Читать книгу Last Tales - Karen Blixen - Страница 7

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It was a lovely spring day, and the almond trees were blossoming, delicately pink and coral like flamingo feathers, down the slope in front of the white villa. From the terrace at the top there was a wide view over the landscape, and all shapes and colors within it—the far-off, air-blue mountains, the greenish-gray olive groves on the nearer slopes; the serpentine, dust-gray road through the valley below; the free, fleeting groups of big clouds; and the noble, mathematically straight, darker blue line of the sea on the horizon—in the cool of the evening were as beautifully harmonious as if an angel had stood behind the shoulder of the observer and poured out it all from his flute.

Angelo Santasilia, the famous sculptor who owned the villa, was sitting on the terrace, shaping tiny figures in clay. His long workday was over, and he was satisfied with his work. But his three children—two fair-limbed little boys and a little girl with a skin as transparent as an almond blossom and big, childishly unfathomable dark eyes—before consenting to go to bed had demanded that these three equestrian statues should be ready by the next morning. No one horseman was to be superior to another, yet they all were to be so different that each of the children could immediately pick out its own from among them. The task had gripped the artist’s imagination, so that he was now deeply engrossed in it. His wife, Lucrezia, wrapped in a crimson shawl, sat a little behind him, and smiled at her husband’s gravity.

A nightingale sang in a distant thicket, and all of a sudden another struck up, enraptured, quite close by.

Angelo was still in his working smock. His great beauty since we last saw him had become richer, almost blooming like that of a woman.

A small man came from the house down toward husband and wife. He did not carry his hat in his hand, for he had no hat, but his attitude was as dignified and deferential as if he had been sweeping the ground with the panache of one. Lucrezia first caught sight of him, and drew her husband’s attention to him—but Angelo, who was just about to shape a rearing horse, did not want to be interrupted. Still when he turned his head, and recognized in the approaching figure the wanderer, Giuseppino Pizzuti, a friend of old times, he waved his hand to him.

Giuseppino greeted his host as if their parting had taken place that very morning. All the same, the years had not passed over him without leaving their mark. He was even leaner than before and more poorly dressed. His eyebrows were raised high on his forehead, as if a permanent deep amazement had placed them there. He seemed to be without weight, like a withered, rolled-up leaf.

At first he seemed quite unaffected by the changed circumstances of his old companion in misfortune; indeed, he hardly seemed to notice them at all. But when he was introduced to Lucrezia and saw what a lovely wife Angelo had, he was so deeply impressed that he styled him “Signor Santasilia” and “Maestro.”

“Nay,” Angelo interrupted him, “speak not so. I am no fine gentleman and no master. Do you remember where we last spoke together?”

“Yes,” Pizzuti answered after some deliberation, “it was at the inn of Mariana-the-Rat, the good home of thieves and smugglers, down by the harbor.”

“Aye, and let us talk together as we did there,” said Angelo.

Lucrezia after a while noticed that her husband’s guest had three fingers missing on his right hand, and turned her face away. She was expecting her fourth child, and feared any impression of ugliness which might put its stamp upon the unborn baby. She therefore rose as quickly as with courtesy she could, remarked that the wanderer must be in need of something to eat and drink, and walked back to the villa to prepare something. The two men followed her with their eyes until she disappeared through the door.

“And how, Pino,” asked the host, “have you been doing since I saw you last?”

The old man began to tell his story. He had traveled far and wide, had seen famous places and people and witnessed remarkable natural phenomena. He had also consoled the distressed and set on the right path those who had strayed from it. Suddenly he gave himself up to tears.

“Why do you weep, Pino?” asked Angelo.

“Oh, my friend, weep with me,” Pino answered. “I have loved since last we met.”

“Loved?” Angelo repeated, slowly and with astonishment, as if he were repeating a word of a foreign tongue.

“Oh, loved, loved!” cried Pino. “Life’s sorest pain has penetrated and torn asunder even this heart of mine. A woman, radiant, triumphant like a song, smiled upon me—and went away again!”

“Life’s sorest pain?” Angelo repeated as before.

“She was a great lady traveling from England,” said Pino. “Three years ago, in Venice, as she got into her gondola, she gave me such a deep, friendly, animated glance, such a goddess glance, that thereby heaven came down and walked on earth! I followed her, we met again, and each time her eyes gave me the same greeting out of her soul’s inexhaustible riches. Once she spoke to me. She was tall like a statue, she wore a silk robe that rustled gently, her hair was like red-golden silk!”

Pizzuti raised his right hand to the sky. “But I,” he cried out, “I lack these my three fingers, and will nevermore make my puppets dance! When she had gone away, the world was a void—and yet how full of pain! I had just one thing left to me in my infinite destitution: to talk with somebody who might possibly, just once in the course of the day, speak her name. I remained in Venice for two years, solely to sit with her gondolier, a plebeian who could neither sing nor play, hoping for this: that he would pronounce her name, as if waiting for sweet music to come from his lips. But he married, and his wife forbade me her house. O Angelo Santasilia—all life that I have in me consumes itself!”

Pino let his head fall onto his breast; tears poured down his face onto his greasy black cloak.

“You must not let that worry you,” said Angelo. “It is a good thing to have a great sorrow. Or should human beings allow Christ to have died on the cross for the sake of our toothaches?”

After a while he continued: “Tell me her name, Pino. Then you will stay on in my house, and I will speak it once a day.”

Pino closed his eyes, made two attempts to speak, but remained silent. He whispered, “I cannot.”

Lucrezia’s red-cheeked maid came from the house, smiling, with a tray containing wine, cheese and bread, and a cold chicken. Angelo poured out wine to his friend and to himself. The old wanderer was obviously hungry, yet he ate and drank slowly, as now he did everything.

“And you, Angelo,” he said, “how have things gone with you?”

It was now Angelo’s turn to report on his life in the seven years that had gone. He told Pino of the works he had completed since they had seen each other, and of the large orders he received from princes and cardinals, of the pupils who flocked to his school and of his children. When he stopped, Pino’s gaze met his, and for some time they sat thus in silence. It seemed strange to Angelo to be sitting again with Pizzuti.

“Yes, you see, Pino,” he at length said slowly. “All this—art, a lovely wife, beautiful children, renown, friends, wealth—all this will constitute a man’s happiness, my happy life. But you know that there be rivers which at one place in their course disappear into the ground and run beneath it for a couple of miles. Woods and rose gardens grow in this ground, but beneath them runs the river. In that same way a river is running beneath my happiness, and only to you can I speak of it. That river is the secret which Lucrezia bears and keeps from me. For I do not know what happened on the night when I was hostage for Leonidas Allori in prison.

“She has never spoken of it. Many times I have waited for a word from her lips which would solve the riddle. On our wedding night I waited for it—and the river ran deep below our bridal bed. One day when we walked together along the seashore, and there was an offshore wind, and she gazed at me, I waited for it. But she has never spoken, her full sweet lips have always been sealed over the secret. While I was still young, I felt that I might have to kill her if she continued to keep silent.

“But I have reflected,” he went on, “that I have no claims on her. For the entire being of a woman is a secret, which should be kept. And one more deep secret to her becomes part of it, one charm more, a hidden treasure. It is said that the tree under which a murderer buries his victim will die, but the apple tree under which a girl buries her murdered child does blossom more richly and does give more perfect fruit than others—the tree transforms the hidden crime into white and rosy, and into delicious flavor. I must not expect her to part with this secret either.”

He gazed out over the valley.

“And I have further thought,” he said, “that in the moment when at last I should be asking Lucrezia, ‘Tell me, for I suffer, what happened that night that Leonidas Allori came to you, in the house of the vintager, in the mountains? Did the master learn, then, that you and I had betrayed him?’ she would turn her face toward me, her clear eyes dark with sorrow, and answer me: ‘So you have known that your master went to the vintager’s house in the mountains, and you have never told me that you knew! For seven years, day and night, you have hidden your knowledge from me, and even my kisses have not been able to make you speak!’ Maybe, after that, she would leave me forever. Or again, maybe she would still stay with me for the sake of the children, and because my great fame gives her pleasure. But she would never again be my happy, smiling wife.

“And I have come to understand that she would be in the right. For in the mind and nature of a man a secret is an ugly thing, like a hidden physical defect. And thus,” he finished, “the river runs beneath my life.”

Pino remained silent for a while, glanced at his friend and then gazed at the mountains. “And how goes it?” he asked. “Can you sleep now?”

“Sleep?” Angelo repeated, as before, as if from its sound he was repeating a word from another language, “Aye, do you remember when I could not sleep? Yes, thanks, now I can sleep.”

Again there was a silence.

“No,” Pino said suddenly, “you are mistaken, and things are not as you imagine. I happen to know. A person who—because of you—did have this matter at heart, might—for your sake—ask Lucrezia, ‘What happened the night your lover pledged his life for your husband? Did the great artist then get to know that you two, whom he had held dearest of all, and whose hearts and fates he had directed as by strings on his fingers, had betrayed him? Did the blow then break his great heart? Or did he stand up to it, even if staggering, trusting to the law of the golden section?’ She would then look up at the inquirer, her eyes so clear that he would be ashamed to doubt even for a moment the truth of her words, and answer him, ‘I am very sorry that I cannot tell you. But I do not remember. I have forgotten.’ ”

“Do you mean to tell me,” Angelo asked in a low voice, “that you have asked her?”

“I have seen your wife for the first time today,” answered Pino. “But you forget that I have once written marionette plays. I had then a lovely puppet, the jeune première of my theater, with rosy cheeks and white bosom, and with eyes of clear dark glass, who resembled Lucrezia.”

When after a pause the old man again looked at Angelo, he noticed that he was smiling a little. “What are you thinking of, Angelo?” he asked.

“I was thinking of those small instruments that we call words, and by which we have to manage in this life of ours. I was thinking of how, by interchanging two everyday words in an everyday sentence, we alter our world. For when you had spoken, I first thought, ‘Is that possible?’—then secondly, after a moment, ‘That is possible.’ ”

They now for some time talked of other things, and to give Giuseppino pleasure, Angelo made him tell of his marionette theater. But from time to time the smile left the face of the old theater director, and he sank back into melancholy.

“But listen now, Pino,” said his friend. “Today your heaven is seven years nearer to you than when we last met. There you will see again both your puppets and your milady. For I take it that you are still Demas, the thief on the cross who had Paradise promised him?”

“Well, Angelo,” said Pizzuti, scratching his head with his two fingers, “there you bring up something to which I have been giving a good deal of thought. I certainly still do believe that I am that great sinner to whom hope was given. But how, now, did things really go with this thief on the cross?

“ ‘This day shalt thou be with me in Paradise,’ the Saviour said to him. But when on the evening of Good Friday Demas presented himself at the gate of Paradise, Christ was not there, and as you know, forty days passed before He came home in all His splendor. Very likely the young King of Heaven, in those days of great events, gave not much thought to an invitation. But I myself—better than most people—will know with what confusion and anxiety the poorly dressed guest did approach the gate.

“And I have pondered,” Pino went on, “who will really have been present behind the gate at which Demas was staring, with the authority to let a thief into Paradise? The Rock of the Church, the great Fisherman Peter, at this dark hour crouched at the back of the high priest’s house, farther away from Paradise than ever before or after. Saint Mary Magdalene, whom Demas knew from Jerusalem, was sobbing into her long hair and had not yet made up her mind to go to the grave. Those friendly saints with whom we are now familiar—Francis, Anthony and sweet Catherine—came upon the heavenly stage only many centuries later. The gentle Blessed Virgin, had she by that time been Queen of Heaven, would have understood all that was going on in Demas’ heart, and so would have come to the gate herself, with her crown on and her retinue of angels—but even her strong heart could not hold or bear any more on that Friday night. Yet after a long time, I have imagined, the little children whom King Herod had had put to death in Bethlehem came running along to throng around the newcomer. No doubt they laughed at the sorry figure collapsed in a small heap over his sundered bones, perhaps they did even point their little fingers at him, as children will do at a ragged cripple. But in the end two of them ran in to fetch Saint Anne, Christ’s blessed grandmother. And as this worthy woman now appeared at the gate and spoke to him, Demas suddenly realized how everything is explained and made clear to the blessed in heaven, for even after the happenings of Good Friday, she was mild and bright as a lighted candle.

“I have now imagined the following conversation to take place between the two of them.

“ ‘Come in,’ the lady says, ‘come in, my good man, you are expected. But my grandson has been delayed, for He has found it necessary to descend into hell.’

“ ‘O Lady,’ Demas answers, much ashamed, ‘there will have been some mistake, just as I expected, and it is down there that I am to see Him once more. May I make so bold as to ask the way, for I want nothing better than to be where He is.’

“ ‘Certainly not,’ said Saint Anne. ‘You must do as you are told. And I myself very much want to speak with one who has seen Him so recently.’

“ ‘O Lady,’ says Demas again, ‘how can one such as I discourse with you on that which no man on earth can describe?’

“ ‘I know, I know,’ says the holy grandmother. ‘Who would know better than I? My good man, you did not see Him when He first learned to walk. I myself held one of His little hands, and His mother held the other—never have I seen a child so like his mother! No, it is as you say—it is indescribable!’

“And led by Lady Saint Anne’s hand—that same hand of which she had spoken—Demas stepped across the threshold of Paradise.”

Angelo laughed at his friend’s story.

“Aye, if I had still got my theater,” said Pizzuti, carried away by his own eloquence, “I should have played this scene on the stage. Might it not have been sublime and thrilling, dear Angelo? Now it must content itself to become reality someday.

“And you yourself now,” he said after a minute. “Are you going to Paradise? And shall we meet and talk together there, as we do here now?”

Angelo for a long time found no answer. He took up one of his small clay figures and set it on the balustrade, a little to the left.

“A man is more than one man,” he said slowly. “And the life of a man is more than one life. The young man who was Leonidas Allori’s chosen disciple, who felt that at his hand he would become the greatest artist of his age, and who loved his master’s wife—he will not go to heaven. He was too light of weight to mount so high.”

He set up another figure on the balustrade, at some distance from the first and to the right of it.

“And this famous sculptor, Angelo Santasilia,” he went on, “whom princes and cardinals beseech to work for them, this good husband and father—he will not go to heaven either. And do you know why? Because he is not at all eager to go there.”

He placed his last figure in between the two others, farther back on the balustrade.

“Do you see, Pino?” he said softly. “These three tiny toy figures are placed to mark three corners of a rectangle, in which the width is to the length as the length to the sum of the two. These, you know, are the proportions of the golden section.”

He let his skilled hands fall to rest in his lap.

“But,” he finished very slowly, “the young man whom you met at the inn of Mariana-the-Rat—the good home of thieves and smugglers down by the harbor—the young man with whom you talked there at night, Pino—he will go to heaven.”