seen the light in his room, entered with a cheerful smile. "Well, father," he said, "why are you not asleep?" He received the inevitable counter-question with a little Latin gesture of both hands (the gesture that Theodora specially liked!). "Well, father dear, I am twenty-three, and you are—you are not;" and he patted his father's small shoulder and laughed (his best laugh—the laugh that Cleopatra could not resist).
"Jeune homme qui veille, vieillard qui dort, sont tous deux près de la mort," quoted his father, in deep stern tones.
"Eh! father mine, if life is to be short, let it be pleasant," said Antonio, lighting a cigarette.
Giacomo sat very straight; his dressing-gown was tight, and his feet were chilly. His good-looking, good-tempered son irritated him.
"Are you not ashamed?" he said, pointing a dramatic forefinger at the row of portraits. "She is an old woman of fifty!"
"Thirty-eight," said Antonio, seating himself in the armchair.
"An actress! a masquerading mountebank, whom every porter with a franc in his pocket can see when he will; a creature whose husband has run away from her to the ends of the earth–"
"To South America," interpolated Antonio.
–"With the cook." And Zio Giacomo snorted with indignation.
"I am afraid her cooking is bad," said Antonio; and he blew rings of smoke and puckered up his young red mouth in the way that made Phædra flutter and droop her passion-shaded lids.
"I have enough of it," said his father, "and we leave for England to-morrow."
"For England? To-morrow?" Antonio started up. "You don't mean it! You can't mean it, father! Why to England?"
"I telegraphed yesterday to Hertfordshire. I told your cousin Valeria we should come to see them; and she has answered that she is delighted, and her mother is delighted, and everybody is delighted." Zio Giacomo nodded a stubborn head. "We shall stay in England three months, six months, until you have recovered from your folly."
"Ah! because of Cousin Valeria. I see!" and Antonio laughed. "Oh, father, father! you dear old dreamer! Are you at the old dream again? It cannot be, believe me; it was a foolish idea of yours years ago. Valeria was all eyes for her Englishman then, and is probably all tears for him now. Stay here and be comfortable, father!"
But his father would not stay there, and he would not be comfortable. He went away shaking his head, and losing his slipper on the way, and dropping candle-grease all over the carpet in stooping to pick it up. A sore and angry Zio Giacomo got into bed, and tried to read the Secolo, and listened to hear if the street-door banged again.
It banged again.
One o'clock struck as Antonio turned down Via Monte Napoleone, and when he rang the bell at No. 36, the portinaio kept him waiting ten minutes. Then Marietta, the maid, kept him waiting fifteen minutes on the landing before she opened the door; and then the Signora kept him waiting fifteen eternities until she appeared, white-faced and frightened, draped in white satin, with her hair bundled up anyhow—or nearly anyhow—on the top of her head.
Antonio took both her hands and kissed them, and pressed them to his eyes, and told her he was leaving to-morrow—no, to-day—to-day! In a few hours! For ever! For England! And what would she do? She would be false! She would betray him! She was infamous! He knew it! And would she die with him now?
She gave the little Tosca scream, and turned from him with the second act "Dame aux Camelias" shiver, and stepped back like Fedora, and finally flung herself, like Francesca, upon his breast. Then she whispered five words to him, and sent him home.
She called Marietta, who loosened her hair again, and plaited it, and put away what was not wanted, and gave her the lanoline; and she greased her face and went to bed like Nunziata Villari, aged thirty-eight.
But Antonio went through the nocturnal streets, repeating the five words: "London. In May. Twelve performances." And this was March.
Enough! He would live through it somehow. "Aber fragt mich nur nicht wie," he said to himself, for he knew enough German to quote Heine's "Buch der Lieder," and he had read "Die Jungfrau von Orleans" in the original, in order to discuss it with La Villari.
La Villari liked to discuss her rôles with him. She also practised her attitudes and tried her gestures on him without his knowing it. He always responded, as a violin that one holds in one's hand thrills and responds when another violin is played. When she was studying Giovanna d'Arco, he felt that he was le Chevalier Bayard, and he dreamed of an heroic life and an epic death. When she was preparing herself for the rôle of Clelia, and practising the attitudes of that famous adventuress, he became a sceptic and a noceur, and gave Zio Giacomo qualms for three weeks by keeping late hours and gambling all night at the Patriottica. When she took up the rôle of Messalina, and for purposes of practice assumed Messalina attitudes and expounded Messalina views, he drifted into a period of extreme demoralization, and became perverted and blasphemous. But during the six weeks in which she arrayed her mind in the candid lines of La Samaritana, he became once more spiritual and pure: he gave up the Patriottica and the Café Biffi, and went to early Mass every morning.
"You funny boy!" said Villari to him one day. "You will do foolish things in your life. Why don't you work?"
"I don't know," said Antonio. "I am in the wrong set, I suppose. And, besides, there is no time. After a canter on the Bastioni in the morning, it is lunch-time; and after luncheon one reads or goes out; and then it is visiting-time—the Marchesa Adda expects one every Monday, and the Della Rocca every Tuesday, and somebody else every Wednesday.... Then it is dinner-time and theatre-time and bed-time. And there you are!"
"It is a pity," said La Villari, kindly maternal, forgetting to be Messalina, or Giovanna, or anyone else. "You have no character. You are nice; you are good to look at; you are not stupid. But your nose is, as one would say, a nose of putty—yes, of putty! And anyone can twist it here and there. Take care! You will suffer much, or you will make other people suffer. Noses of putty," she added thoughtfully, "are fountains of grief."
Zio Giacomo was one whose nose was not of putty. Much as he hated journeys, many as were the things that he always lost on them, sorely as his presence was needed in his office, where the drawings for a new town hall were lying in expectant heaps on his desk, he had made up his mind to start for England, and start they should. He packed off his motherless daughter, the tall and flippant Clarissa, to a convent school in Paris, bade good-bye to his sister Carlotta and to his niece Adèle, and scrambled wrathfully into the train for Chiasso, followed by the unruffled Antonio.
Antonio seemed to enjoy the trip; and soon Zio Giacomo found himself wondering why they had taken it. Was the tale that his niece Adèle had told him about Antonio's infatuation for the actress all foolish nonsense? Adèle was always exaggerating.
Zio Giacomo watched his son with growing anger. Antonio was cheerful and debonair. Antonio slept when his father was awake; Antonio ate when his father was sick. By the time they reached Dover Giacomo, who knew no word of English but rosbif and the Times, was utterly broken. But Antonio twisted up his young moustache, and ran his fingers through his tight black curls, and made long eyes at the English girls, who smiled, and then passed hurriedly, pretending they had not seen him.
VI
At Charing Cross to meet them were Valeria and Edith—both charming, small-waisted, and self-conscious. Valeria flung herself with Latin demonstrativeness into her old uncle's arms, while Edith tried not to be ashamed of the noise the Italian new-comers made and of the attention they attracted.
