Colomba

He was drawing near the village, from which he had unconsciously travelled a considerable distance, when he heard the voice of a little girl, who probably believed herself to be quite alone, singing in a path that ran along the edge of the maquis. It was one of those slow, monotonous airs consecrated to funeral dirges, and the child was singing the words:

“And when my son shall see again the dwelling of his father, Give him that murdered father’s cross; show him my shirt bloodspattered.”

“What’s that you’re singing, child?” said Orso, in an angry voice, as he suddenly appeared before her.

“Is that you, Ors’ Anton’?” exclaimed the child, rather startled. “It is Signorina Colomba’s song.”

“I forbid you to sing it!” said Orso, in a threatening voice.

The child kept turning her head this way and that, as though looking about for a way of escape, and she would certainly have run off had she not been held back by the necessity of taking care of a large bundle which lay on the grass, at her feet.

Orso felt ashamed of his own vehemence. “What are you carrying there, little one?” said he, with all the gentleness he could muster. And as Chilina hesitated, he lifted up the linen that was wrapped round the bundle, and saw it contained a loaf of bread and other food.

“To whom are you bringing the loaf, my dear?” he asked again.

“You know quite well, Ors’ Anton’: to my uncle.”

“And isn’t your uncle a bandit?”

“At your service, Ors’ Anton’.”

“If you met the gendarmes, they would ask you where you were going. . . .”

“I should tell them,” the child replied, at once, “that I was taking food to the men from Lucca who were cutting down the maquis.”

“And if you came across some hungry hunter who insisted on dining at your expense, and took your provisions away from you?”

“Nobody would dare! I would say they are for my uncle!”

“Well! he’s not the sort of man to let himself be cheated of his dinner! . . . Is your uncle very fond of you?”

“Oh, yes, Ors’ Anton’. Ever since my father died, he has taken care of my whole family—my mother and my little sister, and me. Before mother was ill, he used to recommend her to rich people, who gave her employment. The mayor gives me a frock every year, and the priest has taught me my catechism, and how to read, ever since my uncle spoke to them about us. But your sister is kindest of all to us!”

Just at this moment a dog ran out on the pathway. The little girl put two of her fingers into her mouth and gave a shrill whistle, the dog came to her at once, fawned upon her, and then plunged swiftly into the thicket. Soon two men, ill-dressed, but very well armed, rose up out of a clump of young wood a few paces from where Orso stood. It was as though they had crawled up like snakes through the tangle of cytisus and myrtle that covered the ground.

“Oh, Ors’ Anton’, you’re welcome!” said the elder of the two men. “Why, don’t you remember me?”

“No!” said Orso, looking hard at him.

“Queer how a beard and a peaked cap alter a man! Come, monsieur, look at me well! Have you forgotten your old Waterloo men? Don’t you remember Brando Savelli, who bit open more than one cartridge alongside of you on that unlucky day?”

“What! Is it you?” said Orso. “And you deserted in 1816!”

“Even so, sir. Faith! soldiering grows tiresome, and besides, I had a job to settle over in this country. Aha, Chili! You’re a good girl! Give us our dinner at once, we’re hungry. You’ve no notion what an appetite one gets in the maquis. Who sent us this—was it Signorina Colomba or the mayor?”

“No, uncle, it was the miller’s wife. She gave me this for you, and a blanket for my mother.”

“What does she want of me?”

“She says the Lucchesi she hired to clear the maquis are asking her five-and-thirty sous, and chestnuts as well—because of the fever in the lower parts of Pietranera.”

“The lazy scamps! . . . I’ll see to them! . . . Will you share our dinner, monsieur, without any ceremony? We’ve eaten worse meals together, in the days of that poor compatriot of ours, whom they have discharged from the army.”

“No, I thank you heartily. They have discharged me, too!”

“Yes, so I heard. But I’ll wager you weren’t sorry for it. You have your own account to settle too. . . . Come along, cure,” said the bandit to his comrade. “Let’s dine! Signor Orso, let me introduce the cure. I’m not quite sure he is a cure. But he knows as much as any priest, at all events!”

“A poor student of theology, monsieur,” quoth the second bandit, “who has been prevented from following his vocation. Who knows, Brandolaccio, I might have been Pope!”

“What was it that deprived the Church of your learning?” inquired Orso.

“A mere nothing—a bill that had to be settled, as my friend Brandolaccio puts it. One of my sisters had been making a fool of herself, while I was devouring book-lore at Pisa University. I had to come home, to get her married. But her future husband was in too great a hurry; he died of fever three days before I arrived. Then I called, as you would have done in my place, on the dead man’s brother. I was told he was married. What was I to do?”

“It really was puzzling! What did you do?”

“It was one of those cases in which one has to resort to the gunflint.”

“In other words?”

“I put a bullet in his head,” said the bandit coolly.

Orso made a horrified gesture. Nevertheless, curiosity, and, it may be, his desire to put off the moment when he must return home, induced him to remain where he was, and continue his conversation with the two men, each of whom had at least one murder on his conscience.

While his comrade was talking, Brandolaccio was laying bread and meat in front of him. He helped himself—then he gave some food to this dog, whom he introduced to Orso under the name of Brusco, as an animal possessing a wonderful instinct for recognising a soldier, whatever might be the disguise he had assumed. Lastly, he cut off a hunch of bread and a slice of raw ham, and gave them to his niece. “Oh, the merry life a bandit lives!” cried the student of theology, after he had swallowed a few mouthfuls. “You’ll try it some day, perhaps, Signor della Rebbia, and you’ll find out how delightful it is to acknowledge no master save one’s own fancy!”

Hitherto the bandit had talked Italian. He now proceeded in French.

“Corsica is not a very amusing country for a young man to live in—but for a bandit, there’s the difference! The women are all wild about us. I, as you see me now, have three mistresses in three different villages. I am at home in every one of them, and one of the ladies is married to a gendarme!”

“You know many languages, monsieur!” said Orso gravely.

“If I talk French, ‘tis because, look you, maxima debetur pueris reverentia! We have made up our minds, Brandolaccio and I, that the little girl shall turn out well, and go straight.”

“When she is turned fifteen,” remarked Chilina’s uncle, “I’ll find a good husband for her. I have one in my eye already.”

“Shall you make the proposal yourself?” said Orso.

“Of course! Do you suppose that any well-to-do man in this neighbourhood, to whom I said, ‘I should be glad to see a marriage between your son and Michilina Savelli,’ would require any pressing?”

“I wouldn’t advise him to!” quoth the other bandit. “Friend Brandolaccio has rather a heavy hand!”

“If I were a rogue,” continued Brandolaccio, “a blackguard, a forger, I should only have to hold my wallet open, and the five-franc pieces would rain into it.”

“Then is there something inside your wallet that attracts them?” said Orso.

“Nothing. But if I were to write to a rich man, as some people have written, ‘I want a hundred francs,’ he would lose no time about sending them to me. But I’m a man of honour, monsieur.”

“Do you know, Signor della Rebbia,” said the bandit whom his comrade called the cure, “do you know that in this country, with all its simple habits, there are some wretches who make use of the esteem our passports” (and he touched his gun) “insure us, to draw forged bills in our handwriting?”

“I know it,” said Orso, in a gruff tone; “but what bills?”

“Six months ago,” said the bandit, “I was taking my walks abroad near Orezza, when a sort of lunatic came up to me, pulling off his cap to me even in the distance, and said: ‘Oh, M. le Cure’ (they always call me that), ‘please excuse me—give me time. I have only been able to get fifty-five francs together! Honour bright, that’s all I’ve been able to scrape up.’ I, in my astonishment, said, ‘Fifty-five francs! What do you mean, you rascal!’ ‘I mean sixty-five,’ he replied; ‘but as for the hundred francs you asked me to give you, it’s not possible.’ ‘What! you villain! I ask you for a hundred francs? I don’t know who you are.’ Then he showed me a letter, or rather a dirty rag of paper, whereby he was summoned to deposit a hundred francs on a certain spot, on pain of having his house burned and his cows killed by Giocanto Castriconi—that’s my name. And they had been vile enough to forge my signature! What annoyed me most was that the letter was written in patois, and was full of mistakes in spelling—I who won every prize at the university! I began by giving my rascal a cuff that made him twist round and round. ‘Aha! You take me for a thief, blackguard that you are!’ I said, and I gave him a hearty kick, you know where. Then feeling rather better, I went on, ‘When are you to take the money to the spot mentioned in the letter?’ ‘This very day.’ ‘Very good, then take it there!’ It was at the foot of a pine-tree, and the place had been exactly described. He brought the money, buried it at the foot of the tree, and came and joined me. I had hidden myself close by. There I stayed, with my man, for six mortal hours, M. della Rebbia. I’d have staid three days, if it had been necessary. At the end of six hours a Bastiaccio, a vile money-lender, made his appearance. As he bent down to take up the money, I fired, and I had aimed so well that, as he fell, his head dropped upon the coins he was unearthing. ‘Now, rascal,’ said I to the peasant, ‘take your money, and never dare to suspect Giocanto Castriconi of a mean trick again!’

“The poor devil, all of a tremble, picked up his sixty-five francs without taking the trouble to wipe them. He thanked me, I gave him a good parting kick, and he may be running away still, for all I know.”

“Ah, cure!” said Brandolaccio, “I envy you that shot! How you must have laughed!”

“I had hit the money-lender in the temple,” the bandit went on, “and that reminded me of Virgil’s lines:

. . . “‘Liquefacto tempora plumboDiffidit, ac multa porrectum, extendit arena.’

“Liquefacto! Do you think, Signor Orso, that the rapidity with which a bullet flies through the air will melt it? You who have studied projectiles, tell me whether you think that idea is truth or fiction?”

Orso infinitely preferred discussing this question of physics to arguing with the licentiate as to the morality of his action. Brandolaccio, who did not find their scientific disquisition entertaining, interrupted it with the remark that the sun was just going to set.

“As you would not dine with us, Ors’ Anton’,” he said, “I advise you not to keep Mademoiselle Colomba waiting any longer. And then it is not always wise to be out on the roads after sunset. Why do you come out without a gun? There are bad folk about here—beware of them! You have nothing to fear to-day. The Barricini are bringing the prefect home with them. They have gone to meet him on the road, and he is to stop a day at Pietranera, before he goes on to Corte, to lay what they call a corner-stone—such stupid nonsense! He will sleep to-night with the Barricini; but to-morrow they’ll be disengaged. There is Vincentello, who is a good-for-nothing fellow, and Orlanduccio, who is not much better. . . . Try to come on them separately, one to-day, the other to-morrow. . . . But be on the lookout, that’s all I have to say to you!”

“Thanks for the warning,” said Orso. “But there is no quarrel between us. Until they come to look for me, I shall have nothing to say to them.”

The bandit stuck his tongue in his cheek, and smacked it ironically, but he made no reply. Orso got up to go away.

“By the way,” said Brandolaccio, “I haven’t thanked you for your powder. It came just when I needed it. Now I have everything I want . . . at least I do still want shoes . . . but I’ll make myself a pair out of the skin of a moufflon one of these days.”

Orso slipped two five-franc pieces into the bandit’s hand.

“It was Colomba who sent you the powder. This is to buy the shoes.”

“Nonsense, Lieutenant!” cried Brandolaccio, handing him back the two coins. “D’ye take me for a beggar? I accept bread and powder, but I won’t have anything else!”

“We are both old soldiers, so I thought we might have given each other a lift. Well, good-bye to you!”

But before he moved away he had slipped the money into he bandit’s wallet, unperceived by him.

“Good-bye, Ors’ Anton’,” quoth the theologian. “We shall meet again in the maquis, some day, perhaps, and then we’ll continue our study of Virgil.”

Quite a quarter of an hour after Orso had parted company with these worthies, he heard a man running after him, as fast as he could go. It was Brandolaccio.

“This is too bad, lieutenant!” he shouted breathlessly, “really it is too bad! I wouldn’t overlook the trick, if any other man had played it on me. Here are your ten francs. All my respects to Mademoiselle Colomba. You have made me run myself quite out of breath. Good-night!”

CHAPTER XII

Orso found Colomba in a state of considerable anxiety because of his prolonged absence. But as soon as she saw him she recovered her usual serene, though sad, expression. During the evening meal the conversation turned on trivial subjects, and Orso, emboldened by his sister’s apparent calm, related his encounter with the bandits, and even ventured on a joke or two concerning the moral and religious education that was being imparted to little Chilina, thanks to the care of her uncle and of his worthy colleague Signor Castriconi.

“Brandolaccio is an upright man,” said Colomba; “but as to Castriconi, I have heard he is quite unprincipled.”

“I think,” said Orso, “that he is as good as Brandolaccio, and Brandolaccio is as good as he. Both of them are at open war with society. Their first crime leads them on to fresh ones, every day, and yet they are very likely not half so guilty as many people who don’t live in the maquis.”

A flash of joy shone in his sister’s eyes. “Yes,” he continued, “these wretches have a code of honour of their own. It is a cruel prejudice, not a mean instinct of greed, that has forced them into the life they are leading.”

There was a silence.

“Brother,” said Colomba, as she poured out his coffee, “perhaps you have heard that Carlo-Battista Pietri died last night. Yes, he died of the marsh-fever.”

“Who is Pietri?”

“A man belonging to this village, the husband of Maddalena, who took the pocket-book out of our father’s hand as he was dying. His widow has been here to ask me to join the watchers, and sing something. You ought to come, too. They are our neighbours, and in a small place like this we can not do otherwise than pay them this civility.”

“Confound these wakes, Colomba! I don’t at all like my sister to perform in public in this way.”

“Orso,” replied Colomba, “every country pays honour to its dead after its own fashion. The ballata has come down to us from our forefathers, and we must respect it as an ancient custom. Maddalena does not possess the ‘gift,’ and old Fiordispina, the best voceratrice in the country, is ill. They must have somebody for the ballata.”

“Do you believe Carlo-Battista won’t find his way safely into the next world unless somebody sings bad poetry over his bier? Go if you choose, Colomba—I’ll go with you, if you think I ought. But don’t improvise! It really is not fitting at your age, and—sister, I beg you not to do it!”

“Brother, I have promised. It is the custom here, as you know, and, I tell you again, there is nobody but me to improvise.”

“An idiotic custom it is!”

“It costs me a great deal to sing in this way. It brings back all our own sorrows to me. I shall be ill after it, to-morrow. But I must do it. Give me leave to do it. Brother, remember that when we were at Ajaccio, you told me to improvise to amuse that young English lady who makes a mock of our old customs. So why should I not do it to-day for these poor people, who will be grateful to me, and whom it will help to bear their grief?”

“Well, well, as you will. I’ll go bail you’ve composed your ballata already, and don’t want to waste it.”

“No, brother, I couldn’t compose it beforehand. I stand before the dead person, and I think about those he has left behind him. The tears spring into my eyes, and then I sing whatever comes into my head.”

All this was said so simply that it was quite impossible to suspect Signorina Colomba of the smallest poetic vanity. Orso let himself be persuaded, and went with his sister to Pietri’s house. The dead man lay on a table in the largest room, with his face uncovered. All the doors and windows stood open, and several tapers were burning round the table. At the head stood the widow, and behind her a great many women, who filled all one side of the room. On the other side were the men, in rows, bareheaded, with their eyes fixed on the corpse, all in the deepest silence. Each new arrival went up to the table, kissed the dead face, bowed his or her head to the widow and her son, and joined the circle, without uttering a word. Nevertheless, from time to time one of the persons present would break the solemn silence with a few words, addressed to the dead man.

“Why has thou left thy good wife?” said one old crone. “Did she not take good care of thee? What didst thou lack? Why not have waited another month? Thy daughter-in-law would have borne thee a grandson!” A tall young fellow, Pietri’s son, pressed his father’s cold hand and cried: “Oh! why hast thou not died of the mala morte?5 Then we could have avenged thee!”

These were the first words to fall on Orso’s ear as he entered the room. At the sight of him the circle parted, and a low murmur of curiosity betrayed the expectation roused in the gathering by the voceratrice’s presence. Colomba embraced the widow, took one of her hands, and stood for some moments wrapped in meditation, with her eyelids dropped. Then she threw back her mezzaro, gazed fixedly at the corpse, and bending over it, her face almost as waxen as that of the dead man, she began thus:

“Carlo-Battista! May Christ receive thy soul! . . . To live is to suffer! Thou goest to a place . . . where there is neither sun nor cold. . . . No longer dost thou need thy pruning-hook . . . nor thy heavy pick. . . . There is no more work for thee! . . . Henceforward all thy days are Sundays! . . . Carlo-Battista! May Christ receive thy soul! . . . Thy son rules in thy house. . . . I have seen the oak fall, . . . dried up by the libeccio. . . . I thought it was dead indeed, . . . but when I passed it again, its root . . . had thrown up a sapling. . . . The sapling grew into an oak . . . of mighty shade. . . . Under its great branches, Maddele, rest thee well! . . . And think of the oak that is no more!”

Here Maddalena began to sob aloud, and two or three men who, on occasion, would have shot at a Christian as coolly as at a partridge, brushed big tears off their sunburnt faces.

For some minutes Colomba continued in this strain, addressing herself sometimes to the corpse, sometimes to the family, and sometimes, by a personification frequently employed in the ballata, making the dead man himself speak words of consolation or counsel to his kinsfolk. As she proceeded, her face assumed a sublime expression, a delicate pink tinge crept over her features, heightening the brilliancy of her white teeth and the lustre of her flashing eyes. She was like a Pythoness on her tripod. Save for a sigh here and there, or a strangled sob, not the slightest noise rose from the assembly that crowded about her. Orso, though less easily affected than most people by this wild kind of poetry, was soon overcome by the general emotion. Hidden in a dark corner of the room, he wept as heartily as Pietri’s own son.

Suddenly a slight stir was perceptible among the audience. The circle opened, and several strangers entered. The respect shown them, and the eagerness with which room was made for them, proved them to be people of importance, whose advent was a great honour to the household. Nevertheless, out of respect for the ballata, nobody said a word to them. The man who had entered first seemed about forty years of age. From his black coat, his red rosette, his confident air, and look of authority, he was at once guessed to be the prefect. Behind him came a bent old man with a bilious-looking complexion, whose furtive and anxious glance was only partially concealed by his green spectacles. He wore a black coat, too large for him, and which, though still quite new, had evidently been made several years previously. He always kept close beside the prefect and looked as though he would fain hide himself under his shadow. Last of all, behind him, came two tall young men, with sunburnt faces, their cheeks hidden by heavy whiskers, proud and arrogant-looking, and showing symptoms of an impertinent curiosity. Orso had had time to forget the faces of his village neighbours; but the sight of the old man in green spectacles instantly called up old memories in his mind. His presence in attendance on the prefect sufficed to insure his recognition. This was Barricini, the lawyer, mayor of Pietranera, who had come, with his two sons, to show the prefect what a ballata was. It would be difficult exactly to describe what happened within Orso’s soul at that moment, but the presence of his father’s foe filled him with a sort of horror, and more than ever he felt inclined to yield to the suspicions with which he had been battling for so long.

As to Colomba, when she saw the man against whom she had sworn a deadly hatred, her mobile countenance assumed a most threatening aspect. She turned pale, her voice grew hoarse, the line she had begun to declaim died on her lips. But soon, taking up her ballata afresh, she proceeded with still greater vehemence.

“When the hawk bemoans himself . . . beside his harried nest, . . . the starlings flutter round him . . . insulting his distress.”

A smothered laugh was heard. The two young men who had just come in doubtless considered the metaphor too bold.

“The falcon will rouse himself. . . . He will spread his wings. . . . He will wash his beak in blood! . . . Now, to thee, Carlo-Battista, let thy friends . . . bid an eternal farewell! . . . Long enough have their tears flowed! . . . Only the poor orphan girl will not weep for thee! . . . Wherefore should she moan? . . . Thou has fallen asleep, full of years, . . in the midst of thine own kin . . . ready to appear . . . in the presence of the Almighty. . . . The orphan weeps for her father . . . overtaken by vile murderers, . . struck from behind. . . . For her father, whose blood lies red . . . beneath the heaped-up green leaves. . . . But she has gathered up this blood, . . this innocent and noble blood! . . . She has poured it out over Pietranera . . . that it may become a deadly poison. . . . And the mark shall be on Pietranera . . . until the blood of the guilty . . . shall have wiped out the blood of the innocent man!”

As Colomba pronounced the last words, she dropped into a chair, drew her mezzaro over her face, and was heard sobbing beneath it. The weeping women crowded round the improvisatrice; several of the men were casting savage glances at the mayor and his sons; some of the elders began to protest against the scandal to which their presence had given rise. The dead man’s son pushed his way through the throng, and was about to beg the mayor to clear out with all possible speed. But this functionary had not waited for the suggestion. He was on his way to the door, and his two sons were already in the street. The prefect said a few words of condolence to young Pietri, and followed them out, almost immediately. Orso went to his sister’s side, took her arm, and drew her out of the room.