Diversions in Sicily Part 3

"Yes," said he, "that is the worst of family quarrels; they do not last."

"What do you mean, Peppino? Surely it is better for brothers to be friends than to quarrel?"

"If to be friends inside also, then is it a good thing and much better; but look here, excuse me; the brothers are quarrelling and fighting and are failing to kill each others and the parents are telling to don't be quarrelling and the brothers are telling that they would be quarrelling and the parents are telling to don't be stupid and to embrace and became friends and the brothers are telling, Go away, parents, and to leave alone to be quarrelling in peace. But it is too difficult and many months are pa.s.sing and the brothers are--please, what is stanchi? Excuse me, it is fatigued, and are embracing to make pleasure to the parents and to make riunione outside and to baptize the s.h.i.+p, but inside it is riunione not at all. It is to kiss with the lips and the heart is hating each others. This is not a good thing."

The boat with the name that pleased me best was not there. Peppino told me about it: it belonged to him before the money came from America and he used it to ferry tourists across the bay and into the bowels of the promontory through the mouth of a grotto where the reflected lights are lovely on a sunny day; he called it the _Anime del Purgatorio_.

This would have been just the morning to visit the caves, for there were no clouds. We stood on the deck of the _Sorella di Ninu_, looking up through the brown masts and the rigging into the blue sky, and watching the gulls as they glided and circled above us and turned their white wings to the sun. Vanni did the honours of his s.h.i.+p, showed us his barrels and casks, nearly all empty now, and made us look down into the hold where there was a cask capable of holding, I forget how much, but it was so big that it could never have been got into the s.h.i.+p after it was made, so it had to be built inside. Then we must taste his wine, of which he still had some in one of the casks, and the captain brought tumblers and another queer-shaped gla.s.s with a string round its rim in which to fetch the wine up; it was about the size and shape of a fir-cone, the broad upper part being hollow to hold the wine, and the pointed lower part solid. The captain held it by the string and dropped it neatly down through the bung-hole, as one drops a bucket into a well; its heavy point sank through the wine without any of that swis.h.i.+ng and swas.h.i.+ng which happens with a flat-bottomed, buoyant, wooden bucket, and he drew it up full and gleaming like a jewel. The first lot was used to rinse the tumblers inside and out and then thrown overboard, sparkling and flas.h.i.+ng in the sunlight as it fell into the sea. The taster was lowered again and the tumblers filled.

Vanni, seeing I admired the taster, wanted to give it to me, but it was the only one he had and was in constant use when customers came to the s.h.i.+p, so I declined it and he promised to bring one for me next time his s.h.i.+p made a voyage; in the meantime I took one of the tumblers as a ricordo. Then we went into the captain's cabin and sat round his table listening to his stories and smoking cigarettes. Every now and then a silence came over us, broken occasionally by one of us saying suddenly--

"Ebbene, siamo qua!" ("Well, here we are!")

This sort of thing formerly used to make me feel nervous; it was as though I had failed to entertain my friends or as though they had given up the hope of entertaining me. After experiencing it several times, however, I came to take a different and more accurate view. There was no occasion to do or say anything. We were enjoying one another's society.

Vanni told us he was thinking of taking a cargo of Marsala to England and what would the English people say to it? Now the Marsala was very good and, according to Vanni, could be put upon the market at a very low price, but I foresaw difficulties. Knowing that he had sung in opera in Naples, Palermo, Malta and many other places, I asked if he liked music.

He said he adored it. Music, he declared, was the most precious gift of G.o.d to man--more precious even than poetry. He had his box at the opera and always occupied it during the season. And he enjoyed music of all kinds, not only the modern operas of Mascagni, Puccini and so on, but also the old music of Verdi, Donizetti and Bellini. I asked if he did not like _Le Nozze di Figaro_. He had never heard of it, nor of _Don Giovanni_, nor of _Fidelio_. He had heard the names of Beethoven and Mozart, but not of Handel, Schubert or Brahms. He had heard also of Wagner, but had never heard any of his music.

I was not surprised he should not have heard of those composers who are not famous for operas, nor by his odd list of so-called old musicians, but I was surprised that he should place music so decidedly above poetry.

I said it appeared to me he had practically expressed the opinion that Donizetti was a more precious gift of G.o.d to man than Dante. Put like that, he did not hold to what he had said and confessed he had been speaking without due consideration. But Peppino said that in some respects Donizetti was a better man than Dante; he was smoother and better tempered, "and many things like this." Peppino had been brought up, like every Italian, to wors.h.i.+p Dante, but when he went to London and mastered the English language, when he began to read our literature and to think for himself, then he saw that Dante was "un falso idolo." Every nation gets the poet she deserves and Italy has her faults; but what, asked Peppino, what has Italy done to deserve her dreary Dante? On the other hand, with all his admiration for England, he could hardly believe that we really do deserve our Shakespeare.

I was beginning to feel giddy, as though the _Sorella di Ninu_, instead of being quietly in port, was out on the tumbling ocean in a sudden gale, so very unusual is it to hear such opinions in Italy. But Peppino is full of surprises. To recover my balance I turned the conversation back to the wine, taking my way through the music and telling them that in England we thought very highly of the Austrian and German composers, and asking Vanni if he would recommend any one to introduce their compositions into Sicily. He replied that if it was pleasing music it might be successful, but that if it was very different from Italian music it would hardly pay to bring it over until the people had been educated.

I feared it would be the same with the wine. He must first educate us to forsake our old friends, beer, whisky and tea, before he could create a market on which he could put his Marsala.

Driving back, I told Peppino about the lottery at Castelvetrano and how my numbers had lost. He inquired whether my birthday fell during the week I bought the ticket. It did not.

"Then," said he, "of course you could not be winning and Angelo very stupid to let you play those numbers."

It seems that numbers are no good unless they are connected with something that happens to you during the week. This explained why at Selinunte the brigadier had discarded the price of my clothes, which was not his concern but mine and belonged to the week in which I had bought them, and preferred to play the number that fell from the cigarettes, of which he was at the moment actually smoking one.

"If there shall be a railway accident," continued Peppino, "on Thursday night, then shall there be going plenty much people and shall sleep in the ground to be first on Friday morning, because the office shall shut early to take the papers to Palermo to turn the wheel the Sat.u.r.day. And if to come out the number, the people shall be gaining many money, but if to don't come out, shall be gaining no money. This is not a good thing.

"They think it is fortunate the--please, what is sogno? Excuse me, it is the dream. But it must be the dream in the week you play. When the man in the dream shall be coming from the other world and shall be saying, 'Please you, play this number,' then they believe you shall certainly win. But if to play the number, very uncertain to win."

They live in a state of wild hope after buying their tickets until the numbers are declared and, the odds being enormously in favour of the government, the gamblers usually lose. Then they live in a state of miserable despair until the possession of a few soldi, the happening of something remarkable, or merely the recollection of the departed joys of hope compared with present actual depression, urges them to try their luck again. So that the gambler's life consists of alternations of feverish expectation and maddening dejection. "This is not a good thing"; but it is a worse thing for the gambler who wins. He sees how easy it is and is encouraged to believe he can do it every time; in his exaltation he stakes again and loses all his winnings, instead of only a few soldi. If he does not do this he spends the money in treating his friends and getting into debt over it and has to p.a.w.n his watch. So that the Genovese, by way of wis.h.i.+ng his enemy ill-luck, while appearing to observe the proprieties, says to him--

"Ti auguro un' ambo." ("I hope you may win an ambo.")

Peppino does not approve of the lottery, yet he has not made up his mind that it ought to be abolished. It certainly does harm, but so deep is the natural instinct for gambling that innumerable private lotteries would spring up to replace it, and they would do far more mischief, because they would be in the hands of rogues, whereas the government manages the affair quite honestly. The government pays no attention to dreams or ladies in white dresses or anything that happens during the week; it bases its calculations on the mathematical theory of chances, and gathers in the soldi week after week, so that it makes an annual profit of about three million sterling. Besides, if people are willing to pay for the pleasure of a week of hope, why should they not be allowed to do so? The uneducated as a cla.s.s ought to contribute to the expenses of governing their country, and the lottery is a sure and convenient way of collecting their contributions. It is literally what it is often called--La ta.s.sa sull' ignoranza. (The tax upon ignorance.)

Peppino even uses the lottery himself, but in a way of his own. He chooses two numbers every week, according to what occurs to him as though he were going in for an ambo and, instead of buying a ticket, puts four soldi into an earthenware money-box. The numbers he has chosen do not come out and he considers that he has won his four soldi and has put them by. In this way he has acc.u.mulated several money-boxes full, and if ever his numbers come out he intends to break his boxes and distribute the contents among the deserving poor.

As a way of making money Peppino prefers the course of always doing whatever there is to be done in the house and in the vineyard. A few years ago his father's vines were suffering from disease; he made inquiries, studied the subject, ascertained the best course to pursue and, with his own hands and some little a.s.sistance, rooted up all the plants and laid down American vines, with the result that the yield is now more than double what it ever was before. And this he thinks was a great deal better than losing money week after week in the lottery, not only because of the result, but because of the interest he took in the work. In fact, he attends to his own business and finds every moment of the day occupied. He says--

"Always to begin one thing before to finish some other thing, this is the good life."

Certainly it seems to agree with him. There is not much the matter with Peppino's health nor with his banking account nor with his conscience, so far as I can judge. Every one in the town is fond of him and he is always happy and ready to do any one a good turn. Indeed, his popularity is the only thing that causes me any uneasiness about him. There is generally something wrong about a man who has no enemies--but there are exceptions to every rule.

The poor professor, on the other hand, has at least one enemy and that the worst a man can have, namely himself. The evening before he went away he took me into his confidence and consulted me about his future and his prospects. He is married, but his wife is out of her mind, and he has three sons, all doing badly, one of them very badly. He told me he was not at the moment employed as professor, he was living on his patrimony which consisted of a few acres of vines; he was gradually selling his land and spending the proceeds, and he thought this the best plan because the vines were all diseased and did not bring him in enough money to keep himself and his family. Should I recommend him to come to England, learn English and try to keep himself by the exercise of his profession? It was like Vanni's idea of bringing his wine to England. I could only say I was afraid we already had enough professors. Then he thought he might write and earn a little money that way; he had read all Sir Walter Scott's novels in a translation--thirty-two volumes I think he said; he admired them immensely and was thinking of writing a romance; he had in fact an idea for one, and would I be so good as to give him my opinion about it? A young lady is desired by her father to marry a man she does not love, a rich man, much older than herself. She refuses, but, later on, consents to make the sacrifice. After a year of unhappy married life she meets a man of her own age, falls in love with him, and one day her husband surprises them together, in his rage kills them both and commits suicide.

"Now," said the professor, "what do you think of my theme?"

I said that, so far as I could remember Sir Walter Scott's novels at the moment, they contained nothing from which any one could say he had taken his plot which, of course, was greatly to his credit on the score of originality, but I begged to be allowed to defer giving any further opinion until he had finished the work; so much depends upon the way in which these things are carried out.

He had also written a poem ent.i.tled _Completo_, of which he gave me a copy. It was, he said, "un grido dell' anima." He had not found a publisher for it yet, but if I would translate it into English and get it published in London, I could send him any profits that might accrue. I showed it to Peppino who swore he remembered something very like it in an Italian magazine and that the professor had had nothing to do with it beyond copying it. I translated it without rhymes, the professor not having gone to that expense. I have not offered the result to any English publisher, none of them would receive it as Peppino did when I showed it to him. He said I had performed a miracle, that I had converted a few lines of drivelling nonsense--just the sort of stuff that would attract the professor--into a masterpiece. But I am afraid the prestige of the English language may have blinded Peppino to any little defects, as it made him see more romance than I could find in the names of the English boats. This was my "masterpiece":

FULL INSIDE.

The train is full; Ah me! the load of travellers!

The engine whistles; Ah me! the piercing shriek!

My heart is burdened; Ah me! the weight of sorrows!

My soul exclaims; Ah me! the despairing cry!

O Train! have pity upon me For you are strong and I am weak, Transfer to my heart the load of your pa.s.sengers And take in exchange the weight of my sorrows.

Next time I saw the professor he was in charge of a newspaper kiosk in Palermo, looking older and more dilapidated and still waiting for the manna to fall from heaven. He complained of the slackness of trade. He also complained that the work was too hard and was killing him; so that, one way or the other, he intended to shut up the kiosk and look out for something else.

CATANIA

CHAPTER V--MICHELE AND THE PRINCESS OF BIZERTA

Educated Sicilians have not a high opinion of the marionettes; it is sometimes difficult to induce them to talk on the subject. They say the marionettes are for the lower orders and accuse them of being responsible for many of the quarrels we read about in the newspapers. The people become so fascinated by the glamour of the romance in which they live night after night that they imitate in private life the chivalrous behaviour of the warriors they see fighting in the little theatres, and thus what may begin as a playful reminiscence of something in last night's performance occasionally leads to a too accurate imitation of one of last night's combats and perhaps ends in a fatal wound. This being like the accounts in English papers about boys becoming hooligans or running off to sea as stowaways in consequence of reading trashy literature, my desire to attend a performance of marionettes was increased, but I did not want to go alone for, in the event of a row, with knives, among the audience it would be better to be accompanied by a native.

I was in Palermo where I knew a few students, whose education was of course still incomplete, but they were cold on the subject and said that if they came with me we should probably be turned out for laughing. That was not what I wanted. It ought to have been possible to do something with the waiter or the porter, or even with the barber whom I met on the stairs and in the pa.s.sages of the hotel when he came in the morning to shave the commercial travellers; but they all made difficulties--either they did not get away from their work till too late, or it was not a place for an Englishman or it was not safe. At home, of course, one does not go to the theatre with the waiter, but when in Sicily, though one does not perhaps do altogether as the Sicilians, one does not do as one does in England. I know a Palermitan barber with whom I should be proud to be seen walking in the Via Macqueda any day--that is, any day when his Sunday clothes were not in p.a.w.n--and there used to be a conduttore at my hotel who took me round to many of the sights in the town and who was a person of such distinguished manners that when with him I felt as though walking with a Knight-Templar in disguise--a disguise that had to be completed by my buying him a straw hat, otherwise he would have given us away by wearing his cap with "Albergo So-and-so" written all round it.

These are the people who really know about the marionettes, for whenever they get an evening off they go. It seemed, however, that I had met with a conspiracy of obstruction. Palermo was treating me as a good woman treats her husband when he wants to do something of which she disapproves--there was no explanation or arguing; what I wanted was quietly made impossible. So I replied by treating Palermo as a good man treats his wife under such circ.u.mstances--I pretended to like it and waited till I could woo some less difficult city.

Catania provided what I wanted. There I knew a professor interested in folk-lore and kindred subjects to whom I confided my troubles. He laughed at me for my failures, a.s.sured me there was no danger and offered to take me. It was a Sunday evening. On arriving at the teatrino, he spoke to an attendant who showed us in by a side entrance and gave us the best places in the house, that is, we were near the only open window.

The seating arrangements would have been condemned by the County Council; there were rows of benches across the floor and no pa.s.sages, so that the people had to walk on the seats to get to their places; two galleries ran round the house very close together, an ordinary man could not have stood upright in the lower one, and it was difficult to move in the upper one in which we were, because the arches supporting the roof nearly blocked it in three places on each side. Presently a man came round and collected our money, twenty centimes each, the seats on the ground being fifteen.

There were four boys sitting on the stage, two at each side of the curtain, as they used to sit in Shakespeare's theatre. Like the rest of the audience, these boys were of the cla.s.s they call Facchini, that is, porters, coachmen, shop a.s.sistants, s...o...b..acks, water-sellers, and so on.

It sometimes happens when travelling in Sicily that one has to spend half an hour, half a day, or it may be more, in company with one of these men.

He is usually a delightful person, dignified, kind, courteous, full of fun and extremely friendly without being obtrusive. During conversation one may perhaps ask him whether he can read and write; he will probably reply that at school he was taught both. Presently one may ask him to read an advertis.e.m.e.nt, or to write down an address; he will probably reply that the light is bad, or that he is occupied with the luggage or the horses. The fact is that reading and writing are to him very much what the cla.s.sics and the higher mathematics are to many an English gentleman--the subjects were included in his youthful studies, but as they have never been of the slightest use to him in earning his bread, he has forgotten all he ever learnt of them, and does not care to say so.

The Sicilian, however, no matter how uneducated he may be, has an appet.i.te for romance which must be gratified and, as it would give him some trouble to brush up his early accomplishments and stay at home reading Pulci and Boiardo, Ta.s.so and Ariosto, he prefers to follow the story of Carlo Magno and his paladins and the wars against the Saracens in the teatrino. Besides, no Sicilian man ever stays at home to do anything except to eat and sleep, and those are things he does out of doors as often as not; the houses are for the women, the men live in the street. It is as though in England the cab-drivers, railway porters and shop-boys were to spend evening after evening, month after month, looking on at a dramatized version of the _Arcadia_ or _The Faerie Queene_.

Presently the curtain went up and disclosed two flaring gas-jets, each with a small screen in front of it about halfway down the stage; these were the footlights, and behind them was a back cloth representing a hall with a vista of columns. In the rather confined s.p.a.ce between the footlights and the back cloth there came on a knight in armour. He stood motionless, supporting his forehead with his right fist, the back of his hand being outward.

"Is he crying?" I inquired.

"No," replied the professor, "he is meditating; if he were crying the back of his hand would be against his face."

He then dropped his fist and delivered a soliloquy, no doubt embodying the result of his meditation, after which he was joined by his twin brother. They conversed at length of battles and the King of Athens, of Adrianopoli and the Grand Turk, of princesses and of journeys by sea and land. The act of speaking induced a curious nervous complaint, useful because it showed which was the speaker; not only did he move his head and his right arm in a very natural and Sicilian manner, but he was constantly on the point of losing his balance, and only saved himself from falling by swinging one leg from the hip forwards or backwards as the case required. The listening knight stood firm till he had to speak, and then he was attacked by the complaint and the other became still.

At first I was puzzled as to the actual size of the figures and, starting with the idea that marionettes are always small, a.s.sumed that these were about three feet high; but, as the novelty wore off, I compared them with the audience and especially with the boys sitting in the corners and with various a.s.sistants of whom occasional glimpses could be caught at the wings; sometimes the hand of an operator appeared below the scenery and gave a hint, and gradually I came to the conclusion that the puppets could not be much smaller than life, if at all.