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Title: Tales of My Native Town Author: Gabriele D'Annunzio Contributor: Joseph Hergesheimer Translator: Rafael Mantellini Release Date: October 13, 2017 [EBook #55742] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK TALES OF MY NATIVE TOWN *** Produced by ellinora, Barbara Magni and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) TALES OF MY NATIVE TOWN TALES of my NATIVE TOWN By Gabriele D’Annunzio TRANSLATED BY PROF. RAFAEL MANTELLINI, Ph.D. INSTRUCTOR OF ROMANCE LANGUAGES AT THE BERKELEY-IRVING SCHOOL, NEW YORK CITY WITH AN INTRODUCTION BY JOSEPH HERGESHEIMER GARDEN CITY NEW YORK LONDON DOUBLEDAY, PAGE & COMPANY 1920 COPYRIGHT, 1920, BY DOUBLEDAY, PAGE & COMPANY ALL RIGHTS RESERVED, INCLUDING THAT OF TRANSLATION INTO FOREIGN LANGUAGES, INCLUDING THE SCANDINAVIAN CONTENTS PAGE I The Hero 3 II The Countess of Amalfi 10 III The Return of Turlendana 56 IV Turlendana Drunk 72 V The Gold Pieces 83 VI Sorcery 92 VII The Idolaters 119 VIII Mungia 140 IX The Downfall of Candia 153 X The Death of the Duke of Ofena 172 XI The War of the Bridge 192 XII The Virgin Anna 215 INTRODUCTION BY JOSEPH HERGESHEIMER I The attitude of mind necessary to a complete enjoyment of the tales in this book must first spring from the realisation that, as stories, they are as different from our own short imaginative fiction as the town of Pescara, on the Adriatic Sea, is different from Marblehead in Massachusetts. It is true that fundamentally the motives of creative writing, at least in the Western Hemisphere, are practically everywhere alike; they are what might be called the primary emotions, hatred and envy, love and cruelty, lust, purity and courage. There are others, but these are sufficient: and an analysis of The Downfall of Candia together with any considerable story native to the United States would disclose a similar genesis. But men are not so much united by the deeper bonds of a common humanity as they are separated by the superficial aspects and prejudices of society. The New England town and Pescara, at heart very much the same, are far apart in the overwhelming trivialities of civilisation, and Signor D’Annunzio’s tales, read in a local state of being, might as well have remained untranslated. But this difference, of course, lies in the writer, not in his material; and Gabriele D’Annunzio is the special and peculiar product of modern Italy. No other country, no other history, would have given birth to a genius made up of such contending and utterly opposed qualities: it is exactly as if all the small principalities that were Italy before the Risorgemento, all the amazing contradictions of stark heroics and depraved nepotism, the fanaticism and black blood and superstition, with the introspective and febrile weariness of a very old land, were bound into D’Annunzio’s being. Not only is this true of the country and of the man, the difference noted, it particularly includes the writing itself. And exactly here is the difficulty which, above all others, must be overcome if pleasure is to result from “Tales of My Native Town.” These are not stories at all, in the sense of an individual coherent action with the stirring properties of a plot. The interest is not cunningly seized upon and stimulated and baffled up to a satisfactory finale. The formula that constitutes the base of practically every applauded story here—a determination opposed to hopeless odds but invariably triumphant—is not only missing from Tales of My Native Town, in the majority of cases it is controverted. For the greater part man is the victim of inimical powers, both within him and about; and fate, or rather circumstance, is too heavy for the defiance of any individual. What, actually, has happened is that D’Annunzio has not disentangled these coherent fragments from the mass of life. He has not lifted his tales into the crystallised isolation of a short story: they merge from the beginning and beyond the end into the general confusion of existence, they are moments, significantly tragic or humorous, selected from the whole incomprehensible sweep of a vastly larger work, and presented as naturally as possible. However, they are not without form, in reality these tales are woven with an infinite delicacy, an art, like all art, essentially artificial. But a definite interest in them, the sense of their beauty, must rise from an intrinsic interest in the greater affair of being. It is useless for anyone not impressed with the beauty of sheer living as a spectacle to read “Tales of My Native Town.” II The clear understanding of a divergence should result in a common ground of departure, of sympathy, and to make this plainer still it ought to be added that in the question of taste, of the latitude of allowable material and treatment, the Italians are far more comprehensive than ourselves. This, certainly, is particularly true in their attitude toward the relation of the sexes; and here is, perhaps, the greatest difference between what might be loosely called a Latin literature and an Anglo-Saxon. We are almost exclusively interested in the results, the reactions, of sexual contacts; but the former have their gaze fixed keenly on the process itself. At the most we indicate that consummations of passion have occurred, and then turn, with a feeling of relief, to what we are convinced is the greater importance of its consequences. But not only is Gabriele D’Annunzio perfectly within his privilege in lingering over any important, act of nature, he is equally at liberty to develop all the smaller expressions of lust practically barred from English or American pens. These, undeniably, have as large an influence in one country, one man, as in another; they are—as small things are apt to be— more powerful in the end than the greatest attributes. Yet while we have agreed to ignore them, to discard them as ignoble and obscene, in “Tales of My Native Town” erotic gestures and thoughts, libidinous whispers, play their inevitable devastating part. Yet this is not a book devoted to such impulses; one tale only, although in many ways that is the best, has as its motive lust. It is rather in the amazingly direct treatment of disease, of physical abnormality, that it will be disturbing to the unprepared reader from an entirely different and less admirable, or, at any rate, less honest, convention. Undoubtedly D’Annunzio’s unsparing revelation of human deformity and ills will seem morbid to the unaccustomed mind; but, conversely, it can be urged that the dread of these details is in itself morbid. Then, too, we have an exaggerated horror of the unpleasant, a natural, but saccharine, preference for happiness. As a nation we are not conspicuously happier than Italy, but we clamour with a deafening insistence for the semblance of a material good fortune. Meeting pain no [vii] [viii] [ix] [x] [xi] better and no worse than other nations, from our written stories we banish it absolutely; but anyone who cares to realise the beauty that, beyond question, pervades the following pages will be obliged to harden himself to meet precisely the deplorable accidents that he must face wherever life has been contaminated by centuries of brutal ignorance, oppression and want. Again, it is not in the larger aspects, the nobler phases, of suffering with which we are concerned, but in the cold revelation of rasping details, brutal sores and deformity, the dusty spiders of paralysis. If this were all it would be hideous beyond support; but, fortunately, the coldness is only in the method, there is a saving spirit of pity, the valid humanity born of understanding. Such horror as exists here is the result of D’Annunzio’s sensitive recognition of the weight of poverty and superstition crushing men into unspeakable fatalities of the flesh. A caustic humour, as well, illuminates the darker pits of existence, ironic rather than satirical, bitter rather than fatalistic; and then admirably exposing the rough play of countrymen like the rough wine of their Province. In addition there is always, for reassurance, the inclusion of the simple bravery that in itself leavens both life and books with hope. III Yet, with the attention directed so exclusively upon national differences, equally it must be said that no individual has ever written into literature a more minute examination of actuality than that in “Tales of My Native Town.” Indeed, to find its counterpart it would be necessary to turn to the relentlessly veracious paintings of the early Dutchmen, or the anatomical canvasses of El Greco. D’Annunzio’s descriptions of countenances are dermatological, the smallest pores are carefully traced, the shape and hue and colour of every feature. This is set down not only directly but by means of remarkable similies: Binchi-Blanche has a surly, yellow-lined face like a lemon without any juice; Africana’s husband’s mouth resembles the cut in a rotten pumpkin; Ciarole’s face was that of a gilded wooden effigy from which the gilding had partly worn off; while Biagio Quaglia reflected the brilliancy and freshness of an almond tree in springtime. The direct descriptions are often appalling, since, as has already been indicated, nothing is considered unimportant; there are literally no reservations, or rather, no, prejudices. The physical disintegration that accompanies death is, as well, recorded to the last black clot and bubble of red froth. D’Annunzio is not afraid of death in the context of his pages, he is never reluctant to meet the great facts, the terrible penalties, of existence; rather it is upon them that his writing is founded; it has, in the main, in these tales, two sides, one of violence, of murder and venom, and the other an idyllic presentation of a setting, an environment, saturated with classic and natural beauty. The mind, now horrified by the dislocated beggars gathered about the blind Mungia, is suddenly swept into the release of evening fragrantly cool like myrtles; or Turlendana returns from his long voyages and, with his amazing animals, makes his way home into Pescara: “The river of his native place carried to him the peaceful air of the sea.... The silence was profound. The cobwebs shone tranquilly in the sun like mirrors framed by the crystal of the sea.” He passes with the Cyclopean camel, the monkey and the she-ass across the boat bridge and: “Far behind the mountain of Gran Sasso the setting sun irradiated the spring sky ... and from the damp earth, the water of the river, the seas, and the ponds, the moisture had arisen. A rosy glow tinted the houses, the sails, the masts, the plants, and the whole landscape, and the figures of the people, acquiring a sort of transparency, grew obscure, the lines of their contour wavering in the fading light.” Nothing could surpass in peacefulness this vision, a scene like a mirage of fabulous days wrapped in tender colour. Throughout the tale of The Virgin Anna, too, there are, in spite of the vitriolic realism of its spirit, the crystal ecstasies of white flocks of girls before the Eucharist of their first communion. While it was Anna’s father who came ashore from his voyages to the island of Rota with his shirt all scented with southern fruit. The Virgin Anna has many points of resemblance to that other entranced peasant in Une Vie Simple; but Anna had a turtle in place of a parrot, and D’Annunzio is severer with his subject than was Flaubert. But such idylls are quickly swept away in the fiery death of the Duke of Orfena, with the pistols ringing in high stately chambers, and Mazzagrogna, the major-domo, a dripping corpse, hanging in the railing of a balcony. There is no shrinking, no evasion, here; and none is permitted the reader:—the flames that consume the Duke are not romantic figments, their fierce energy scorches the imagination. IV These qualities belong to a high order of creative writing, they can never be the property of mere talent, they have no part in concessions to popular and superficial demands. This does not necessarily imply a criticism of the latter: it is not a crime to prefer happiness to misery, and certainly the tangible facts of happiness are success and the omnipotence of love. Tales and stories exist as a source of pleasure, but men take their pleasures with a difference; and for any who are moved by the heroic spectacle of humanity pinned by fatality to earth but forever struggling for release “Tales of My Native Town” must have a deep significance. No one has abhorred brutality and deception more passionately than Gabriele D’Annunzio, and no one has held himself more firmly to the exact drawing of their insuperable evils. But this is not all; it is not, perhaps, even the most important aspect: that may well be his fascinating art. Here, above all, the contending elements, of his being, the brilliant genius of the Renaissance, predominate; an age bright with blood and gold and silk, an age of poetry as delicately cultivated as its assassinations. It was a period logical and cruel, lovely and corrupt; and, to an extraordinary degree, it has its reflection in D’Annunzio’s writing. Yet, in him, it is troubled by modern apprehensions, a social conscience unavoidable now to any fineness of perception. [xii] [xiii] [xiv] [xv] [xvi] His tales are no longer simply the blazing arbitrary pictures of the Quatrocento; they possess our own vastly more burdened spirit. In this, as well, they are as American as they are Italian; the crimes and beggars and misery of Pescara, the problems and hopes of one, belong to the other; the bonds of need and sympathy are complete. The tales themselves are filled with energy and movement, the emotions are in high keys. At times a contest of will, of temptation playing with fear, as in The Gold Pieces, they rise to pitched battles between whole towns; the factions, more often than not led by Holy reliques and statues, a sacred arm in silver or the sparkling bust of a Saint with a solar disc, massed with scythes and bars and knives, meet in sanguinary struggle. Or again the passions smoulder into individual bitterness and scandal and mean hatred. The Duchess of Amalfi is such a chronicle, the record of Don Giovà’s devastating passion for Violetta Kutufa, who came to Pescara with a company of singers at Carnival. Nothing is omitted that could add to the veracity, the inevitable collapse, of this almost senile Don Juan; while the psychology of the ending is an accomplishment of arresting power and fitness. There is in The Duchess of Amalfi a vivid presentation of Pescara itself, the houses and Violetta’s room scented with cyprus-powder, the square with the cobblers working and eating figs, a caged blackbird whistling the Hymn of Garibaldi, the Casino, immersed in shadow, its tables sprinkled with water. Around Pescara is the level sea, the river and mountains and the broad campagnia, the vines, the wine vats and oil presses, the dwellings of mud and reeds; the plain is flooded with magnificent noon, and, at night, Turlendana, drunk, is mocked by the barking of vagrant dogs; the men linger under Violetta’s lighted windows, and the strains of her song run through all the salons, all the heads, of the town.... It is as far away as possible, and yet, in its truth, implied in every heart. [xvii] TALES OF MY NATIVE TOWN I THE HERO Already the huge standards of Saint Gonselvo had appeared on the square and were swaying heavily in the breeze. Those who bore them in their hands were men of herculean stature, red in the face and with their necks swollen from effort; and they were playing with them. After the victory over the Radusani the people of Mascalico celebrated the feast of September with greater magnificence than ever. A marvellous passion for religion held all souls. The entire country sacrificed the recent richness of the corn to the glory of the Patron Saint. Upon the streets from one window to another the women had stretched their nuptial coverlets. The men had wreathed with vines the doorways and heaped up the thresholds with flowers. As the wind blew along the streets there was everywhere an immense and dazzling undulation which intoxicated the crowd. From the church the procession proceeded to wind in and out and to lengthen out as far as the square. Before the altar, where Saint Pantaleone had fallen, eight men, privileged souls, were awaiting the moment for the lifting of the statue of Saint Gonselvo; their names were: Giovanni Curo, l’Ummalido, Mattala, Vencenzio Guanno, Rocco di Cenzo, Benedetto Galante, Biagio di Clisci, Giovanni Senzapaura. They stood in silence, conscious of the dignity of their work, but with their brains slightly confused. They seemed very strong; had the burning eye of the fanatic, and wore in their ears, like women, two circles of gold. From time to time they tested their biceps and wrists as if to calculate their vigour; or smiled fugitively at one another. The statue of the Patron Saint was enormous, very heavy, made of hollow bronze, blackish, with the head and hands of silver. Mattala cried: “Ready!” The people, everywhere, struggled to see. The windows of the church roared at every gust of the wind. The nave was fumigated with incense and resin. The sounds of instruments were heard now and then. A kind of religious fever seized the eight men, in the centre of that turbulence. They extended their arms to be ready. Mattala cried: “One! Two! Three!” Simultaneously the men made the effort to raise the statue to the altar. But its weight was overpowering, and the figure swayed to the left. The men had not yet succeeded in getting a firm grip around the base. They bent their backs in their endeavour to resist. Biagio di Clisci and Giovanni Curo, the least strong, lost their hold. The statue swerved violently to one side. L’Ummalido gave a cry. “Take care! Take care!” vociferated the spectators on seeing the Patron Saint so imperilled. From the square came a resounding crash that drowned all voices. L’Ummalido had fallen on his knees with his right arm beneath the bronze. Thus kneeling, he held his two large eyes, full of terror and pain, fixed on his hand which he could not free, while his mouth twisted but no longer spoke. Drops of blood sprinkled the altar. His companions, all together, made a second effort to raise the weight. The operation was difficult. L’Ummalido, in a spasm of pain, twisted his mouth. The women spectators shuddered. At length the statue was lifted and L’Ummalido withdrew his hand, crushed and bleeding and formless. “Go home, now! Go home!” the people cried, while pushing him toward the door of the church. A woman removed her apron and offered it to him for a bandage. L’Ummalido refused it. He did not speak, but watched a group of men who were gesticulating and disputing around the statue. “It is my turn!” “No!—no! It’s my turn!” “No! let me!” Cicco Ponno, Mattia Seafarolo and Tommaso di Clisci were contending for the place left vacant by L’Ummalido. He approached the disputants. Holding his bruised hand at his side, and with the other opening a path, he said simply: “The position is mine.” And he placed his left shoulder as a prop for the Patron Saint. He stifled down his pain, gritting his teeth, with fierce [3] [4] [5] [6] will-power. Mattala asked him: “What are you trying to do?” He answered: “What Saint Gonselvo wishes me to do.” And he began to walk with the others. Dumbfounded the people watched him pass. From time to time, someone, on seeing the wound which was bleeding and growing black, asked him: “L’Umma’, what is the matter?” He did not answer. He moved forward gravely, measuring his steps by the rhythm of the music, with his mind a little hazy, beneath the vast coverlets that flapped in the wind and amongst the swelling crowd. At a street corner he suddenly fell. The Saint stopped an instant and swayed, in the centre of a momentary confusion, then continued its progress. Mattia Scafarola supplied the vacant place. Two relations gathered up the swooning man and carried him to a nearby house. Anna di Cenzo, who was an old woman, expert at healing wounds, looked at the formless and bloody member, and then shaking her head, said: “What can I do with it?” Her little skill was able to do nothing. L’Ummalido controlled his feelings and said nothing. He sat down and tranquilly contemplated his wound. The hand hung limp, forever useless, with the bones ground to powder. Two or three aged farmers came to look at it. Each, with a gesture or a word, expressed the same thought. L’Ummalido asked: “Who carried the Saint in my place?” They answered: “Mattia Scafarola.” Again he asked: “What are they doing now?” They answered: “They are singing the vespers.” The farmers bid him good-bye and left for vespers. A great chiming came from the mother church. One of the relations placed near the wound a bucket of cold water, saying: “Every little while put your hand in it. We must go. Let us go and listen to the vespers.” L’Ummalido remained alone. The chiming increased, while changing its metre. The light of day began to wane. An olive tree, blown by the wind, beat its branches against the low window. L’Ummalido began to bathe his hand little by little. As the blood and concretions fell away, the injury appeared even greater. L’Ummalido mused: “It is entirely useless! It is lost. Saint Gonselvo, I offer it up to you.” He took a knife and went out. The streets were deserted. All of the devotees were in the church. Above the houses sped, like fugitive herds of cattle, the violet clouds of a September sunset. In the church the united multitude sang in measured intervals as if in chorus to the music of the instruments. An intense heat emanated from the human bodies and the burning tapers. The silver head of Saint Gonselvo scintillated from on high like a light house. L’Ummalido entered. To the stupefaction of all, he walked up to the altar and said, in a clear voice, while holding the knife in his left hand: “Saint Gonselvo, I offer it up to you.” And he began to cut around the right wrist, gently, in full sight of the horrified people. The shapeless hand became detached little by little amidst the blood. It swung an instant suspended by the last filaments. Then it fell into a basin of copper which held the money offerings at the feet of the Patron Saint. L’Ummalido then raised the bloody stump and repeated in a clear voice: “Saint Gonselvo, I offer it up to you.” [7] [8] [9] II THE COUNTESS OF AMALFI I When, one day, toward two o’clock in the afternoon, Don Giovanni Ussorio was about to set his foot on the threshold of Violetta Kutufas’ house, Rosa Catana appeared at the head of the stairs and announced in a lowered voice, while she bent her head: “Don Giovà, the Signora has gone.” Don Giovanni, at this unexpected news, stood dumbfounded, and remained thus for a moment with his eyes bulging and his mouth wide open While gazing upward as if awaiting further explanations. Since Rosa stood silently at the top of the stairs, twisting an edge of her apron with her hands and dilly-dallying somewhat, he asked at length: “But tell me why? But tell me why?” And he mounted several steps while he kept repeating with a slight stutter: “But why? But why?” “Don Giovà, what have I to tell you? Only that she has gone.” “But why?” “Don Giovà, I do not know, so there!” And Rosa took several steps on the landing-place toward the door of the empty apartment. She was rather a thin woman, with reddish hair, and face liberally scattered with freckles. Her large, ash-coloured eyes had nevertheless a singular vitality. The excessive distance between her nose and mouth gave to the lower part of her face the appearance of a monkey. Don Giovanni pushed open the partly closed door and passed through the first room, and then the third; he walked around the entire apartment with excited steps; he stopped at the little room, set aside for the bath. The silence almost terrified him; a heavy anxiety weighted down his heart. “It can’t be true! It can’t be true!” he murmured, staring around confusedly. The furniture of the room was in its accustomed place, but there was missing from the table under the round mirror, the crystal phials, the tortoise-shell combs, the boxes, the brushes, all of those small objects that assist at the preparation of feminine beauty. In a corner stood a species of large, zinc kettle shaped like a guitar; and within it sparkled water tinted a delicate pink from some essence. The water exhaled subtle perfume that blended in the air with the perfume of cyprus-powder. The exhalation held in it some inherent quality of sensuousness. “Rosa! Rosa!” Don Giovanni cried, in a voice almost extinguished by the insurmountable anxiety that he felt surging through him. The woman appeared. “Tell me how it happened! To what place has she gone? And when did she go? And why?” begged Don Giovanni, making with his mouth a grimace both comic and childish, in order to restrain his grief and force back the tears. He seized Rosa by both wrists, and thus incited her to speak, to reveal. “I do not know, Signor,” she answered. “This morning she put her clothes in her portmanteau, sent for Leones’ carriage, and went away without a word. What can you do about it? She will return.” “Return-n-n!” sobbed Don Giovanni, raising his eyes in which already the tears had started to overflow. “Has she told you when? Speak!” And this last cry was almost threatening and rabid. “Eh?... to be sure she said to me, ‘Addio, Rosa. We will never see each other again...! But, after all ... who can tell! Everything is possible.’” Don Giovanni sank dejectedly upon a chair at these words, and set himself to weeping with so much force of grief that the woman was almost touched by it. “Now what are you doing, Don Giovà? Are there not other women in this world? Don Giovà, why do you worry about it...?” Don Giovanni did not hear. He persisted in weeping like a child and hiding his face in Rosa Catana’s apron; his whole body was rent with the upheavals of his grief. “No, no, no.... I want Violetta! I want Violetta!” he cried. At that stupid childishness Rosa could not refrain from smiling. She gave assistance by stroking the bald head of Don Giovanni and murmuring words of consolation. [10] [11] [12] [13] “I will find Violetta for you; I will find her.... So! be quiet! Do not weep any more, Don Giovannino. The people passing can hear. Don’t worry about it, now.” Don Giovanni, little by little, under the friendly caress, curbed his tears and wiped his eyes on her apron. “Oh! oh! what a thing to happen!” he exclaimed, after having remained for a moment with his glance fixed on the zinc kettle, where the water glittered now under a sunbeam. “Oh! oh! what luck! Oh!” He took his head between his hands and swung it back and forth two or three times, as do imprisoned monkeys. “Now go, Don Giovanino, go!” Rosa Cantana said, taking him gently by the arm and drawing him along. In the little room the perfume seemed to increase. Innumerable flies buzzed around a cup where remained the residue of some coffee. The reflection of the water trembled on the walls like a subtle net of gold. “Leave everything just so!” pleaded Don Giovanni of the woman, in a voice broken by badly suppressed sobs. He descended the stairs, shaking his head over his fate. His eyes were swollen and red, bulging from their sockets like those of a mongrel dog. His round body and prominent stomach overweighted his two slightly inverted legs. Around his bald skull ran a crown of long curling hair that seemed not to take root in the scalp but in the shoulders, from which it climbed upward toward the nape of the neck and the temples. He had the habit of replacing from time to time with his bejewelled hands, some disarranged tuft; the jewels, precious and gaudy, sparkled even on his thumb, and a cornelian button as large as a strawberry fastened the bosom of his shirt over the centre of his chest. When he reached the broad daylight of the square, he experienced anew that unconquerable confusion. Several cobblers were working near by and eating figs. A caged blackbird was whistling the hymn of Garibaldi, continuously, always recommencing at the beginning with painful persistency. “At your service, Don Giovanni!” called Don Domenico Oliva, as he passed, and he removed his hat with an affable Neapolitan cordiality. Stirred with curiosity by the strange expression of the Signor, he repassed him in a short time and resaluted him with greater liberality of gesture and affability. He was a man of very long body and very short legs; the habitual expression of his mouth was involuntarily shaped for derision. The people of Pescara called him “Culinterra.” “At your service!” he repeated. Don Giovanni, in whom a venomous wrath was beginning to ferment which the laughter of the fig-eaters and the trills of the blackbird irritated, at his second salute turned his back fiercely and moved away, fully persuaded that those salutes were meant for taunts. Don Domenico, astonished, followed him with these words: “But, Don Giovà! ... are you angry ... but....” Don Giovanni did not listen. He walked on with quick steps toward his home. The fruit-sellers and the blacksmiths along the road gazed and could not understand the strange behaviour of these two men, breathless and dripping with perspiration under the noonday sun. Having arrived at his door, Don Giovanni, scarcely stopping to knock, turned like a serpent, yellow and green with rage, and cried: “Don Domè, oh Don Domè, I will hit you!” With this threat, he entered his house and closed the door violently behind him. Don Domenico, dumbfounded, stood for a time speechless. Then he retraced his steps, wondering what could account for this behaviour, when Matteo Verdura, one of the fig-eaters, called: “Come here! Come here! I have a great bit of news to tell you.” “What news?” asked the man of the long spine, as he approached. “Don’t you know about it?” “About what?” “Ah! Ah! Then you haven’t heard yet?” “Heard what?” Verdura fell to laughing and the other cobblers imitated him. Spontaneously all of them shook with the same rasping and inharmonious mirth, differing only with the personality of each man. “Buy three cents’ worth of figs and I will tell you.” Don Domenico, who was niggardly, hesitated slightly, but curiosity conquered him. “Very well, here it is.” Verdura called a woman and had her heap up the fruit on a plate. Then he said: “That signora who lived up there, Donna Violetta, do you remember...? That one of the theatre, do you remember...?” “Well?” “She has made off this morning. Crash!” “Indeed?” [14] [15] [16] [17] “Indeed, Don Domè.” “Ah, now I understand!” exclaimed Don Domenico, who was a subtle man and cruelly malicious. Then, as he wished to revenge himself for the offence given him by Don Giovanni and also to make up for the three cents expended for the news, he went immediately to the casino in order to divulge the secret and to enlarge upon it. The “casino,” a kind of café, stood immersed in shadow, and up from its tables sprinkled with water, arose a singular odour of dust and musk. There snored Doctor Punzoni, relaxed upon a chair, with his arms dangling. The Baron Cappa, an old soul, full of affection for lame dogs and tender girls, nodded discreetly over a newspaper. Don Ferdinando Giordano moved little flags over a card representing the battlefields of the Franco-Prussian war. Don Settimio de Marinis appraised with Doctor Fiocca the works of Pietro Mettastasio, not without many vocal explosions and a certain flowery eloquency in the use of poetical expressions. The notary Gaiulli, not knowing with whom to play, shuffled the cards of his game alone, and laid them out in a row on the table. Don Paolo Seccia sauntered around the billiard table with steps calculated to assist the digestion. Don Domenico Oliva entered with so much vehemence, that all turned toward him except Doctor Panzoni, who still remained in the embrace of slumber. “Have you heard? Have you heard?” Don Domenico was so anxious to tell the news, and so breathless, that at first he stuttered without making himself understood. All of these gentlemen around him hung upon his words, anticipating with delight any unusual occurrence that might enliven their noonday chatter. Don Paolo Seccia, who was slightly deaf in one ear, said impatiently, “But have they tied your tongue, Don Domè?” Don Domenico recommenced his story at the beginning, with more calmness and clearness. He told everything; enlarged on the rage of Don Giovanni Ussorio; added fantastic details; grew intoxicated with his own words as he went on. “Now do you see? Now do you see?” Doctor Panzoni, at the noise, opened his eyelids, rolling his huge pupils still dull with sleep and still blowing through the monstrous hairs of his nose, said or rather snorted nasally: “What has happened? What has happened?” And with much effort, bearing down on his walking stick, he raised himself very slowly, and joined the gathering in order to hear. The Baron Cappa now narrated, with much saliva in his mouth, a well-nourished story apropos of Violetta Kutufa. From the pupils of the eyes of his intent listeners gleams flashed in turn. The greenish eyes of Don Palo Seccia scintillated as if bathed in some exhilarating moisture. At last the laughter burst out. But Doctor Panzoni, though standing, had taken refuge again in slumber; since for him sleep, irresistible as a disease, always had its seat within his own nostrils. He remained with his snores, alone in the centre of the room, his head upon his breast, while the others scattered over the entire district to carry the news from family to family. And the news, thus divulged, caused an uproar in Pescara. Toward evening, with a fresh breeze from the sea and a crescent moon, everybody frequented the streets and squares. The hum of voices was infinite. The name of Violetta Kutufa was at every tongue’s end. Don Giovanni Ussorio was not to be seen. II Violetta Kutufa had come to Pescara in the month of January, at the time of the Carnival, with a company of singers. She spoke of being a Greek from the Archipelago, of having sung in a theatre at Corfu in the presence of the Greek king, and of having made mad with love an English admiral. She was a woman of plump figure and very white skin. Her arms were unusually round and full of small dimples that became pink with every change of motion; and these little dimples, together with her rings and all of those other graces suitable for a youthful person, helped to make her fleshiness singularly pleasing, fresh and tantalising. The features of her face were slightly vulgar, the eyes tan colour, full of slothfulness; her lips large and flat as if crushed. Her nose did not suggest Greek origin; it was short, rather straight, and with large inflated nostrils; her black hair was luxuriant. She spoke with a soft accent, hesitating at each word, smiling almost constantly. Her voice often became unexpectedly harsh. When her company arrived, the Pescaresi were frantic with expectation. The foreign singers were lauded everywhere, for their gestures, their gravity of movement, their costumes, and for every other accomplishment. But the person upon whom all attention centred was Violetta Kutufa. She wore a kind of dark bolero bordered with fur and held together in front with gilt aiglettes; on her head was a species of toque, all fur, and worn a little to one side. She walked about alone, stepping briskly, entered the shops, treated the shop-keepers with a certain disdain, complained of the mediocrity of their wares, left without making a purchase, hummed with indifference. Everywhere, in the squares, on all of the walls large hand-bills announced the performance of “The Countess of Amalfi.” The name of Violetta Kutufa was resplendent in vermilion letters. The souls of the Pescaresi kindled. At length the long [18] [19] [20] [21] [22] looked-for evening arrived. The theatre was in a room of the old military hospital, at the edge of the town near the sea. The room was low, narrow, and as long as a corridor; the stage, of wood with painted scenery, arose a few hands’ breadths above the floor; along the side walls was the gallery, consisting of boards over saw-horses covered with tricoloured flags and decorated with festoons. The curtain, a masterpiece of Cucuzzitó, son of Cucuzzitó, depicted tragedy, comedy and music, interwoven, like the three Graces, and flitting over a bridge under which passed the blue stream of Pescara. The chairs for the theatre, taken from the churches, occupied half of the pit. The benches, taken from the schools, occupied the remaining space. Toward seven in the evening, the village band started its music on the square, played until it had made the circuit of the town and at length stopped in front of the theatre. The resounding march inspired the souls of passers-by. The women curbed their impatience within the folds of their beautiful silk garments. The room filled up rapidly. The gallery was radiant with a sparkling aureole of married and unmarried women. Teodolinda Pomarici, a sentimental, lymphatic elocutionist, sat near Fermina Memura, called “The Masculine.” The Fusilli girls, arrived from Castellamare, tall maidens with very black eyes, all clothed in a uniform, pink material, with hair braided down their backs, laughed loudly and gesticulated. Emilia d’Annunzio used her beautiful lion-like eyes, with an air of infinite fatigue. Marianina Cortese made signs with her fan to Donna Rachele Profeta who sat in front of her. Donna Rachele Bucci argued with Donna Rachele Carabba on the subjects of speaking tables and spiritualism. The school-mistresses Del Gado, both clothed in changeable silk with mantillas of most antique fashion, and with diverse coiffures glittering with brass spangles, remained silent, compunctious, almost stunned by the novelty of this experience, almost repentant for having come to so profane a spectacle. Costanza Lesbu coughed continuously, shivering under her red shawl, very pale, very blond and very thin. In the foremost chairs of the pit sat the wealthiest citizens. Don Giovanni Ussorio was most prominent because of his well-groomed appearance, his splendid black and white checkered trousers, his coat of shining wool, his quantity of false jewelry on fingers and shirt-front. Don Antonio Brattella, a member of the Areopagus of Marseilles, a man exhaling importance from every pore and especially from the lobe of his left ear, which was as thick as a green apricot, recited in a loud voice the lyric drama of Giovanni Peruzzini, and his words as they fell from his lips acquired a certain Ciceronian resonance. The auditors, lolling in their chairs, stirred with more or less impatience. Dr. Panzoni wrestled all to no purpose with the wiles of sleep, and from time to time made a noise that blended with the “la” of the tuning instruments. “Pss! psss! pssss!” The silence in the theatre grew profound. At the lifting of the curtain the stage was empty. The sound of a Violoncello came from the wings. Tilde appeared and sang. Afterwards Sertorio came out and sang. After him, a crowd of supernumeraries and friends, entered and intoned a song. After them, Tilde drew toward a window and sang: “Oh how tedious the hours To the desirous one...!” In the audience a slight movement was perceptible, since all felt a love duet to be imminent. Tilde, in truth, was a first soprano, none too young; she wore a blue costume, had a blond wig that insufficiently covered her head, and her face, whitened with powder, resembled a raw cutlet besprinkled with flour and partially hidden behind a hempen wig. Egidio came on. He was the young tenor. As he had a chest singularly hollow and legs slightly curved, he resembled a double-handed spoon upon which hung a calf’s head, scraped and polished like those which one sees at times over the butcher-shops. He began: “Tilde! thy lips are mute, Thy lowered glances dismay me, Tell me, why you delay me? Why do I see thy hand now A-tremble? Why should that be?” And Tilde, with great force of sentiment, replied: “At such a solemn moment, how Can you ask why of me?” The duet increased in tenderness. The melody of the cavalier Petrella delighted the ears of the audience. All of the women leaned intently over the rails of the gallery and their faces, throbbing in the green reflection of the flags, were pallid. “Like a journey from paradise Death will appear to us.” Tilde appeared; and now entered, singing, the Duke Carnioli, who was a man fat, fierce, and long haired enough, to be suited to the part of baritone. He sang with many flourishes, running over the syllables, sometimes moreover boldly suppressing. “Dost thou not know the conjugal chain Is like lead on the feet?” [23] [24] [25] [26]