Not only that: its shadow is projected over the life of the island, now and for all time to come. Venice has her generations, her ages of heroic forms : here one sole figure, supremely fierce and abominable, usurps the historic background. It is not a grand dramatic epic, to which light waves keep time, tinkling on the marble steps but a bright, breezy pastoral of the sea, with a hollow, rumbling undertone of the Past, like that of the billows in its caverns. Like Venice, Capri is a permanent island in the traveller’s experience, - detached from the mainland of Italian character and associations.
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The few who climb the rock, and set themselves quietly down to study the life and scenery of the island, find an entire poem, to which no element of beauty or interest is wanting, opened for their perusal.
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But this is like reading a titlepage, instead of the volume behind it. Long ago, an English traveller compared it to a couchant lion jean Paul, on the strength of some picture he had seen, pronounced it to be a sphinx while Gregorovius, most imaginative of all, finds that it is “an antique sarcophagus, with bass-reliefs of snaky-haired Eumenides, and the figure of Tiberius lying upon it.”Ĭapri is not strictly a by-way of travel, inasmuch as most of the tourists who come to Naples take the little baysteamer, visit the Blue Grotto, touch an hour at the marina, or landing-place, and return the same evening via Sorrento. The fancy is at once excited, and seeks to find some definite figure therein.
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LOOKING seaward from Naples, the island of Capri lies across the throat of the bay like a vast natural breakwater, grand in all its proportions, and marvellously picturesque in outline.