Vittoria — Volume 7 — Reading Notes
Edition facts
Before opening Vittoria — Volume 7 — Reading Notes, the edition data offers a quick orientation: 31,681 words, 2 hr 18 min estimated reading time, and 3 detected text sections.
The text analysis averages about 16.5 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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Rinaldo had fallen; successive yellowish shots under the rising moonlight, cries from Italian lips, quick words of command from German in Italian, and one sturdy bull's roar of a voice that called across the tumult to the Austro-Italian soldiery, "Venite fratelli!--come, brothers, come under our banner!" She heard "Rinaldo!" called.
This was a second attack of the volunteers for the rescue of their captured comrades. They fought more desperately than on the hill outside the village: they fought with steel. Shot enfiladed them; yet they bore forward in a scattered body up to that spot where Rinaldo lay, shouting for him. There they turned,--they fled.
Then there was a perfect stillness, succeeding the strife as quickly, Vittoria thought, as a breath yielded succeeds a breath taken.
She accused the heavens of injustice.
Pericles, prostrate on the floor, moaned that he was wounded. She said, "Bleed to death!"
"It is my soul, it is my soul is wounded for you, Sandra."
"Dreadful craven man!" she muttered.
"When my soul is shaking for your safety, Sandra Belloni!" Pericles turned his ear up. "For myself--not; it is for you, for you."
Assured of the cessation of arms by delicious silence he jumped to his feet.
"Ah! brutes to fight. It is 'immonde;' it is unnatural!"
He tapped his finger on the walls for marks of shot, and discovered a shot-hole in the wood-work, that had passed an arm's length above her head, into which he thrust his finger in an intense speculative meditation, shifting eyes from it to her, and throwing them aloft.
He was summoned to the presence of Count Karl, with whom he found Captain Weisspriess, Wilfrid, and officers of jagers and the Italian battalion. Barto Rizzo's wife was in a corner of the room. Weisspriess met him with a very civil greeting, and introduced him to Count Karl, who begged him to thank Vittoria for the aid she had afforded to General Schoneck's emissary in crossing the Piedmontese lines. He spoke in Italian. He agreed to conduct Pericles to a point on the route of his march, where Pericles and his precious prima donna--"our very good friend," he said, jovially--could escape the risk of unpleasant mishaps, and arrive at Trent and cities of peace by easy stages. He was marching for the neighbourhood of Vicenza.
A little before dawn Vittoria came down to the carriage. Count Karl stood at the door to hand her in. He was young and handsome, with a soft flowing blonde moustache and pleasant eyes, a contrast to his brother Count Lenkenstein. He repeated his thanks to her, which Pericles had not delivered; he informed her that she was by no means a prisoner, and was simply under the guardianship of friends--"though perhaps, signorina, you will not esteem this gentleman to be one of your friends." He pointed to Weisspriess. The officer bowed, but kept aloof. Vittoria perceived a singular change in him: he had become pale and sedate. "Poor fellow! he has had his dose," Count Karl said. "He is, I beg to assure you, one of your most vehement admirers."
A piece of her property that flushed her with recollections, yet made her grateful, was presently handed to her, though not in her old enemy's presence, by a soldier. It was the silver-hilted dagger, Carlo's precious gift, of which Weisspriess had taken possession in the mountain- pass over the vale of Meran, when he fought the duel with Angelo. Whether intended as a peace-offering, or as a simple restitution, it helped Vittoria to believe that Weisspriess was no longer the man he had been.
The march was ready, but Barto Rizzo's wife refused to move a foot. The officers consulted. She, was brought before them. The soldiers swore with jesting oaths that she had been carefully searched for weapons, and only wanted a whipping. "She must have it," said Weisspriess. Vittoria entreated that she might have a place beside her in the carriage. "It is more than I would have asked of you; but if you are not afraid of her," said Count Karl, with an apologetic shrug.
Her heart beat fast when she found herself alone with the terrible woman.
Till then she had never seen a tragic face. Compared with this tawny colourlessness, this evil brow, this shut mouth, Laura, even on the battle-field, looked harmless. It was like the face of a dead savage. The eyeballs were full on Vittoria, as if they dashed at an obstacle, not embraced an image. In proportion as they seemed to widen about her, Vittoria shrank. The whole woman was blood to her gaze.
When she was capable of speaking, she said entreatingly:
"I knew his brother."
Not a sign of life was given in reply.
The smoke of a pistol-shot thinned away while there was yet silence.” This line opens a sequence in which Vittoria perceives a dead man and a towering female figure as if stamped on an illuminated copper medallion. Meredith’s prose here is deliberately disorienting, filtering violent action through Vittoria’s stunned senses. The catalog subjects list “War stories” and “Italy – History – Revolution of 1848,” but the excerpts dwell less on strategic events than on intimate, fragmented moments: a shot-hole examined with “intense speculative meditation,” a character moaning that his soul is wounded “for you.” The historical revolt serves as a backdrop for personal crises.
Perception and Disorientation in Combat
The excerpts repeatedly foreground how characters see violence rather than simply experiencing it. When Vittoria watches fighting, she “could in fact see no distinct thing” beyond an “illuminated copper medallion.” The simile transforms a skirmish into a static, distant image. Later, Pericles thrusts his finger into a shot-hole “in an intense speculative meditation,” shifting his eyes from it to Vittoria. These moments suggest that the narrative is as concerned with the act of perceiving war as with the war itself. The catalog’s “War stories” label is accurate, but the excerpts show a war rendered through subjective, almost painterly impressions rather than tactical clarity.
Promises, Secrecy, and the Strain of Betrothal
Carlo demands Vittoria’s promise “that you will not meddle with any intrigue.” She gives it, but wonders “Why am I to pledge myself that I will be useless?” Their exchange reveals a relationship strained by Carlo’s secret activities: “I can be struck vitally through you. In the game I am playing, I am able to defend myself. If you enter it, distraction begins.” Vittoria is left in the dark, her courage undermined by ignorance. Laura later criticizes Carlo’s vanity, claiming Violetta d’Isorella “inflamed his vanity” by hinting at inside knowledge of Sardinia’s plans. The excerpts thus present betrothal as a site of withheld information and gendered power, not romantic harmony.
Operatic Emotion and the Landscape as Character
Vittoria communes with the score of an operatic scena titled “HAGAR,” by Rocco Ricci, and “revelled in the delicious vocal misery.” She projects Hagar’s sorrow onto the mountain Motterone, which “supplied the place of the robust and venerable patriarch.” The landscape becomes a living presence, absorbing her feelings of “subjected love” and “cruel injustice.” This intertwining of opera, emotion, and setting is a distinctive feature of the excerpts. The catalog’s “Modern History Fiction” category might suggest a focus on political events, but here the narrative turns inward, using art and nature to articulate Vittoria’s inner state.
Readers approaching Volume 7 should attend to how Meredith uses sensory fragmentation—blurred sights, sudden silences, symbolic objects—to convey psychological states. The historical revolt of 1848 is less a plot driver than a pressure system that exposes characters’ vulnerabilities. The excerpts offer no resolution; they end mid-scene, with Vittoria’s fate and the campaign’s outcome unresolved. This volume rewards close attention to its prose rhythms and to the way characters’ perceptions shape the world they inhabit.
Reading Meredith’s Vittoria, I kept returning to the dusty, personal cost of history—how a barricade is just a street where someone used to buy bread. That quiet ache reminded me of Scott’s Old Mortality, Complete — Edition Insights, where the old wars are remembered less for their causes than for the faces left behind. Both felt like letters from a forgotten afternoon.
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