Both scenes
illustrate Signor Fogazzaro's power to achieve the highest artistic
results without exaggeration. This naturalness is the more remarkable
because the character of a saint is unnatural according to our modern
point of view. We have a healthy distrust of ascetics, whose anxiety
over their soul's condition we properly regard as a form of egotism;
and we know how easily the unco' guid become prigs. Fogazzaro's hero is
neither an egotist of the ordinary cloister variety, nor a prig.
That our sympathy goes out to Jeanne and not to him shows that we
instinctively resent the sacrifice of the deepest human cravings to
sacerdotal prescriptions. The highest ideal of holiness which medievals
could conceive does not satisfy us.
Why did Signer Fogazzaro in choosing his hero revert to that outworn
type? He sees very clearly how many of the Catholic practices are what
he calls "ossified organisms." Why did he set up a lay monk as a model
for 20th century Christians who long to devote their lives to uplifting
their fellow-men? Did he not note the artificiality of asceticism--the
waste of energy that comes with fasts and mortification of the flesh and
morbidly pious excitement? When asked these questions by his followers
he replied that he did not mean to preach asceticism as a rule for all;
but that in individual cases like Benedetto's, for instance, it was a
psychological necessity.
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