder' when confronted, using the cigar as a flag of defiance. This motif recurs: later, Vittoria’s letter to Countess Ammiani is described as 'poorly worded,' and Laura Piaveni’s critique of Vittoria’s praise for the king—'this playing with shades allows men to call us hypocrites'—echoes the earlier tension between concealment and sincerity. The cigar, like the letter, becomes a medium through which political stances are performed and judged.
Movement Between Private and Public Spaces
Meredith structures the narrative through rapid shifts between interior scenes and street action. The tobacco shop, with its hidden transactions and whispered warnings, gives way to the open square where 'bands of the scum of the population' gather and cries are exchanged like 'organized file-firing.' Similarly, Vittoria’s disobedience unfolds in domestic spaces—her letter-writing in Turin, Laura’s scrutiny—but its consequences are felt in the clamorous streets of Brescia, where Carlo reads her words amid 'all Brescia clamouring indignantly.' The volume’s chapter titles—'The Tobacco Riots,' 'The Five Days of Milan,' 'Vittoria Disobeys Her Lover'—underscore this oscillation between intimate rebellion and collective upheaval.
Feminine Perception vs. Masculine Action
The excerpts highlight a gendered contrast in how characters interpret political reality. Vittoria is described as 'petting her idea of the misunderstood one' and 'thinking that she divined the king’s character by mystical intuition,' a mode of understanding that the narrator calls 'maternally apprehended.' Laura, more cynical, dismisses this as 'playing with shades.' Meanwhile, Carlo, reading Vittoria’s letter in Brescia, reacts with 'insufferable anguish' and a demand that her words be 'the echoes of my soul.' The narrative aligns Vittoria’s intuitive, embodied knowledge with the feminine, while Carlo’s response—'the fury of action transformed the gentle youth'—represents a masculine drive toward decisive, often violent, engagement. This tension is not resolved but dramatized through the characters’ conflicting loyalties.
Recurring Imagery of Waiting and Impatience
The volume opens with Anna von Lenkenstein, 'one who could wait for vengeance,' in contrast to Lena, who 'punished on the spot.' This opposition between patience and immediacy threads through the episodes. The tobacco mobs act with spontaneous fury; the polizia 'took counsel and shrugging, evidently too anxious to avoid a collision.' Vittoria’s disobedience is itself a form of waiting—she declines to leave Turin despite Carlo’s command—while Carlo’s response is to 'dash hasty lines' demanding her immediate compliance. The death of Rinaldo Guidascarpi, announced in the chapter title, suggests a culmination of this pattern: the cost of impatience or delay in a revolutionary moment. Meredith uses these temporal contrasts to structure the narrative’s emotional rhythm.
Readers attentive to the volume’s structure will notice how Meredith uses recurring objects—cigars, letters, umbrellas—as nodes where personal and political tensions converge. The movement between interior monologue and collective action is not seamless but deliberately jarring, mirroring the volatility of the 1848 uprisings. This volume rewards close attention to the staging of scenes: the way a character’s gesture (arms under an apron, a tossed cigar) can carry the weight of an entire political stance.
Reading about Vittoria’s stubborn pulse against Carlo’s will, I remembered pacing my own room over a heroine’s choices in The Wanderer; or, Female Difficulties (Volume 5 of 5) — Inside the Classic. Both women move through streets brimming with danger, yet the real rebellion is interior—a quiet refusal to be possessed by love’s demand for obedience. That ache felt familiar, like an old scar warming in rain.
Mia Martinez
1 month agoBenjamin Garcia
2 weeks agoLeo Williams
1 month agoSophia Lopez
2 weeks ago-
Jean Miller - 1 month ago
{'review_type': 'positive', 'text': "George Meredith's 'Vittoria Volume 6' is a masterful continuation of the epic saga set against the backdrop of Italian unification. Meredith's prose is lush and full of wit, and the character of Vittoria is strong and memorable. The political intrigue and personal drama are woven together seamlessly, making this a rewarding conclusion to the series."} -
John Harmon - 3 weeks ago
{'review_type': 'neutral', 'text': "The sixth volume of 'Vittoria' maintains the high literary quality of its predecessors, with rich descriptions and complex characters. However, the intricate plot may be difficult to follow if you haven't read the earlier volumes, and the pacing is occasionally slow. Still, it's a fitting end for devoted readers."} -
Tara Black - 2 weeks ago
{'review_type': 'negative', 'text': "Meredith's prose is notoriously difficult, and 'Vittoria Volume 6' is no exception. The convoluted sentence structures and extreme verbosity make this a challenging read. The plot, which relies heavily on previous volumes, feels incomplete and unsatisfying on its own. I'd only recommend to those already fully invested in the series and tolerant of dense Victorian prose."}
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Alexander Davis
1 week ago