Colomba — A Reader’s Guide
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The source record for Colomba — A Reader’s Guide measures this digital text at 53,149 words, 3 hr 52 min estimated reading time, and 7 detected text sections.
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“These French soldiers all have a good appearance,” remarked the colonel in English to his daughter, “and so it is easy to turn them into officers.” Then addressing the young man in French, he said, “Tell me, my good man, what regiment have you served in?” The young man nudged his second cousin’s godson’s father gently with his elbow, and suppressing an ironic smile, replied that he had served in the Infantry of the Guard, and that he had just quitted the Seventh Regiment of Light Infantry.
“Were you at Waterloo? You are very young!”
“I beg your pardon, colonel, that was my only campaign.”
“It counts as two,” said the colonel.
The young Corsican bit his lips.
“Papa,” said Miss Lydia in English, “do ask him if the Corsicans are very fond of their Buonaparte.”
Before the colonel could translate her question into French, the young man answered in fairly good English, though with a marked accent:
“You know, mademoiselle, that no man is ever a prophet in his own country. We, who are Napoleon’s fellow-countrymen, are perhaps less attached to him than the French. As for myself, though my family was formerly at enmity with his, I both love and admire him.”
“You speak English!” exclaimed the colonel.
“Very ill, as you may perceive!”
Miss Lydia, though somewhat shocked by the young man’s easy tone, could not help laughing at the idea of a personal enmity between a corporal and an emperor. She took this as a foretaste of Corsican peculiarities, and made up her mind to note it down in her journal.
“Perhaps you were a prisoner in England?” asked the colonel.
“No, colonel, I learned English in France, when I was very young, from a prisoner of your nation.”
Then, addressing Miss Nevil:
“Mattei tells me you have just come back from Italy. No doubt, mademoiselle, you speak the purest Tuscan--I fear you’ll find it somewhat difficult to understand our dialect.”
“My daughter understands every Italian dialect,” said the colonel. “She has the gift of languages. She doesn’t get it from me.”
“Would mademoiselle understand, for instance, these lines from one of our Corsican songs in which a shepherd says to his shepherdess:
“S’entrassi ‘ndru paradisu santu, santu, E nun truvassi a tia, mi n’escriria.”
(“If I entered the holy land of paradise and found thee not, I would depart!”)
--_Serenata di Zicavo_.
Miss Lydia did understand. She thought the quotation bold, and the look which accompanied it still bolder, and replied, with a blush, “Capisco.”
“And are you going back to your own country on furlough?” inquired the colonel.
“No, colonel, they have put me on half-pay, because I was at Waterloo, probably, and because I am Napoleon’s fellow-countryman. I am going home, as the song says, low in hope and low in purse,” and he looked up to the sky and sighed.
The colonel slipped his hand into his pocket, and tried to think of some civil phrase with which he might slip the gold coin he was fingering into the palm of his unfortunate enemy.
“And I too,” he said good-humouredly, “have been put on half-pay, but your half-pay can hardly give you enough to buy tobacco! Here, corporal!” and he tried to force the gold coin into the young man’s closed hand, which rested on the gunwale of the gig.
The young Corsican reddened, drew himself up, bit his lips, and seemed, for a moment, on the brink of some angry reply. Then suddenly his expression changed and he burst out laughing. The colonel, grasping his gold piece still in his hand, sat staring at him.
“Colonel,” said the young man, when he had recovered his gravity, “allow me to offer you two pieces of advice--the first is never to offer money to a Corsican, for some of my fellow-countrymen would be rude enough to throw it back in your face; the second is not to give people titles they do not claim. You call me ‘corporal,’ and I am a lieutenant--the difference is not very great, no doubt, still----”
“Lieutenant! Lieutenant!” exclaimed Sir Thomas. “But the skipper told me you were a corporal, and that your father and all your family had been corporals before you!”
At these words the young man threw himself back and laughed louder than ever, so merrily that the skipper and his two sailors joined the chorus.
The novel opens with a sardonic portrait of Miss Lydia Nevil, a jaded English tourist who dismisses Italy's wonders because other travellers have already sketched them. Her father, Colonel Sir Thomas Nevil, adopts her ennui as his own. This ironic, detached tone—complete with a narrator who claims he once understood fashionable phrases but now cannot—sets up a sharp contrast with the raw, ritualistic world of Corsican vendetta that follows. The shift in register is abrupt: from the hotel lounges of Marseilles to a mountain village where a woman's improvised song can serve as a public indictment.
Narrative Voice and the Tourist's Lens
The early chapters are narrated with a knowing, almost flippant irony. Miss Lydia's dissatisfaction is described as a fashionable pose: she belongs to the party of opposition, deliberately censuring everything because it is too tiresome to see everything. The narrator distances himself from her jargon, remarking that he once understood phrases like “local colour” but now cannot. This creates a layered voice—partly mocking the heroine, partly mocking the reader's own expectations of exoticism. The colonel, who sees through his daughter's eyes, becomes a comic figure of vicarious boredom. Yet this urbane tone does not last. Once the action moves to Corsica, the prose tightens, the descriptions grow more concrete, and the narrator's ironic asides fade. The reader is left to gauge the distance between the tourist's superficial judgments and the violent realities that await.
The Ballata as a Weapon of Public Accusation
Colomba's improvised ballata is the novel's most striking set piece. The excerpt shows her performing before a crowd, her voice growing hoarse, her face turning pale as she sees her father's enemy enter. The song is not mere lament; it is a calculated act of accusation. She compares the murdered man to a hawk whose nest has been harried, and the starlings that flutter round him to the insulting bystanders. The metaphor is so pointed that the two young men who have just arrived laugh—a reaction that only intensifies her vehemence. The final lines shift from third-person narrative to direct address: “Now, to thee, Carlo-Battista, let thy friends bid an eternal farewell!” Then the orphan speaks of her own father, “overtaken by vile murderers, struck from behind.” The blood she has gathered is to be poured out as a deadly poison over Pietranera, until the guilty blood wipes out the innocent. The performance transforms private grief into public threat, and the crowd's silence—broken only by sighs and sobs—shows its power.
Pace and the Intrusion of the Past
The novel's pacing is governed by the gradual encroachment of Corsican history upon the present. The opening chapters amble through tourist anecdotes; the middle sections accelerate as Orso returns to his native village and confronts the Barricini family. The ballata scene marks a turning point: the prefect's arrival with the lawyer Barricini and his sons brings the vendetta into the open. Orso, hidden in a dark corner, weeps “as heartily as Pietri's own son”—a detail that underscores how the past overwhelms him. The narrative does not explain Orso's emotions; it simply registers his physical reaction. From this point, the pace becomes more urgent, with shorter paragraphs and more dialogue. The reader, like Orso, is drawn into a world where a song can be a summons to bloodshed, and where the slightest gesture—a laugh, a glance—carries lethal weight.
Readers should attend to the way Mérimée uses the narrator's changing tone as a barometer of the story's gravity. The early irony is not discarded but rather held in suspension, allowing the Corsican episodes to feel all the more stark. Colomba herself remains an enigma: her motives are clear, but her methods—improvisation, public performance, the manipulation of symbols—invite scrutiny. The novel rewards attention to the gaps between what characters say aloud and what the narrator chooses to reveal.
Reading about Colomba's ballad as a weapon brought back a summer afternoon I once spent lost in the static of a crowded pilgrimage, the murmur of prayers blending into a single, human voice. That same quiet, tense undercurrent of public ritual and private pain lingers in The Three Cities Trilogy: Lourdes, Volume 5 — A Reader’s Guide, which made me think of how belief and accusation both travel through crowds.
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