
Churchill Archives Center, Churchill College Cambridge
Fioretta, A Tale of Italy, is a romantic first-person narrative about a little girl growing up in Naples, a tale in which inspiration and fortitude triumph over misfortune and poverty. In the story, a little girl, Fioretta, uses her magical singing voice to save her impoverished father. Betty dedicated the book to her grandparents on her mother’s side. “Dada and Nana, with all the love in the world I dedicate this, my first book.” Her inscription was hopeful and implied that more books will follow.
Fioretta may be borrowed from bits and parts of a half-dozen children’s tales Betty had read, but, at the same time, it represents a precocious display of talent. Nine chapters long, with a glossary of Italian words, it is a sustained creation, which is no small achievement for a child. Betty was able to create characters who evolved through predicaments designed to tug at the emotions, fusing into a tried-and-true plotline. Fioretta’s mother came from a wealthy family that disowned her when she married Giotto, a man beneath her socially. When Fioretta was born, her mother died. Fioretta’s father suffers the life of an unsuccessful artist and a widower. Fioretta yearns to save him from sadness and poverty, to erase his misfortune. Now, as Fioretta approaches her maturity, she develops an enchanting singing voice, which she vows to use to save her father. Each day, she sneaks away to the big city, to Naples, where she sings for pennies to augment Giotto’s income. One day, a beautiful woman, who turns out to be the sister of Fioretta’s late mother, overhears her. What is more, her grandfather, whom she has never met, is still alive. But ill and bitter, the old man refuses to believe that she is his granddaughter. Of course, fate steps in and a great singer known throughout the country also becomes enchanted with Fioretta’s talents. His name is Scarlatti, and he offers to give young Fioretta voice lessons. In a brief few years, when she turns 17, Fioretta is ready for her debut, to sing in the great opera houses of Milan. For her first performance, she wears her mother’s gown and jewelry. Her grandfather takes the opportunity to spy, to have a look at the young girl who has rattled his conscience. The results are no surprise, the old man is captivated. But the way Betty develops the moment has magic. When the grandfather sees Fioretta, it is as if he is seeing his own daughter born again. Can there be stronger proof of identity? In the end, Fioretta pulls the family back together and saves her father. The little book ends seamlessly. Never does the young author give the reader any difficulties. Her writing presents no hard to imagine twists or turns, no gaffes in the action, no lapses. Fioretta, A Tale of Italy is a finished product.
As books go, Fioretta is dated, although in its time it would have appealed to teenagers. The book includes a half dozen original drawings and cover art. The illustrator, the handsome, 27-year-old Don Blanding, would go on to some fame as Hawaii’s “Vagabond Poet.” For Fioretta, he adopted a style that is romantic and sentimental. The drawings are Gibbsoneque, though his personal work lies closer to the intersection between Paul Gauguin and Aubrey Beardsley, a kind of jungle deco.
Betty’s book is reported to have aroused some interest among Hawaii’s wealthy white population, causing the youngster to enjoy a measure of celebrity. The territorial Governor of Hawaii, W.R. Farrington wrote an introduction to the book, expressing his admiration. “The juvenelia (sic) that this interesting child author has given the Hawaiian public during her sojourn in these islands of the Pacific,” he wrote, “have elicited no little interest as to her personality.” Governor Farrington’s introduction goes on to describe the young author as a regular kid. “She plays with her puppy Eno-san with childish glee… and dashes through the surf of Waikiki with the easy grace of a Polynesian sea urchin.”[1]
Besides the high praise, the governor’s words imply that the Fioretta may have had more than one edition, although there is no record. However, the governor’s comment that Betty’s “juvenelia” had already attracted interest and attention raises the question. How did people know about the book, even the small circle that made up Hawaii’s controlling white population of the era? Another oddity is the indecision apparent in the making and manufacture of Fioretta. On the cover, the book is entitled, Fioretta, A Tale of Italy. Inside, the book is entitled, Fioretta or O Cessate di Piagarmi. The alternative title, O Cessate di Piagarmi (O, Stop Wounding Me), comes from an aria in the Allessandro Scarlatti opera “Pompeo.” It is a love song, a lamentation on rejection and ingratitude,[2] a reflection on the book’s themes.
[1] Introduction to Fioretta
[2] http://digital.library.upenn.edu/webbin/freedman/lookupwork?hr=&what=O%20Cessate%20Di%20Piagarmi. Also,
http://www.recmusic.org/lieder/get_text.html?TextId=11454
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