By the Ionian Sea: Notes of a Ramble in Southern Italy — Text and Context
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By the Ionian Sea: Notes of a Ramble in Southern Italy — Text and Context can be approached with a clearer sense of reading commitment from its source measurements: 43,581 words, 3 hr 10 min estimated reading time, and 5 detected text sections.
The text analysis averages about 24.7 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 “Italy, Southern -- Description and travel,” connecting these edition facts with the source record’s subject description.
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Alaric was buried close to the confluence of the Busento and the Crati. If so, he lay in full view of the town. But the Goths are said to have slain all their prisoners who took part in the work, to ensure secrecy. Are we to suppose that Consentia was depopulated? On any other supposition the story must be incorrect, and Alaric's tomb would have to be sought at least half a mile away, where the Busento is hidden in its deep valley.
Gibbon, by the way, calls it Busentinus; the true Latin was Buxentius. To make sure of the present name, I questioned some half a dozen peasants, who all named the river Basenzio or Basenz'; a countryman of more intelligent appearance assured me that this was only a dialectical form, the true one being Busento. At a bookseller's shop (Cosenza had one, a very little one) I found the same opinion to prevail.
It is difficult to walk much in this climate; lassitude and feverish symptoms follow on the slightest exertion; but--if one can disregard the evil smells which everywhere catch one's breath--Cosenza has wonders and delights which tempt to day-long rambling. To call the town picturesque is to use an inadequate word; at every step, from the opening of the main street at the hill-foot up to the stern mediaeval castle crowning its height, one marvels and admires. So narrow are the ways that a cart drives the pedestrian into shop or alley; two vehicles (but perhaps the thing never happened) would with difficulty pass each other. As in all towns of Southern Italy, the number of hair-dressers is astonishing, and they hang out the barber's basin--the very basin (of shining brass and with a semicircle cut out of the rim) which the Knight of La Mancha took as substitute for his damaged helmet. Through the gloom of high balconied houses, one climbs to a sunny piazza, where there are several fine buildings; beyond it lies the public garden, a lovely spot, set with alleys of acacia and groups of palm and flower-beds and fountains; marble busts of Garibaldi, Mazzini, and Cavour gleam among the trees. Here one looks down upon the yellow gorge of the Crati, and sees it widen northward into a vast green plain, in which the track of the river is soon lost. On the other side of the Crati valley, in full view of this garden, begins the mountain region of many-folded Sila--a noble sight at any time of the day, but most of all when the mists of morning cling about its summits, or when the sunset clothes its broad flanks with purple. Turn westward, and you behold the long range which hides the Mediterranean so high and wild from this distance, that I could scarce believe I had driven over it.
Sila--locally the Black Mountain, because dark with climbing forests--held my gaze through a long afternoon. From the grassy table-land of its heights, pasturage for numberless flocks and herds when the long snows have melted, one might look over the shore of the Ionian Sea where Greek craftsmen built ships of timber cut upon the mountain's side. Not so long ago it was a haunt of brigands; now there is no risk for the rare traveller who penetrates that wilderness; but he must needs depend upon the hospitality of labourers and shepherds. I dream of sunny glades, never touched, perhaps, by the foot of man since the Greek herdsman wandered there with his sheep or goats. Somewhere on Sila rises the Neaithos (now Neto) mentioned by Theocritus; one would like to sit by its source in the woodland solitude, and let fancy have her way.
In these garden walks I met a group of peasants, evidently strange to Cosenza, and wondering at all they saw. The women wore a very striking costume: a short petticoat of scarlet, much embroidered, and over it a blue skirt, rolled up in front and gathered in a sort of knot behind the waist; a bodice adorned with needlework and metal; elaborate glistening head-gear, and bare feet. The town-folk have no peculiarity of dress. I observed among them a grave, intelligent type of countenance, handsome and full of character, which may be that of their brave ancestors the Bruttii. With pleasure I saw that they behaved gently to their beasts, the mules being very sleek and contented-looking. There is much difference between these people and the Neapolitans; they seem to have no liking for noise, talk with a certain repose, and allow the stranger to go about among them unmolested, unimportuned. Women above the poorest class are not seen in the streets; there prevails an Oriental system of seclusion.
George Gissing begins his account of a journey through Calabria not with a grand vista but with a complaint about the sirocco wind in Naples, where the colour has gone out of the city. His plan to land at Paola, a place with no special interest, signals a deliberate turn away from tourist itineraries toward the obscure and the difficult. The Neapolitan family he stays with cannot place Paola on a map and regard his project as akin to setting out for Morocco. This opening establishes a persistent tension: Gissing moves through a landscape that his contemporaries consider barbarous and pestilential, yet he finds in its very neglect a source of fascination.
The Doctor and the Chambermaid
At Cotrone, Gissing falls ill and is attended by Dr. Sculco, a figure who embodies the contradictions of the place. The doctor uses polite Italian forms only after Gissing addresses him that way; the local dialect prevails. When Gissing asks for tea, the doctor directs him to the chemist, who supplies a black, crumbling substance like ground charcoal that imparts only a yellowish tinge to hot water. The scene is comic but also revealing: even a simple comfort is unavailable or transformed into something barely recognizable.
More striking is the chambermaid, a boy of about twelve who cleans Gissing's room with brisk efficiency. He knocks before entering, asks after Gissing's health, and bows with comical dignity when thanked. Gissing calls him "the most civilized person I met at Cotrone." The compliment is double-edged: it praises the boy's natural courtesy while indicting the surrounding society. The boy's cheerfulness persists despite the "pestilent climate" that subdues others, including the newspaper boy who falls ill and stops deliveries altogether.
The Landlady's Hands and the Pigeon
Gissing's account of food at Cotrone is a study in failed expectations and bodily disgust. When the landlady suggests a roasted pigeon, he welcomes the idea joyously. The dish arrives savoury, but when she offers to carve it, she takes hold of the bird by the two legs, rends it asunder, tears off the wings, and wipes her hands on her skirt. Gissing adds, with clinical precision, that if her hands had known water or soap during the past twelve months he is much mistaken. He manages to masticate a portion only because hunger compels him.
The passage is not mere complaint. It registers a collision between Gissing's expectations of civilized dining and the realities of a place where water is scarce and hygiene a luxury. The landlady's smile of satisfaction suggests she believes she has done him a kindness. The episode encapsulates a recurring pattern: the traveller's desires meet local practices that are neither malicious nor negligent but simply alien, and Gissing must negotiate his own revulsion without condemning the people outright.
Forms of Civility in a Feverish Town
Throughout the Cotrone chapters, Gissing observes a peculiar etiquette that coexists with squalor. The landlady's son addresses him with the informal "voi" rather than the polite "Lei"; Dr. Sculco uses "Lei" only after Gissing sets the example. Yet when Gissing says "Buon giorno," the doctor replies "Troppo gentile!"—too kind of you. This excess of politeness in one register contrasts with the absence of it in another.
The newspaper boy, after recovering from fever, sits by Gissing's bedside with rain dripping from his hat and mud on his boots to recount his sufferings. The scene is intimate and unguarded; the boy assumes Gissing will want to hear his story. Gissing does not refuse the encounter. These small interactions—the chambermaid's nightly cleaning, the doctor's formal reply, the boy's visit—form the real substance of the narrative. They are not set pieces but observations of how people maintain dignity and connection in a place where fever, poverty, and isolation are the norm.
Gissing's journey is not a quest for picturesque ruins or local colour; it is a record of discomfort, illness, and the slow discovery of human resilience in a neglected corner of Italy. Readers should attend to the small details—the taste of adulterated tea, the gesture of a boy removing his cap—rather than expect dramatic events. The book rewards patience and a willingness to sit with Gissing in his feverish room, watching the rain fall on mud-stained boots.
I finished the Calabria book feeling like I'd walked alongside someone through sun-bleached towns where the past crumbles quietly into the present. It stayed with me—that strange ache of beautiful, broken places. It reminded me of how the Japanese journey in Unbeaten Tracks in Japan — Themes and Context carries a similar loneliness, a traveler's tender distance from what they're witnessing.
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