Vittoria — Volume 8 — Key Ideas to Explore

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Meredith, George, 1828-1909 Project Gutenberg 2003 Not confirmed
Historical fiction; War stories; Italy -- History -- Revolution of 1848 -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

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Words 35,083
Reading time 153 min
Text sections 3

The catalog record for Vittoria — Volume 8 — Key Ideas to Explore provides practical reading context through 35,083 words, 2 hr 33 min estimated reading time, and 3 detected text sections.

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This volume of Meredith's Vittoria follows Wilfrid and Weisspriess through Milan and Monza, where a dropped eagle feather leads to a clandestine encounter, and Carlo Ammiani confronts betrayal accusations against Countess d'Isorella, with narrative pace shifting from tense silence to rapid revelation.
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Weisspriess said that he should quit Italy at once; he had here to skewer the poor devils, one or two weekly, or to play the mightily generous; in short, to do things unsoldierly; and he was desirous of getting away from the country. General Schoneck was at Monza, and might arrange the matter for them both. Promotion was to be looked for in Hungary; the application would please the General; one battle would restore the lieutenant's star to Wilfrid's collar. Wilfrid, who had been offended by his companion's previous brooding silence, nodded briefly, and they stopped at Monza, where they saw General Schoneck in the morning, and Wilfrid being by extraordinary favour in civilian's dress during his leave of absence, they were jointly invited to the General's table at noon, though not to meet any other officer. General Schoneck agreed with Weisspriess that Hungary would be a better field for Wilfrid; said he would do his utmost to serve them in the manner they wished, and dismissed them after the second cigar. They strolled about the city, glad for reasons of their own to be out of Milan as long as the leave permitted. At night, when they were passing a palace in one of the dark streets, a feather, accompanied by a sharp sibilation from above, dropped on Wilfrid's face. Weisspriess held the feather up, and judged by its length that it was an eagle's, and therefore belonging to the Hungarian Hussar regiment stationed in Milan. "The bird's aloft," he remarked. His voice aroused a noise of feet that was instantly still. He sent a glance at the doorways, where he thought he discerned men. Fetching a whistle in with his breath, he unsheathed his sword, and seeing that Wilfrid had no weapon, he pushed him to a gate of the palace-court that had just cautiously turned a hinge. Wilfrid found his hand taken by a woman's hand inside. The gate closed behind him. He was led up to an apartment where, by the light of a darkly-veiled lamp, he beheld a young Hungarian officer and a lady clinging to his neck, praying him not to go forth. Her Italian speech revealed how matters stood in this house. The officer accosted Wilfrid: "But you are not one of us!" He repeated it to the lady: "You see, the man is not one of us!"

She assured him that she had seen the uniform when she dropped the feather, and wept protesting it.

"Louis, Louis! why did you come to-night! why did I make you come! You will be slain. I had my warning, but I was mad."

The officer hushed her with a quick squeeze of her inter-twisted fingers.

"Are you the man to take a sword and be at my back, sir?" he said; and resumed in a manner less contemptuous toward the civil costume: "I request it for the sole purpose of quieting this lady's fears."

Wilfrid explained who and what he was. On hearing that he was General Pierson's nephew the officer laughed cheerfully, and lifted the veil from the lamp, by which Wilfrid knew him to be Colonel Prince Radocky, a most gallant and the handsomest cavalier in the Imperial service. Radocky laughed again when he was told of Weisspriess keeping guard below.

"Aha! we are three, and can fight like a pyramid."

He flourished his hand above the lady's head, and called for a sword. The lady affected to search for one while he stalked up and down in the jaunty fashion of a Magyar horseman; but the sword was not to be discovered without his assistance, and he was led away in search of it. The moment he was alone Wilfrid burst into tears. He could bear anything better than the sight of fondling lovers. When they rejoined him, Radocky had evidently yielded some point; he stammered and worked his underlip on his moustache. The lady undertook to speak for him. Happily for her, she said, Wilfrid would not compromise her; and taking her lover's hand, she added with Italian mixture of wit and grace: "Happily for me, too, he does. The house is surrounded by enemies; it is a reign of terror for women. I am dead, if they slay him; but if they recognize him, I am lost."

The eighth volume of George Meredith's Vittoria opens with a scene of strained silence: Weisspriess and Wilfrid travel toward Milan, smoking and barely speaking, until a single attempt at conversation touches on Vittoria's marriage. The narrative voice here is clipped, withholding, matching the characters' mutual wariness. When they reach Monza, the pace shifts abruptly as a feather—an eagle's, from a Hungarian Hussar uniform—drops on Wilfrid's face, triggering a chain of covert encounters. Meredith uses this small, physical detail to pivot from brooding introspection to sudden action, a pattern that recurs throughout the volume.

Silence as a Narrative Device

Meredith repeatedly deploys silence to signal emotional or strategic withholding. The opening paragraph notes that Weisspriess and Wilfrid travel "silently smoking, after one attempt at conversation." This is not mere description; it establishes a rhythm where what is unsaid carries as much weight as dialogue. Later, Carlo Ammiani, after a tense interview with Merthyr, "stretched his arms like a man who cannot hide the yawning fit"—a gesture that feigns indifference while covering distress. The narrator refrains from explaining Carlo's motives, leaving readers to infer from physical cues. This technique creates a layered reading experience, where the surface action (smoking, yawning) belies deeper currents of suspicion and grief.

The Feather and the Gate: Sudden Intrusions

A dropped feather, a gate that "cautiously turned a hinge," a woman's hand in the dark—Meredith introduces objects and thresholds that abruptly alter the story's course. The feather is identified by its length as an eagle's, linking it to the Hungarian Hussar regiment, and Weisspriess's remark "The bird's aloft" immediately triggers a noise of feet. These intrusions are not merely plot devices; they reflect the novel's concern with surveillance and hidden networks. The gate that opens for Wilfrid leads to a scene of a Hungarian officer and his Italian lover, a microcosm of the larger political and personal entanglements. Meredith's prose here becomes rapid, almost breathless, contrasting with the earlier measured pace.

Confrontation and Self-Indictment

The volume's most intense sequence occurs when Merthyr accuses Carlo of being betrayed by Countess d'Isorella. Carlo's response is a studied performance: he "locked the door, and leading Merthyr to an inner room, laid his watch on the table" before delivering a confession that is also a self-indictment. His speech—"I am going to do execution upon myself"—is theatrical, yet the narrative undercuts it by noting he "was careful to hide his face." Meredith allows Carlo to explain his motives (vanity, a past attachment to Violetta) while leaving ambiguity about his true feelings. The scene builds through a series of revelations—overheard conversations, a burnt letter, the phrase "mercenary Italian"—each adding pressure until Carlo's confession, which is both a climax and a deferral of resolution.

Readers should attend to how Meredith uses objects—a feather, a watch, a gate—as pivot points that alter narrative momentum. The volume's structure, moving from silent travel to whispered accusations, rewards careful attention to what characters do not say. The excerpts leave Carlo's fate and the Brescian plot unresolved, but the patterns of concealment and sudden disclosure established here are central to the novel's method.

There’s something about those quiet stretches in Vittoria—the dropped feather, the held breath in Milan—that reminds me how suspense hides in small things. It felt familiar, the way old stories do. That same unhurried dread lingers in Valperga Volume 2 (of 3) or, The life and adventures of Castruccio, prince of Lucca — Inside the Classic, where ambition waits in shadows, patient. I remember reading both, thinking how rarely honesty wears so quiet a face.

William Lopez
2 weeks ago

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5 out of 5 (1 User reviews )

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  • ...
    Ashley Glover - 3 weeks ago
    "Vittoria Volume 8" is a masterful continuation that plunges readers back into the heart of 19th-century Italy with vivid prose and intricate political intrigue. The character development is exceptional, especially Vittoria's evolution as she navigates love and revolution. The pacing is perfect, balancing intense action with quieter, poignant moments. This volume leaves you breathless and desperate for the next installment. A must-read for historical fiction lovers who crave depth and authenticity.

  • ...
    Abigail Simmons - 2 weeks ago
    While "Vittoria Volume 8" has its moments, it suffers from a sluggish middle section that could have been tightened. The protagonist's constant introspection slows the narrative, and some secondary characters lack depth. The historical setting is well-researched but occasionally overshadows the story's emotional core. For a series finale, it feels more like a bridge to another book, leaving major questions unanswered. Dedicated fans may persist, but casual readers might find it a chore.

  • ...
    Heather Nguyen - 1 week ago
    "Vittoria Volume 8" delivers a solid continuation with strong historical detail and a compelling heroine. The political machinations keep the plot engaging, and the author's attention to period accuracy is commendable. However, some subplots feel slightly drawn out, and the ending, while satisfying, hints at unresolved threads that might frustrate readers seeking closure. Still, it's a worthy addition to the series, especially for those invested in Vittoria's journey.


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