"You are right," Marcello said. "You always are. There is nobody like you, Folco. You are an elder brother to me, and yet you don't preach. I often tell my mother so."
This was true, and what Marcello told her added to her happiness, if anything could do that, and she encouraged the two to go off together as much as possible. She even suggested that they should go down to San Domenico for a fortnight, to look after the great Calabrian estate.
They rose and began to walk toward the cottage. The shooting had been good that morning, as quail-shooting goes, and the man who acted as keeper, loader, gardener, and general factotum, and who went out with any one who wanted to shoot, had gone on to the cottage with the bag, the two guns, and the animal which he called his dog. The man's name was Ercole, that is to say, Hercules; and though he was not a giant, he certainly bore a closer resemblance to the hero than his dog did to dogs in general.
"He was born in my house," Ercole said, when any one asked questions. "Find a better one if you can. His name? I call him Nino, short for John, because he barks so well at night. You don't understand? It is the 'voice of one crying in the wilderness.' Did you never go to Sunday school? Or do you call this place a garden, a park, a public promenade? I call it a desert. There are not even cats."
When an Italian countryman says of a place that even cats will not stay in it, he considers that he has evoked a picture of ultimate desolation that cannot be surpassed. It had always been Ercole's dream to live in the city, though he did not look like a man naturally intended for town life. He was short and skinny, though he was as wiry as a monkey; his face was slightly pitted with the smallpox, and the malaria of many summers had left him with a complexion of the colour of cheap leather; he had eyes like a hawk, matted black hair, and jagged white teeth. He and his fustian clothes smelt of earth, burnt gunpowder, goat's cheese, garlic, and bad tobacco. He was no great talker, but his language was picturesque and to the point; and he feared neither man nor beast, neither tramp nor horned cattle, nor yet wild boar. He was no respecter of persons at all. The land where the cottage was had belonged to a great Roman family, now ruined, and when, the land had been sold, he had apparently been part of the bargain, and had come into the possession of the Signora Corbario with it. In his lonely conversations with Nino, he had expressed his opinion of each member of the family with frankness.
"You are a good dog, Nino," he would say. "You are the consolation of my soul. But you do not understand these things. Corbario is an assassin. Money, money, money! That is all he thinks of from morning till night. I know it, because he never speaks of it, and yet he never gives away anything. It is all for himself, the Signora's millions, the boy's millions, everything. When I look at his face, a chill seizes me, and I tremble as when I have the fever. You never had the malaria fever, Nino. Dogs don't have it, do they?"
At the question Nino turned his monstrous head to one side and looked along his muzzle at his master. If he had possessed a tail he would have wagged it, or thumped the hard ground with it a few times; but he had none. He had probably lost it in some wild battle of his stormy youth, fought almost to death against the huge Campagna sheep-dogs; or perhaps a wolf had got it, or perhaps he had never had a tail at all. Ercole had probably forgotten, and it did not really matter much.
"Corbario is an assassin," he said. "Remember that, Nino. As for his poor lady, she is a little lacking, or she would never have married him. But she is a saint, and what do saints want with cleverness? They go to paradise. Does that need much sense? We should all go if we could. Why do you cock your head on one side and look at me like a Christian? Are you trying to make me think you have a soul? You are made of nothing but corn meal and water, and a little wool, poor beast! But you have more sense than the Signora, and you are not an assassin, like her husband."
At this, Nino threw himself upon his back with his four legs in the air and squirmed with sheer delight, showing his jagged teeth and the roof of a very terrible mouth, and emitting a series of wolfish snorts; after which he suddenly rolled over upon his feet again, shook himself till his shaggy coat bristled all over his body, walked sedately to the open door of the hut, and sat down to look at the weather.
"He is almost a Christian," Ercole remarked under his breath, as if he were afraid the dog might hear the compliment and grow too vain.
For Ercole was a reticent man, and though he told Nino what he thought about people, he never told any one else. Marcello was the only person to whom he ever showed any inclination to attach himself. He regarded even the Contessa with suspicion, perhaps merely because she was a woman; and as for Aurora, girls did not count at all in his cosmogony.
"God made all the other animals before making women," he observed contemptuously one day, when he had gone out alone with Marcello.
"I like them," laughed the boy.
"So did Adam," retorted Ercole, "and you see what came of it."
No answer to this argument occurred to Marcello just then, so he said nothing; and he thought of Aurora, and his mother, and the sad-eyed Contessa, and wondered vaguely whether they were very unlike other women, as Ercole implied.
"When you know women," the man vouchsafed to add presently, "you will wish you were dead. The Lord sent them into the world for an affliction and for the punishment of our sins."
"You were never married, were you?" asked Marcello, still smiling.
Ercole stopped short in the sand, amongst the sea-thistles that grew there, and Nino trotted up and looked at him, to be ready if anything happened. Marcello knew the man's queer ways, and waited for him to speak.
"Married?" he snorted. "Married? You have said it!"
This seemed enigmatical, but Marcello understood the words to convey an affirmation.
"Well?" he asked, expecting more.
"Well? Well, what?" growled Ercole. "This is a bad world. A man falls in love with a pretty little caterpillar; he wakes up and finds himself married to a butterfly. Oh, this is a very bad world!"
Marcello was struck by the simile, but he reflected that Aurora looked much more like a butterfly than a caterpillar, a fact which, if it meant anything, should signify that he knew the worst beforehand. Ercole declined to enter into any account of his conjugal experiences, and merely shrugged his shoulders and went on through the sand.
With such fitting and warning as this to keep him out of trouble, Marcello was to face life: with his saintly mother's timid allusions to its wickedness, with Corbario's tempting suggestions of harmless dissipation, with an unlettered peasant's sour reflections on the world in general and women in particular.
In the other scale of the balance fate set his delicate and high-strung nature, his burning desire for the great unknown something, the stinging impatience of bodily weakness, and the large element of recklessness he inherited from his father, besides a fine admixture of latent boyish vanity for women to play upon, and all the ordinary weaknesses of human nature in about the same proportion as every one has them.
Given a large fortune and ordinary liberty, it might be foreseen that the boy would not reach the haven of maturity without meeting a storm, even if the outward circumstances of chance were all in his favour, even if no one had an interest in ruining him, even if Folco Corbario did not want all for himself, as poor Ercole told his dog that he did in the solitude of his hut.
Marcello had a bad chance at the start, and Maddalena dell' Armi, who knew the world well in all its moods, and had suffered by it and sinned for it, and had shed many tears in secret before becoming what she was now, foresaw danger, and hoped that her daughter's
