Roman Holidays, and Others — Reading Notes

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In Category - Exploration
Howells, William Dean, 1837-1920 Project Gutenberg 2005 Not confirmed
Italy -- Description and travel; Rome (Italy) -- Description and travel Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 100,634
Reading time 438 min
Text sections 11

Before opening Roman Holidays, and Others — Reading Notes, the edition data offers a quick orientation: 100,634 words, 7 hr 18 min estimated reading time, and 11 detected text sections.

The text analysis averages about 37.4 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 -- Description and travel,” connecting these edition facts with the source record’s subject description.

Howells's travelogue of Italy and Madeira, blending vivid descriptions of landscapes with sharp observations of local customs, such as a Naples street fight where a carabiniere hesitates to intervene, revealing cultural attitudes toward law and public spectacle.
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Editorial Edition Score 4.9/5

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There were breadths of dark woodland aloft on this mountain, and terraced vineyards lower down; and on the shelving plateaus yet farther from the heights that lost themselves in the clouds there were scattered white cottages; on little levels close to the sea there were set white villas. These, as the ship coquetted with the vagaries of the shore, thickened more and more, until after rounding a prodigious headland we found ourselves in face of the charming little city of Funchal: long horizontal lines of red roofs, ivory and pink and salmon walls, evenly fenestrated, with an ancient fortress giving the modern look of things a proper mediaeval touch. Large hotels, with the air of palaces, crowned the upland vantages; there were bell-towers of churches, and in one place there was a wide splotch of vivid color from the red of the densely flowering creeper on the side of some favored house. There was an acceptable expanse of warm brown near the quay from the withered but unfailing leaves of a sycamore-shaded promenade, and in the fine roadstead where we anchored there lay other steamers and a lead-colored Portuguese war-ship. I am not a painter, but I think that here are the materials of a water-color which almost any one else could paint. In the hands of a scene-painter they would yield a really unrivalled drop-curtain. I stick to the notion of this because when the beautiful goes too far, as it certainly does at Madeira, it leaves you not only sated but vindictive; you wish to mock it.

The afternoon saddened more and more, and one could not take an interest in the islanders who came out in little cockles and proposed to dive for shillings and sixpences, though quarters and dimes would do. The company's tender also came out, and numbers of passengers went ashore in the mere wantonness of paying for their dinner and a night's lodging in the annexes of the hotels, which they were told beforehand were full. The lights began to twinkle from the windows of the town, and the dark fell upon the insupportable picturesqueness of the prospect, leaving one to a gayety of trooping and climbing lamps which defined the course of the streets.

The morning broke in sunshine, and after early breakfast the launches began to ply again between the ship and the shore and continued till nearly all the first and second cabin people had been carried off. The people of the steerage satisfied what longing they had for strange sights and scenes by thronging to the sides of the steamer until they gave her a strong list landward, as they easily might, for there were twenty-five hundred of them. At Madeira there is a local Thomas Cook & Son of quite another name, but we were not finally sure that the alert youth on the pier who sold us transportation and provision was really their agent. However, his tickets served perfectly well at all points, and he was of such an engaging civility and personal comeliness that I should not have much minded their failing us here and there. He gave the first charming-touch of the Latin south whose renewed contact is such a pleasure to any one knowing it from the past. All Portuguese as Funchal was, it looked so like a hundred little Italian towns that it seemed to me as if I must always have driven about them in calico-tented bullock-carts set on runners, as later I drove about Eunchal.

It was warm enough on the ship, but here in the town we found ourselves in weather that one could easily have taken for summer, if the inhabitants had not repeatedly assured us that it was the season of winter, and that there were no flowers and no fruits. They could not, if they had wished, have denied the flies; these, in a hotel interior to which we penetrated, simply swarmed. If it was winter in Funchal it was no wintrier than early autumn would have been in one of those Italian towns of other days; it had the same temperament, the same little tree-planted spaces, the same devious, cobble-paved streets, the same pleasant stucco houses; the churches had bells of like tone, and if their facades confessed a Spanish touch they were not more Spanish than half the churches in Naples. The public ways were of a scrupulous cleanliness, as if, with so many English signs glaring down at them, they durst not untidy out-of-doors, though in-doors it was said to be different with them. There are three thousand English living at Funchal and everybody speaks English, however slightly. The fresh faces of English girls met us in the streets and no doubt English invalids abound.

Howells opens his account of Madeira by comparing the island's actual landscape to a theatrical drop-curtain, noting that no stage design could match the "misty tops and shadowy clefts and frowning cliffs" he sees from the ship. This theatrical metaphor sets the tone for a travel narrative that is as much about perception as place.

The book's structure—moving from Madeira through Spain to Genoa, Naples, Pompeii, and Rome—follows a tourist's itinerary, but Howells's attention repeatedly shifts from monuments to manners. In Naples, he devotes several pages to a street brawl, describing the crowd's reluctance to intervene and a carabiniere who gingerly observes rather than stops the fight. Such episodes suggest that Howells is less interested in cataloging sights than in capturing the social fabric of the places he visits.

Theatrical Landscapes and the Tourist Gaze

Howells frames his first impressions of Madeira in explicitly theatrical terms: the island's cliffs and cataracts appear as a "drop-curtain" more richly imagined than any stage production. This conceit recurs throughout the book, as when he describes the Colosseum or the Bay of Naples as scenes that seem staged for the visitor. Yet he also undercuts the tourist's tendency to aestheticize poverty and disorder. In Naples, the "joyful noise" of the title is rendered with ambivalence—the city's vitality is inseparable from its chaos. Howells notes that the cabmen who fought in the street were later dismissed by a local as engaging in "chiacchiere di donnicciuole" (clatter of little old women), a phrase that reveals how Neapolitans themselves trivialize what outsiders find dramatic.

Law, Order, and the Reluctant Carabiniere

One of the most detailed episodes in the excerpts is a street fight in Naples, which Howells observes with the eye of a novelist. He describes the combatants—a fat, elderly man and a younger opponent—and the crowd that surrounds them, including cabmen who drive "in concentric circles and irregular ellipses." The carabiniere, a soldier-policeman, does not intervene; he merely touches the shoulders of onlookers and lifts himself on tiptoe to see if the fight has stopped. When Howells later asks an Italian gentleman why the officer did not act, the reply is simply: "They had knives." Howells contrasts this with the "brute locust of an Irish policeman" who would have made short work of the fighters. The episode reveals a cultural gap in expectations of public order, and Howells uses it to question the effectiveness of Italian law enforcement without resorting to caricature.

The Limits of Honesty with Antiquity

In the section titled "An Effort to Be Honest with Antiquity," Howells grapples with the difficulty of seeing Roman ruins as they are, rather than as romanticized by literature and art. He notes that the Forum and Colosseum are so encrusted with historical association that the modern visitor can hardly perceive them directly. This self-awareness distinguishes his travelogue from more conventional guides. Howells does not pretend to have unmediated access to the past; instead, he records his own struggles to reconcile what he sees with what he has read. The result is a meditation on the tourist's condition—always aware that one's experience is shaped by prior representations. This theme ties together the disparate locations of the book, from Madeira to Pompeii, as Howells consistently questions whether any landscape can be seen fresh.

Readers should approach Roman Holidays, and Others not as a practical guide but as a literary travelogue in which the author's personality and cultural commentary are as important as the destinations. Howells's eye for detail—the reluctant carabiniere, the theatrical Madeira coast, the Neapolitans who dismiss a brawl as trivial—makes the book a record of how an American writer processed Europe at the turn of the century. The excerpts suggest that the catalog subjects "Italy—Description and travel" and "Rome—Description and travel" only partially capture the book's content, which also includes Madeira, Spain, and a persistent interest in social observation over monument description.

Reading Howells’s hesitation in Naples—that carabiniere pausing before a crowd’s spectacle—I remembered my own idle afternoon tracing old maps. That same thrill of watching law bend to custom surfaced in the Journal of an African Cruiser Comprising Sketches of the Canaries, the Cape De Verds, Liberia, Madeira, Sierra Leone, and Other Places of Interest on the West Coast of — Key Ideas to Explore, where distant ports blurred order and performance. Both merely documented, never judged—leaving me to sit quietly with the residue.

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