GREAT ITALIANS AND HUMBLE IMMIGRANTS

 

From time to time I stumble upon a list of associations started by Italian immigrants in this country. As I read them I find them moving and at the same time I smile at their innocent naďveté.

It’s a repeat of the same impression I felt when I first arrived here, when, during the colonial banquets, someone would recite a list of names of Great Old Italians mixed together in a random fantasia as if they had been pulled from a hat by the hand of a child, like bingo numbers; and mixed together with no apparent logic. My impression was that those names were like a shield and a consolation; the same way for a thousand years the name of Rome (the imperial Rome of Caesar[1] and Scipio[2]) was a shield and a consolation for Italians after so many lost wars and so many tragedies of foreign invasions and subjugation. As happens to impoverished aristocratic families that still keep alive the memories of powerful and rich ancestors when money gets tight and the daughter must marry a vulgar nouveau riche, the names of forefathers serve a special purpose. However, after attending many colonial banquets I realized that the immigrant clubs were not named only after Dante Alighieri, Cristoforo Colombo, Leonardo da Vinci, Giuseppe Verdi[3] and Arturo Toscanini[4] (kneading in the same batch creators and performers). Many of these associations’ names are also defensive, but in a different sense. They document the culture and ideals of the immigrants of the old days, and as such, they are a text worthy of study.

I wrote to the “Supreme Recording Secretary” (equivalent to chief archivist) of the largest national organization, the Sons of Italy (in English: Order of the Sons of Italy. This name gives a better sense of the concept of brotherhood than the Italian word associazione.) Mr. Joseph Errigo, a lawyer from Wilmington, Delaware, was very courteous and helpful. In a few days my office desk was buried under lists of names of lodges. (One should not worry that those lodges may be similar to what in Italy are the Masonic lodges. [5])  In addition to those lists, I made sure I also researched the minutes of meetings of various associations in the Tri-state Area (New York, New Jersey and Connecticut) published over the course of an entire year in one of the Italian-language newspapers. This is not a comprehensive inventory covering the whole country, obviously. I have no idea what associations exist in the Midwest, in Oregon, in the Northwest, in California or in the southwest. Nor do I know their names. However, I think this is a fairly representative sample. One could presume that, since Italian immigrants came from the same regions of Italy and encountered similar situations, they must have manifested resistance to the new environment more or less in the same way.

The overall impression one derives from this picture is that all the organizations of Italians in the United States were conceived with the purpose of preservation.

An orange wedge taken from the fruit and left in the open almost instantly develops a rind to preserve the internal moisture. Similarly, the wedges of Italian immigration’s waves, after they had been separated from the mother countryabout which they knew nothing or close to nothingformed a defensive shield. The associations were all created for preservation, each one of them in a distinct form, for each one had something different to preserve in its own environment. Some associations were named after the location in which they were founded. Here, nostalgia for Italy was kept at bay. Springfield, Roslindale, Medford, Roxbury… Was it indifference or fear that made them ignore Italy? Was the need not to appear foreigner so strong in those immigrants? In the associations that chose an Italian name the preservation motive is quite apparent. Naturally, many were named after Columbus. It’s understandable. When Americans badmouth Italy, Italians respond: “Without Christopher Columbus you wouldn’t even exist…” After Columbus, Dante Alighieri is rather popular, although, for sure most of the members know the name and nothing else. And then, Francesco Petrarca,[6] Torquato Tasso[7] and, curiously, even Beatrice Portinari,[8] maybe for a women’s lodge that wanted to be connected with the Divino Poeta.[9] I did not find Laura,[10] and I am quite happy about that.

 The Risorgimento sector is rather well represented with Risorgimento Italico (a term that gives it an 1880 flavor, or maybe a D’Annunzio[11] flavor.) I found a club dedicated to the Four Heroes[12] (of course we know who they are, but if I asked the members, wouldn’t it be a bit mischievous?) Then I found the Bandiera brothers,[13] many Garibaldi,[14] a few Mazzini[15] (and this proportion is natural for Italians). Among the other names there is Anita Garibaldi[16] (it is easy to understand Italians’ attraction for the personage of a woman who dies for her man); and even Adelaide Cairoli[17] (and this is very, very anti-conformist);, but also Massimo D’Azeglio[18] (I really cannot understand how his name ended up here. Maybe it was some Piedmontese immigrant who chose it. It sorts of bothers me that a hypocrite like him should be honored and remembered here.) [In the footnote: “This comment caused quite a surprise in some readers, even educated ones, who had never considered the contradictions between D’Azeglio’s moralistic principles about marriage in his book I miei ricordi (1899) and his libertine conduct in two marriages.”]

In addition to the early Risorgimento period, the final phase of the movement is also remembered with several lodges founded after 1918 and named after Guglielmo Oberdan[19], Nazario Sauro[20] and Cesare Battisti.[21]

One of these associations is named after Francesco De Sanctis.[22] I happen to know some of the members of this club: they are very good people. They chose that name because the famous literary critic was the most illustrious son of the town where they also were born. They chose him because he was a paesano, but they could not care less about helping a student of mine who was working on a dissertation on his work. Wreaths, gala, dinners and speeches? Yes. Books and dissertations? Never.

Just imagine now what these names mean in America. What does an American think when he hears those names? To him they are sounds and nothing else. Yet, to the immigrants they have a meaning, though not the same meaning they have in Italy. They are myths, like the names of saints, symbols of a vague greatness needed to compete with the greatness of America.

 

New York, May 4, 1961


 

[1] Gaius Julius Caesar (100-44 BCE). Known simply as Caesar, he is Ancient Rome’s best known military and political leader. He was also a historian of his own military victories. He was assassinated before he could name himself supreme dictator of the empire.

[2] Publius Cornelius Scipio Africanus (236-184 BCE). Roman general regarded as one of the greatest strategists of ancient times. He defeated Hannibal in the final battle of Zama, in Tunisia in 202 BCE.

[3] Giuseppe Verdi (1813-1901). One of the greatest music composers of all times, he is best known for his lyrical operas. Among them are masterpieces such as Aida, Il trovatore, La traviata, Otello, Falstaff and Rigoletto.

[4] Arturo Toscanini (1867-1957). One of the highest acclaimed orchestra conductors of all times. In 1949 he was offered the ultimate honor by the Italian republic: the appointment to the senate as Senatore a vita (Lifetime Senator). He declined. He was the first of only two Italians to do so (the other was journalist Indro Montanelli.)

[5] In Italian the term loggia —with the meaning of club or association chapter—refers almost exclusively to a chapter of the Free Masons, an association and lobbying power that for centuries has been condemned by the Catholic Church and secular governments. In the last half a century some logge have been at the center of sordid political and financial scandals.

[6] Francesco Petrarca ( 1304-1374). Poet, inventor of the sonet. With Dante and Giovanni Boccaccio he is one of the three great writers of the thirteenth and forteenth centuries, who, working separately but with a similar agenda, created the basis for a common Italian literary language.

[7] Torquato Tasso ( 1544-1595). Author of Gerusalemme liberata (1581) [Gerusalem Delivered], the last of the great epic poems of Italian literature.

[8] Beatrice Portinari (1266-1290).  She was Dante’s muse and the famous Beatrice of the Divine Comedy who guides the writer through Purgatory and Paradise.

[9] In Italy Dante is known as il Divino Poeta or il Sommo Poeta.

[10] Laura was Petrarch’s muse, the woman for whom he wrote his love poems.

[11] Gabriele D’Annunzio (1863-1938). Famous poet, writer and rebel rouser. He dominated the Italian literary scene and the gossip columns for half a century. His style was usually overabundant, particularly in his narrative works; and attracted a huge following of admirers as well as very large number of detractors, Prezzolini among them.

[12] King Vittorio Emanuele II; Prime Minister Camillo Benso, Count of Cavour; General Giuseppe Garibaldi; Giuseppe Mazzini.

[13] Attilio Bandiera (1810-1844) and Emilio Bandiera (1819-1844). Born in Venice, the two brothers were officers in the Austrian navy when their city and the Veneto region were part of the Austro-Hungarian empire. They became involved in the independence movement. Betrayed by informers, they were captured and executed by a firing squad.

[14] Giuseppe Garibaldi (1807-1882). Italy’s national hero. Political and military leader, he was one of the major figures of  Italy’s unification with his band of volunteers, the Camicie Rosse [Red Shirts]. He also fought in in Brazil and Uruguay on the side of rebels seeking independence from European powers. He gained the appellative Hero of Two Worlds.

[15] Giuseppe Mazzini (1805-1872 ). Philosoper and political thinker, he was one of the most authoritative proponents of the unification of Italy as a republic, against the existing monarchy. He organized plots and rebellions with very little success. He died in exile in London.

[16] Anita Rebeiro Garibaldi (1821-1849). Brazilian, wife of Giuseppe Garibaldi. They married in Paraguay while Garibadi was in exile from Italy. She died of malaria while on the run with her husband in Italy.

[17] Adelaide Cairoli (1806–1871). Four of her children died in combat in the wars that led to unification of Italy: Ernesto, 1859; Luigi, 1860; Enrico, 1867; Giovanni, 1869.

[18] Massimo D’Azeglio (1798–1866). Politician, patriot, writer. He theorized the unification of Italy as a federation of states rather than as a national state united under the Savoy dynasty.

[19] Guglielmo Oberdan (1858-1882). Deserter from the Austro-Hungarian army, he joined an irredentist group advocating the liberation of Italian regions under Austrian control. He plotted to assassinate Emperor Franz Joseph during a visit to Trieste. The attempt failed and he was arrested and executed.

[20] Nazario Sauro (1880-1916). Italian born in Austria-controlled territory, he was a sailor in the Austro-Hungarian imperial navy. He defected to Italy at the beginning of WWI. He was captured and hanged for treason.

[21] Cesare Battisti (1875-1916). Born in Trento, in the Austo-Hungarian empire, he was elected to the local regional parliament. He espoused the cause of independence from Austia and joined the Italian army at the beginning of WWI. After being captured, he was charged with high treason and executed by hanging in the Castello del Buon Consiglio in Trent. It is said that most of the people in the area named Battisti, ashamed of the name, switched to the German equivalent Reiner.

[22] Francesco De Sanctis (1817-1883). To this day, he is still considered the most influential critic of Italian literature. He single-handedly shaped the curriculum and the ideological scaffolding for the teaching of Italian literature in all Italian schools. His method and critical/ideological approach dominated throughout the twentyth century, and to this day, more or less all Italian literature texts are still oriented in the same direction. His method, called storicismo, consisted in a critical evaluation of authors and works of literature based primarily on the agenda of Italian unification. Texts and authors that served the goal of a historical trajectory toward unification were considered more relevant than those that did not directly approach related themes.