Chapter 8

He was strong and full of animal life, but always aimless, as though his wits scarcely controlled him. But he loved his mother with a fundamental, generous, undistinguishing love. Only he always forgot what he was going to do. He was much more sensitive than Maria, more shy and reluctant. But his shyness, his sensitiveness only made him more aimless and awkward, a tiresome clown, slack and uncontrolled, witless. All day long his mother shouted and shrilled and scolded at him, or hit him angrily. He did not mind, he came up like a cork, warm and roguish and curiously appealing. She loved him with a fierce protective love, grounded on pain. There was such a split, a contrariety in his soul, one part reacting against the other, which landed him always into trouble.

It was when Marco was a baby that Paolo had gone to America. They were poor on San Gaudenzio. There were the few olive trees, the grapes, and the fruit; there was the one cow. But these scarcely made a living. Neither was Maria content with the real peasants' lot any more, polenta at midday and vegetable soup in the evening, and no way out, nothing to look forward to, no future, only this eternal present. She had been in service, and had eaten bread and drunk coffee, and known the flux and variable chance of life. She had departed from the old static conception. She knew what one might be, given a certain chance. The fixture was the thing she militated against. So Paolo went to America, to California, into the gold mines.

Maria wanted the future, the endless possibility of life on earth. She wanted her sons to be freer, to achieve a new plane of living. The peasant's life was a slave's life, she said, railing against the poverty and the drudgery. And it was quite true, Paolo and Giovanni worked twelve and fourteen hours a day at heavy laborious work that would have broken an Englishman. And there was nothing at the end of it. Yet Paolo was even happy so. This was the truth to him.

It was the mother who wanted things different. It was she who railed and railed against the miserable life of the peasants. When we were going to throw to the fowls a dry broken penny roll of white bread, Maria said, with anger and shame and resentment in her voice: 'Give it to Marco, he will eat it. It isn't too dry for him.'

White bread was a treat for them even now, when everybody eats bread. And Maria Fiori hated it, that bread should be a treat to her children, when it was the meanest food of all the rest of the world. She was in opposition to this order. She did not want her sons to be peasants, fixed and static as posts driven in the earth. She wanted them to be in the great flux of life in the midst of all possibilities. So she at length sent Paolo to America to the gold-mines. Meanwhile, she covered the wall of her parlour with picture postcards, to bring the outer world of cities and industries into her house.

Paolo was entirely remote from Maria's world. He had not yet even grasped the fact of money, not thoroughly. He reckoned in land and olive trees. So he had the old fatalistic attitude to his circumstances, even to his food. The earth was the Lord's and the fulness thereof; also the leanness thereof. Paolo could only do his part and leave the rest. If he ate in plenty, having oil and wine and sausage in the house, and plenty of maize-meal, he was glad with the Lord. If he ate meagrely, of poor polenta, that was fate, it was the skies that ruled these things, and no man ruled the skies. He took his fate as it fell from the skies.

Maria was exorbitant about money. She would charge us all she could for what we had and for what was done for us.

Yet she was not mean in her soul. In her soul she was in a state of anger because of her own closeness. It was a violation to her strong animal nature. Yet her mind had wakened to the value of money. She knew she could alter her position, the position of her children, by virtue of money. She knew it was only money that made the difference between master and servant. And this was all the difference she would acknowledge. So she ruled her life according to money. Her supreme passion was to be mistress rather than servant, her supreme aspiration for her children was that in the end they might be masters and not servants.

Paolo was untouched by all this. For him there was some divinity about a master which even America had not destroyed. If we came in for supper whilst the family was still at table he would have the children at once take their plates to the wall, he would have Maria at once set the table for us, though their own meal were never finished. And this was not servility, it was the dignity of a religious conception. Paolo regarded us as belonging to the Signoria, those who are elect, near to God. And this was part of his religious service. His life was a ritual. It was very beautiful, but it made me unhappy, the purity of his spirit was so sacred and the actual facts seemed such a sacrilege to it. Maria was nearer to the actual truth when she said that money was the only distinction. But Paolo had hold of an eternal truth, where hers was temporal. Only Paolo misapplied this eternal truth. He should not have given Giovanni the inferior status and a fat, mean Italian tradesman the superior. That was false, a real falsity. Maria knew it and hated it. But Paolo could not distinguish between the accident of riches and the aristocracy of the spirit. So Maria rejected him altogether, and went to the other extreme. We were all human beings like herself; naked, there was no distinction between us, no higher nor lower. But we were possessed of more money than she. And she had to steer her course between these two conceptions. The money alone made the real distinction, the separation; the being, the life made the common level.

Paolo had the curious peasant's avarice also, but it was not meanness. It was a sort of religious conservation of his own power, his own self. Fortunately he could leave all business transactions on our account to Maria, so that his relation with us was purely ritualistic. He would have given me anything, trusting implicitly that I would fulfil my own nature as Signore, one of those more godlike, nearer the light of perfection than himself, a peasant. It was pure bliss to him to bring us the first-fruit of the garden, it was like laying it on an altar.

And his fulfilment was in a fine, subtle, exquisite relationship, not of manners, but subtle interappreciation. He worshipped a finer understanding and a subtler tact. A further fineness and dignity and freedom in bearing was to him an approach towards the divine, so he loved men best of all, they fulfilled his soul. A woman was always a woman, and sex was a low level whereon he did not esteem himself. But a man, a doer, the instrument of God, he was really godlike.

Paolo was a Conservative. For him the world was established and divine in its establishment. His vision grasped a small circle. A finer nature, a higher understanding, took in a greater circle, comprehended the whole. So that when Paolo was in relation to a man of further vision, he himself was extended towards the whole. Thus he was fulfilled. And his initial assumption was that every signore, every gentleman, was a man of further, purer vision than himself. This assumption was false. But Maria's assumption, that no one had a further vision, no one was more elect than herself, that we are all one flesh and blood and being, was even more false. Paolo was mistaken in actual life, but Maria was ultimately mistaken.

Paolo, conservative as he was, believing that a priest must be a priest of God, yet very rarely went to church. And he used the religious oaths that Maria hated, even _Porca-Maria_. He always used oaths, either Bacchus or God or Mary or the Sacrament. Maria was always offended. Yet it was she who, in her soul, jeered at the Church and at religion. She wanted the human society as the absolute, without religious abstractions. So Paolo's oaths enraged her, because of their profanity, she said. But it was really because of their subscribing to another superhuman order. She jeered at the clerical people. She made a loud clamour of derision when the parish priest of the village above went down to the big village on the lake, and across the piazza, the quay, with two pigs in a sack on his shoulder. This was a real picture of the sacred minister to her.

One day, when a storm had blown down an olive tree in front of the house, and Paolo and Giovanni were beginning to cut it up, this same priest of Mugiano came to San Gaudenzio. He was an iron-grey, thin, disreputable-looking priest, very talkative and loud and queer. He seemed like an old ne'er-do-well in priests' black, and he talked loudly, almost to himself, as drunken people do. At once _he_ must show the Fiori how to cut up the tree, he must have the axe from Paolo. He shouted to Maria for a glass of wine. She brought it out to him with a sort of insolent deference, insolent contempt of the man and traditional deference to the cloth. The priest drained the tumblerful of wine at one drink, his thin throat with its Adam's apple working. And he did not pay the penny.

Then he stripped off his cassock and put away his hat, and, a ludicrous figure in ill-fitting black knee-breeches and a not very clean shirt, a red handkerchief round his neck, he proceeded to give great extravagant blows at the tree. He was like a caricature. In the doorway Maria was encouraging him rather jeeringly, whilst she winked at me. Marco was stifling his hysterical amusement in his mother's apron, and prancing with glee. Paolo and Giovanni stood by the fallen tree, very grave and unmoved, inscrutable, abstract. Then the youth came away to the doorway, with a flush mounting on his face and a grimace distorting its youngness. Only Paolo, unmoved and detached, stood by the tree with unchanging, abstract face, very strange, his eyes fixed in the ageless stare which is so characteristic.

Meanwhile the priest swung drunken blows at the tree, his thin buttocks bending in the green-black broadcloth, supported on thin shanks, and thin throat growing dull purple in the red-knotted kerchief. Nevertheless he was doing the job. His face was wet with sweat. He wanted another glass of wine.

He took no notice of us. He was strangely a local, even a mountebank figure, but entirely local, an appurtenance of the district.

It was Maria who jeeringly told us the story of the priest, who shrugged her shoulders to imply that he was a contemptible figure. Paolo sat with the abstract look on his face, as of one who hears and does not hear, is not really concerned. He never opposed or contradicted her, but stayed apart. It was she who was violent and brutal in her ways. But sometimes Paolo went into a rage, and then Maria, everybody, was afraid. It was a white heavy rage, when his blue eyes shone unearthly, and his mouth opened with a curious drawn blindness of the old Furies. There was something of the cruelty of a falling mass of snow, heavy, horrible. Maria drew away, there was a silence. Then the avalanche was finished.

They must have had some cruel fights before they learned to withdraw from each other so completely. They must have begotten Marco in hatred, terrible disintegrated opposition and otherness. And it was after this, after the child of their opposition was born, that Paolo went away to California, leaving his San Gaudenzio, travelling with several companions, like blind beasts, to Havre, and thence to New York, then to California. He stayed five years in the gold-mines, in a wild valley, living with a gang of Italians in a town of corrugated iron.

All the while he had never really left San Gaudenzio. I asked him, 'Used you to think of it, the lake, the Monte Baldo, the laurel trees down the slope?' He tried to see what I wanted to know. Yes, he said--but uncertainly. I could see that he had never been really homesick. It had been very wretched on the ship going from Havre to New York. That he told me about. And he told me about the gold-mines, the galleries, the valley, the huts in the valley. But he had never really fretted for San Gaudenzio whilst he was in California.

In real truth he was at San Gaudenzio all the time, his fate was riveted there. His going away was an excursion from reality, a kind of sleep-walking. He left his own reality there in the soil above the lake of Garda. That his body was in California, what did it matter? It was merely for a time, and for the sake of his own earth, his land. He would pay off the mortgage. But the gate at home was his gate all the time, his hand was on the latch.

As for Maria, he had felt his duty towards her. She was part of his little territory, the rooted centre of the world. He sent her home the money. But it did not occur to him, in his soul, to miss her. He wanted her to be safe with the children, that was all. In his flesh perhaps he missed the woman. But his spirit was even more completely isolated since marriage. Instead of having united with each other, they had made each other more terribly distinct and separate. He could live alone eternally. It was his condition. His sex was functional, like eating and drinking. To take a woman, a prostitute at the camp, or not to take her, was no more vitally important than to get drunk or not to get drunk of a Sunday. And fairly often on Sunday Paolo got drunk. His world remained unaltered.

But Maria suffered more bitterly. She was a young, powerful, passionate woman, and she was unsatisfied body and soul. Her soul's satisfaction became a bodily unsatisfaction. Her blood was heavy, violent, anarchic, insisting on the equality of the blood in all, and therefore on her own absolute right to satisfaction.

She took a wine licence for San Gaudenzio, and she sold wine. There were many scandals about her. Somehow it did not matter very much, outwardly. The authorities were too divided among themselves to enforce public opinion. Between the clerical party and the radicals and the socialists, what canons were left that were absolute? Besides, these wild villages had always been ungoverned.

Yet Maria suffered. Even she, according to her conviction belonged to Paolo. And she felt betrayed, betrayed and deserted. The iron had gone deep into her soul. Paolo had deserted her, she had been betrayed to other men for five years. There was something cruel and implacable in life. She sat sullen and heavy, for all her quick activity. Her soul was sullen and heavy.

I could never believe Felicina was Paolo's child. She was an unprepossessing little girl, affected, cold, selfish, foolish. Maria and Paolo, with real Italian greatness, were warm and natural towards the child in her. But they did not love her in their very souls, she was the fruit of ash to them. And this must have been the reason that she was so self-conscious and foolish and affected, small child that she was.

Paolo had come back from America a year before she was born--a year before she was born, Maria insisted. The husband and wife lived together in a relationship of complete negation. In his soul he was sad for her, and in her soul she felt annulled. He sat at evening in the chimney-seat, smoking, always pleasant and cheerful, not for a moment thinking he was unhappy. It had all taken place in his subconsciousness. But his eyebrows and eyelids were lifted in a kind of vacancy, his blue eyes were round and somehow finished, though he was so gentle and vigorous in body. But the very quick of him was killed. He was like a ghost in the house, with his loose throat and powerful limbs, his open, blue extinct eyes, and his musical, slightly husky voice, that seemed to sound out of the past.

And Maria, stout and strong and handsome like a peasant woman, went about as if there were a weight on her, and her voice was high and strident. She, too, was finished in her life. But she remained unbroken, her will was like a hammer that destroys the old form.

Giovanni was patiently labouring to learn a little English. Paolo knew only four or five words, the chief of which were 'a'right', 'boss', 'bread', and 'day'. The youth had these by heart, and was studying a little more. He was very graceful and lovable, but he found it difficult to learn. A confused light, like hot tears, would come into his eyes when he had again forgotten the phrase. But he carried the paper about with him, and he made steady progress.

He would go to America, he also. Not for anything would he stay in San Gaudenzio. His dream was to be gone. He would come back. The world was not San Gaudenzio to Giovanni.

The old order, the order of Paolo and of Pietro di Paoli, the aristocratic order of the supreme God, God the Father, the Lord, was passing away from the beautiful little territory. The household no longer receives its food, oil and wine and maize, from out of the earth in the motion of fate. The earth is annulled, and money takes its place. The landowner, who is the lieutenant of God and of Fate, like Abraham, he, too, is annulled. There is now the order of the rich, which supersedes the order of the Signoria.

It is passing away from Italy as it has passed from England. The peasant is passing away, the workman is taking his place. The stability is gone. Paolo is a ghost, Maria is the living body. And the new order means sorrow for the Italian more even than it has meant for us. But he will have the new order.

San Gaudenzio is already becoming a thing of the past. Below the house, where the land drops in sharp slips to the sheer cliff's edge, over which it is Maria's constant fear that Felicina will tumble, there are the deserted lemon gardens of the little territory, snug down below. They are invisible till one descends by tiny paths, sheer down into them. And there they stand, the pillars and walls erect, but a dead emptiness prevailing, lemon trees all dead, gone, a few vines in their place. It is only twenty years since the lemon trees finally perished of a disease and were not renewed. But the deserted terrace, shut between great walls, descending in their openness full to the south, to the lake and the mountain opposite, seem more terrible than Pompeii in their silence and utter seclusion. The grape hyacinths flower in the cracks, the lizards run, this strange place hangs suspended and forgotten, forgotten for ever, its erect pillars utterly meaningless.

I used to sit and write in the great loft of the lemon-house, high up, far, far from the ground, the open front giving across the lake and the mountain snow opposite, flush with twilight. The old matting and boards, the old disused implements of lemon culture made shadows in the deserted place. Then there would come the call from the back, away above: '_Venga, venga mangiare_.'

We ate in the kitchen, where the olive and laurel wood burned in the open fireplace. It was always soup in the evening. Then we played games or cards, all playing; or there was singing, with the accordion, and sometimes a rough mountain peasant with a guitar.

But it is all passing away. Giovanni is in America, unless he has come back to the War. He will not want to live in San Gaudenzio when he is a man, he says. He and Marco will not spend their lives wringing a little oil and wine out of the rocky soil, even if they are not killed in the fighting which is going on at the end of the lake. In my loft by the lemon-houses now I should hear the guns. And Giovanni kissed me with a kind of supplication when I went on to the steamer, as if he were beseeching for a soul. His eyes were bright and clear and lit up with courage. He will make a good fight for the new soul he wants--that is, if they do not kill him in this War.

_5_

THE DANCE

Maria had no real licence for San Gaudenzio, yet the peasants always called for wine. It is easy to arrange in Italy. The penny is paid another time.

The wild old road that skirts the lake-side, scrambling always higher as the precipice becomes steeper, climbing and winding to the villages perched high up, passes under the high boundary-wall of San Gaudenzio, between that and the ruined church. But the road went just as much between the vines and past the house as outside, under the wall; for the high gates were always open, and men or women and mules come into the property to call at the door of the homestead. There was a loud shout, 'Ah--a--a--ah--Mari--a. O--O--Oh Pa'o!' from outside, another wild, inarticulate cry from within, and one of the Fiori appeared in the doorway to hail the newcomer.

It was usually a man, sometimes a peasant from Mugiano, high up, sometimes a peasant from the wilds of the mountain, a wood-cutter, or a charcoal-burner. He came in and sat in the house-place, his glass of wine in his hand between his knees, or on the floor between his feet, and he talked in a few wild phrases, very shy, like a hawk indoors, and unintelligible in his dialect.

Sometimes we had a dance. Then, for the wine to drink, three men came with mandolines and guitars, and sat in a corner playing their rapid tunes, while all danced on the dusty brick floor of the little parlour. No strange women were invited, only men; the young bloods from the big village on the lake, the wild men from above. They danced the slow, trailing, lilting polka-waltz round and round the small room, the guitars and mandolines twanging rapidly, the dust rising from the soft bricks. There were only the two English women: so men danced with men, as the Italians love to do. They love even better to dance with men, with a dear blood-friend, than with women.

'It's better like this, two men?' Giovanni says to me, his blue eyes hot, his face curiously tender.

The wood-cutters and peasants take off their coats, their throats are bare. They dance with strange intentness, particularly if they have for partner an English Signora. Their feet in thick boots are curiously swift and significant. And it is strange to see the Englishwomen, as they dance with the peasants transfigured with a kind of brilliant surprise. All the while the peasants are very courteous, but quiet. They see the women dilate and flash, they think they have found a footing, they are certain. So the male dancers are quiet, but even grandiloquent, their feet nimble, their bodies wild and confident.

They are at a loss when the two English Signoras move together and laugh excitedly at the end of the dance.

'Isn't it fine?'

'Fine! Their arms are like iron, carrying you round.'

'Yes! Yes! And the muscles on their shoulders! I never knew there were such muscles! I'm almost frightened.'

'But it's fine, isn't it? I'm getting into the dance.'

'Yes--yes--you've only to let them take you.'

Then the glasses are put down, the guitars give their strange, vibrant, almost painful summons, and the dance begins again.