Part 19

They remember that Falco Falcone is now an old man. He no longer plunders post-wagons; he does not carry off land-owners. He sits quiet generally in the quarry near Diamante, and instead of robbing money and estates, he takes money and estates under his protection.

He takes tribute from the great landed proprietors and guards their estates from other thieves, and it has become calm and peaceful on Etna, for he allows no one to injure those who have paid a tax to him.

But that is not reassuring. Since Falco has become friends with the great, he can all the more easily destroy the railway.

And they remember the story of Niccola Galli, who is overseer on the estate of the Marquis di San Stefano on the southern side of Etna. Once his workmen struck in the middle of the harvest time. Niccola Galli was in despair. The wheat stood ripe, and he could not get it reaped. His workmen would not work; they lay down to sleep at the edge of a ditch.

Niccola placed himself on a donkey and rode down to Catania to ask his lord for advice. On the way he met two men with guns on their shoulders. “Whither are you riding, Niccola?”

Before Niccola had time to say many words they took his donkey by the bit and turned him round. “You must not ride to the Marquis, Niccola?”--“Must I not?”--“No; you must ride home.”

As they went along, Niccola sat and shook on his donkey. When they were again at home the men said: “Now show us the way to the fields!” And they went out to the laborers. “Work, you scoundrels! The marquis has paid his tribute to Falco Falcone. You can strike in other places, but not here.” That field was reaped as never before. Falco stood on one side of it and Biagio on the other. The grain is soon harvested with such overseers.

When the people remember that, their terror does not decrease. “Falco keeps his word,” they say. “He will do what he has threatened to do.”

No one has been a robber chief as long as Falco. All the other famous heroes are dead or captives. He alone keeps himself alive and in his profession by incredible good fortune and skill.

Gradually he has collected about him all his family. His brothers-in-law and nephews are all with him. Most of them have been sent to the galleys, but not one of them thinks whether he suffers in prison; he only asks if Falco is satisfied with him.

In the newspapers there are often accounts of Falco’s deeds. Englishmen thrust a note of ten lire into their guide’s hand if he will show them the way to Falco’s quarry. The carabinieri no longer shoot at him, because he is the last great brigand.

He so little fears to be captured that he often comes down to Messina or Palermo. He has even crossed the sound and been in Italy. He went to Naples when Guglielmo and Umberto were there to christen a battle-ship. He travelled to Rome when Umberto and Margherita celebrated their silver wedding.

The people think of it all, and tremble. “Falco is loved and admired,” the workmen say. “The people worship Falco. He can do what he will.”

They know too that when Falco saw Queen Margherita’s silver wedding, it pleased him so much that he said: “When I have lived on Etna for five and twenty years, I shall celebrate my silver wedding with Mongibello.”

People laughed at that and said that it was a good idea of Falco’s. For he had never had a sweetheart, but Mongibello with its caves and forests and craters and ice-fields had served and protected him like a wife. To no one in the world did Falco owe such gratitude as to Mongibello.

People ask when Falco and Mongibello are going to celebrate their silver wedding. And people answer that it will be this spring. Then the workmen think: “_He is coming to destroy our railway on the day of Mongibello_.”

They are filled with doubt and terror. They soon will not dare to work any more. The nearer the time approaches when Falco is to celebrate his union with Mongibello, the more there are who leave Signor Alfredo. Soon he is practically alone at the work.

* * * * *

There are not many people in Diamante who have seen the big quarry on Etna. They have learned to avoid it because Falco Falcone lives there. They have been careful to keep out of range of his gun.

They have not seen the great hole in Mongibello’s side from which their ancestors, the Greeks, took stone in remote times. They have not seen the beautifully colored walls, and the mighty rocks that look like ruined pillars. Perhaps they do not know that on the bottom of the quarry grow more magnificent flowers than in a conservatory. There it is no longer Sicily; it is India.

In the quarry are mandarin trees, so yellow with fruit that they look like gigantic sun-flowers; the camellias are as big as tambourines; and on the ground between the trees lie masses of magnificent figs and downy peaches embedded in fallen rose-leaves.

One evening Falco is sitting alone in the quarry. Falco is busy making a wreath, and he has beside him a mass of flowers. The string he is using is as thick as a rope; he holds his foot on the ball so that it shall not roll away from him. He wears spectacles, which continually slip too far down his hooked nose.

Falco is swearing horribly, for his hands are stiff and callous from incessantly handling a gun, and cannot readily hold flowers. The fingers squeeze them together like steel tongs. Falco swears because the lilies and anemones fall into little pieces if he merely looks at them.

Falco sits in his leather breeches and in the long, buttoned-up coat, buried in flowers like a saint on a feast-day. Biagio and his nephew, Passafiore, have gathered them for him. They have piled up in front of him an Etna of the most beautiful flowers of the quarry. Falco can choose among lilies and cactus-flowers and roses and pelargoniums. He roars at the flowers that he will trample them to dust under his leather sandals if they do not submit themselves to his will.

Never before has Falco Falcone had to do with flowers. In the whole course of his life he has never tied a nosegay for a girl, or plucked a rose for his button-hole. He has never even laid a wreath on his mother’s grave.

Therefore the delicate flowers rebel against him. The flower sprays are entangled in his hair and in his hat, and the petals have caught in his bushy beard. He shakes his head violently, and the scar in his cheek glows red as fire as it used to do in the old days, when he fought with the carabinieri.

Still the wreath grows, and thick as a tree-trunk it winds round Falco’s feet and legs. Falco swears at it as if it were the steel fetters that once dragged between his ankles. He complains more, when he tears himself on a thorn or burns himself on a nettle, than he did when the whip of the galley guard lashed his back.

Biagio and Passafiore, his nephew, do not dare to show themselves; they lie concealed in a cave till everything is ready. They laugh at Falco with all their might, for such wailings as Falco’s have not sounded in the quarry since unhappy prisoners of war were kept at work there.

Biagio looks up to great Etna, which is blushing in the light of the setting sun. “Look at Mongibello,” he says to Passafiore; “see how it blushes. It must guess what Falco is busy with down in the quarry.” And Passafiore answers: “Mongibello has probably never thought that it would ever have anything on its head but ashes and snow.”

But suddenly Biagio stopped laughing. “It is not well, Passafiore,” he said. “Falco has become too proud. I am afraid that the great Mongibello is going to make a fool of him.”

The two bandits look one another in the eyes questioningly. “It is well if it is only pride,” says Passafiore.

But now they look away at the same moment, and dare say no more. The same thought, the same dread has seized them both. Falco is going mad. He is already mad at times. It is always so with great brigand chiefs; they cannot bear their glory and their greatness; they all go mad.

Passafiore and Biagio have seen it for a long time, but they have borne it in silence, and each has hoped that the other has seen nothing. Now they understand that they both know it. They press each other’s hands without a word. There is still something so great in Falco. Both of them, Passafiore and Biagio, will take care that no one shall perceive that he is no longer the man he was.

Finally Falco has his wreath ready; he hangs it on the barrel of his gun and comes out to the others. All three climb out of the quarry, and at the nearest farm-house they take horses in order to come quickly to the top of Mongibello.

They ride at full gallop so that they have no chance to talk, but as they pass the different farms they can see the people dancing on the flat roofs. And from the sheds, where the laborers sleep at night, they hear talk and laughter. There happy, peaceful people are sitting, guessing conundrums and matching verses. Falco storms by, such things are not for him. Falco is a great man.

They gallop towards the summit. At first they ride between almond-trees and cactus, then under plane-trees and stone-pines, then under oaks and chestnut-trees.

The night is dark; they see nothing of the beauty of Mongibello. They do not see the vine-encircled Monte Rosso; they do not see the two hundred craters that stand in a circle round Etna’s lofty peak like towers round a town; they do not see the endless stretches of thick forest.

In Casa del Bosco, where the road ends, they dismount. Biagio and Passafiore take the wreath and carry it between them. As they walk along, Falco begins to talk. He likes to talk since he has grown old.

Falco says that the mountain is like the twenty-five years of his life that he has passed there. The years that founded his greatness had blossomed with deeds. To be with him then had been like going through an endless arbor, where lemons and grapes hung down overhead. Then his deeds had been as numerous as the orange-trees round Etna’s base. When he had come higher the deeds had been less frequent, but those he had executed had been mighty as the oaks and chestnut-trees on the rising mountain. Now that he was at the summit of greatness, he scorned to act. His life was as bald as the mountain top; he was content to see the world at his feet. But people ought to understand that, if he should now undertake anything, nothing could resist him. He was terrible, like the fire-spouting summit.

Falco walks before and talks; Passafiore and Biagio follow him in silent terror. Dimly they see the mighty slopes of Mongibello with their towns and fields and forests spread out beneath them. And Falco thinks that he is as mighty as all that!

As they struggle upwards they are beset with a growing feeling of dread. The gaping fissures in the ground; the sulphur smoke from the crater, which rolls down the mountain, too heavy to rise into the air; the explosions inside the mountain; the incessant, gently rumbling earthquake; the slippery, rough ice-fields crossed by gushing brooks; the extreme cold, the biting wind,--make the walk hideous. And Falco says that it is like him! How can he have such things in his soul? Is it filled with a cold and a horror to be compared to Etna’s?

They stumble over blocks of ice, and they struggle forward through snow lying sometimes a yard deep. The mountain blast almost throws them down. They have to wade through slush and water, for through the day the sun has melted a mass of snow. And while they grow stiff with cold, the ground shakes under them with the everlasting fire.

They remember that Lucifer and all the damned are lying under them. They shudder because Falco has brought them to the gates of Hell.

But nevertheless beyond the ice-field they reach the steep cone of ashes on the very summit of the mountain. Here they drag themselves up, walking on sliding ashes and pumice-stone. When they are half way up the cone Falco takes the wreath, and motions to the others to wait. He alone will scale the summit.

The day is just breaking, and as Falco reaches the top the sun is visible. The glorious morning light streams over Mongibello and over the old Etna brigand on its summit. The shadow of Etna is thrown over the whole of Sicily, and it looks as if Falco, standing up there, reached from sea to sea, across the island.

Falco stands and gazes about him. He looks across to Italy; he fancies he sees Naples and Rome. He lets his glance pass over the sea to the land of the Turk to the east and the land of the Saracen to the south. He feels as if it all lay at his feet and acknowledged _his_ greatness.

Then Falco lays the wreath on the summit of Mongibello.

When he comes down to his comrades he solemnly presses their hands. As he leaves the cone they see that he picks up a piece of pumice-stone, and puts it in his pocket. Falco takes with him a souvenir of the most beautiful hour of his life. He has never before felt himself so great as on the top of Mongibello.

On that day of happiness Falco will do no work. The next day, he says, he will begin the undertaking of freeing Mongibello from the railway.

* * * * *

There is a lonely farm-house on the road between Paternó and Adernó. It is quite large, and it is owned by a widow, Donna Silvia, who has many strong sons. They are bold people who dare to live alone the whole year in the country.

It is the day following the one when Falco crowned Mongibello. Donna Silvia is sitting on the grass-plot with her distaff; she is alone; there is no one else at home on the farm. A beggar comes softly creeping in through the gate.

He is an old man with a long, hooked nose which hangs down over his upper lip, a bushy beard, pale eyes with red eyelids. They are the ugliest eyes imaginable; the whites are yellowish, and they squint. The beggar is tall and very thin; he moves his body when he walks, so that it looks as if he wriggled forward. He walks so softly that Donna Silvia does not hear him. The first thing she notices is his shadow, which, slender as a snake, bends down towards her.

She looks up when she sees the shadow. Then the beggar bows to her and asks for a dish of macaroni.

“I have macaroni on the fire,” says Donna Silvia. “Sit down and wait; you shall have your fill.”

The beggar sits down beside Donna Silvia, and after a while they begin to chat. They soon talk of Falco.

“Is it true that you let your sons work on Donna Micaela’s railway?” says the beggar.

Donna Silvia bites her lips together, and nods an assent.

“You are a brave woman, Donna Silvia. Falco might be revenged on you.”

“Then he can take revenge,” says Donna Silvia. “But I will not obey one who has killed my father. He forced him to escape from prison in Augusta, and my father was captured and shot.”

And so saying she rises and goes in to get the food.

As she stands in the kitchen she sees the beggar through the window, sitting and rocking on the stone-bench. He is not quiet for a moment. And in front of him writhes his shadow, slender and lithe as a snake.

Donna Silvia remembers what she had once heard Caterina, who had been married to Falco’s brother, Nino, say. “How will you recognize Falco after twenty years?” people had asked her. “Should I not recognize the man with the snake-shadow?” she answered. “He will never lose it, long as he may live.”

Donna Silvia presses her hand on her heart. There in her yard Falco Falcone is sitting. He has come to be revenged because her sons work on the railway. Will he set fire to the house, or will he murder her?

Donna Silvia is shaking in every limb as she serves up her macaroni.

Falco begins to find the time long as he sits on the stone-bench. A little dog comes up to him and rubs against him. Falco feels in his pocket for a piece of bread, but he finds only a stone, which he throws to the dog.

The dog runs after the stone and brings it back to Falco. Falco throws it again. The dog takes the stone again, but now he runs away with it.

Falco remembers that it is the stone he picked up on Mongibello, and goes after the dog to get it back. He whistles to the dog, and it comes to him instantly. “Drop the stone!” The dog puts its head on one side and will not drop it. “Ah, give me the stone, rascal!” The dog shuts its mouth. It has no stone. “Let me see; let me see!” says Falco. He bends the dog’s head back and forces it to open its mouth. The stone lies far in under the gums, and Falco tries to force it out. Then the dog bites him, till the blood flows.

Falco is terrified. He goes in to Donna Silvia. “I hope your dog is healthy,” he says.

“My dog? I have no dog. It is dead.”--“But the one running outside?”--“I do not know which one you mean,” she says.

Falco says nothing more, nor does he do Donna Silvia any harm. He simply goes his way, frightened; he thinks that the dog is mad, and he fears hydrophobia.

* * * * *

One evening Donna Micaela sits alone in the music-room. She has put out the lamp and opened the balcony doors. She likes to listen to the street in the evening and at night. No more smiths and stone-cutters and criers are heard. There is song, laughter, whispering, and mandolins.

Suddenly she sees a dark hand laid on the balcony railing. The hand drags up after it an arm and a head; within a moment a whole human being swings himself into the balcony. She sees him plainly, for the street-lamps are still burning. He is a small, broad-shouldered, bearded fellow, dressed like a shepherd, with leather sandals, a slouch hat, and an umbrella tied to his back. As soon as he is on his feet he snatches his gun from his shoulder and comes into the room with it in his hands.

She sits still without giving a sign of life. There is no time either to summon help or to escape. She hopes that the man will take what he wishes to take, and go away without noticing her, sitting back in the dark room.

The man puts his gun down between his legs, and she hears him scratching with a match. She shuts her eyes. He will believe that she is asleep.

When the robber gets the match lighted, he sees her instantly. He coughs to wake her. As she remains motionless, he creeps over to her and carefully stretches out a finger towards her arm. “Do not touch me! do not touch me!” she screams, and can no longer sit still. The man draws back instantly. “Dear Donna Micaela, I only wanted to wake you.”

There she sits and shakes with terror, and he hears how she is sobbing. “Dear signora, dear signora!” he says. “Light a candle that I can see where you are,” she cries. He scratches a new match, lifts the shade and chimney off the lamp, and lights it as neatly as a servant. He places himself again by the door, as far from her as possible. Suddenly he goes out on the balcony with his gun. “Now the signora cannot be afraid any longer.”

But when she does not cease weeping he says: “Signora, I am Passafiore; I come with a message to you from Falco. He no longer wishes to destroy your railway.”

“Have you come to jest with me?” she says.

Then the man answers, almost weeping: “Would God that it were a jest! God! that Falco were the man he has been!”

He tells her how Falco went up Mongibello and crowned its top. But the mountain had not liked it; it had now overthrown Falco. A single little piece of pumice-stone from Mongibello had been enough to overthrow him.

“It is all over with Falco,” says Passafiore. “He goes about in the quarry, and waits to fall ill. For a week he has neither slept nor eaten. He is not sick yet, but the wound in his hand does not heal either. He thinks that he has the poison in his body. ‘Soon I shall be a mad dog,’ he says. No wine nor food tempt him. He takes no pleasure in my praising his deeds. ‘What is that to talk about?’ he says. ‘I shall end my life like a mad dog.’”

Donna Micaela looked sharply at Passafiore. “What do you wish me to do about it? You cannot mean that I am to go down into the quarry to Falco Falcone?”

Passafiore looks down and dares not answer anything.

She explains to him what that same Falco has made her suffer. He has frightened away her workmen. He has set himself against her dearest wish.

All of a sudden Passafiore falls on his knees. He dares not go a step nearer to her than he is, but he falls on his knees.

He implores her to understand the importance of it. She does not know, she does not understand who Falco is. Falco is a great man. Ever since Passafiore was a little child he has heard of him. All his life long he has longed to come out to the quarry and live with him. All his cousins went to Falco; his whole race were with him. But the priest had set his heart that Passafiore should not go. He apprenticed him to a tailor; only think, to a tailor! He talked to him, and said that he should not go. It was such a terrible sin to live like Falco. Passafiore had also struggled against it for many years for Don Matteo’s sake. But at last he had not been able to resist; he had gone to the quarry. And now he has not been with Falco more than a year before the latter is quite destroyed. It is as if the sun had gone out in the sky. His whole life is ruined.

Passafiore looks at Donna Micaela. He sees that she is listening to him, and understands him.

He reminds Donna Micaela that she had helped a _jettatore_ and an adulteress. Why should she be hard to a brigand? The Christ-image in San Pasquale gave her everything she asked for. He was sure that she prayed to the Christchild to protect the railway from Falco. And he had obeyed her; he had made Mongibello’s pumice-stone break Falco’s might. But now, would she not be gracious, and help them, that Falco might get his health again, and be an honor to the land, as he had been before?

Passafiore succeeds in moving Donna Micaela. All at once she understands how it is with the old brigand in the dark caves of the quarry. She sees him there, waiting for madness. She thinks how proud he has been, and how broken and crushed he now is. No, no; no one ought to suffer so. It is too much, too much.

“Passafiore,” she exclaims, “tell me what you wish. I will do whatever I can. I am no longer afraid. No, I am not at all afraid.”

“Donna Micaela, we have begged Falco to go to the Christchild and ask for grace. But Falco will not believe in the image. He will not do anything but sit still and wait for the disaster. But to-day, when I implored him to go and pray, he said: ‘You know who sits and waits for me in the old house opposite the church. Go to her, and ask her if she will give me the privilege to go by her into the church. If she gives her permission, then I shall believe in the image, and say my prayers to him.’”

“Well?” questions Donna Micaela.

“I have been to old Caterina, and she has given her permission. ‘He shall be allowed to go into San Pasquale without my killing him,’ she said.”

Passafiore is still on his knees.

“Has Falco already been to the church?” asks Donna Micaela.

Passafiore moves somewhat nearer. He wrings his hands in despair. “Donna Micaela, Falco is very ill. It is not alone that about the dog; he was ill before.” And Passafiore struggles with himself before he can say it out. At last he acknowledges that although Falco is a very great man, he sometimes has attacks of madness. He had not spoken of old Caterina alone; he had said: “If Caterina will let me go into the church, and if Donna Micaela Alagona comes down into the quarry and gives me her hand, and leads me to the church, I will go to the image.” And from that no one had been able to move him. Donna Micaela, who was greatest and holiest of women, must come to him, or he would not go.

When Passafiore has finished, he remains kneeling with bowed head. He dares not look up.