lilting to the refrain—
"Io ti voglio bene assaje
E tu non pienz' a me!"
Just after nightfall he alighted from the train at Pompeii. Having stowed away certain impedimenta at the station, he took his travelling-bag in his hand, broke with small ceremony through porters and hotel-touts, came forth upon the high-road, and stepped forward like one to whom the locality is familiar. In a minute or two he was overtaken by a little lad, who looked up at him and said in an insinuating voice, "Albergo del Sole, signore?"
"Prendi, bambino," was Mallard's reply, as he handed the bag to him. "Avanti!"
A divine evening, softly warm, dim-glimmering. The dusty road ran on between white trunks of plane-trees; when the station and the houses near it were left behind, no other building came in view. To the left of the road, hidden behind its long earth-rampart, lay the dead city; far beyond rose the dark shape of Vesuvius, crested with beacon-glow, a small red fire, now angry, now murky, now for a time extinguished. The long rumble of the train died away, and there followed silence absolute, scarcely broken for a few minutes by a peasant singing in the distance, the wailing song so often heard in the south of Italy. Silence that was something more than the wonted soundlessness of night; the haunting oblivion of a time long past, a melancholy brooding voiceless upon the desolate home of forgotten generations.
A walk of ten minutes, and there shone light from windows. The lad ran forward and turned in at the gate of a garden; Mallard followed, and approached some persons who were standing at an open door. He speedily made arrangements for his night's lodging, saw his room, and went to the quarter of the inn where dinner was already in progress. This was a building to itself, at one side of the garden. Through the doorway he stepped immediately into a low-roofed hall, where a number of persons sat at table. Pillars supported the ceiling in the middle, and the walls were in several places painted with heads or landscapes, the work of artists who had made their abode here; one or two cases with glass doors showed relics of Pompeii.
Elgar was one of the company. When he became aware of Mallard's arrival, he stood up with a cry of "All hail!" and pointed to a seat near him.
"I began to be afraid you wouldn't come this evening. Try the risotto; it's excellent. Ye gods! what an appetite I had when I sat down! To-day have I ascended Vesuvius. How many bottles of wine I drank between starting and returning I cannot compute; I never knew before what it was to be athirst. Why, their vino di Vesuvio is for all the world like cider; I thought at first I was being swindled—not an impossible thing in these regions. I must tell you a story about a party of Americans I encountered at Bosco Reale."
The guests numbered seven or eight; with one exception besides Elgar, they were Germans, all artists of one kind or another, fellows of genial appearance, loud in vivacious talk. The exception was a young Englishman, somewhat oddly dressed, and with a great quantity of auburn hair that rolled forward upon his distinguished brow. At a certain pension on the Mergellina he was well known. He sat opposite Elgar, and had been in conversation with him.
Mallard cared little what he ate, and ate little of any thing. Neither was he in the mood for talk; but Elgar, who had finished his solid meal, and now amused himself with grapes (in two forms), spared him the necessity of anything but an occasional monosyllable. The young man was elated, and grew more so as he proceeded with his dessert; his cheeks were deeply flushed; his eyes gleamed magnificently.
In the meantime Clifford Marsh had joined in conversation with the Germans; his use of their tongue was far from idiomatic, but by sheer determination to force a way through linguistic obstacles, he talked with a haphazard fluency which was amusing enough. No false modesty imposed a check upon his eloquence. It was to the general table that he addressed himself on the topic that had arisen; in an English dress his speech ran somewhat as follows:—
"Gentlemen, allow me to say that I have absolutely no faith in the future of which you speak! It is my opinion that democracy is the fatal enemy of art. How can you speak of ancient and mediaeval states? Neither in Greece nor in Italy was there ever what we understand by a democracy."
"Factisch! Der Herr hat Recht!" cried some one, and several other voices strove to make themselves heard; but the orator raised his note and overbore interruption.
"You must excuse me, gentlemen, if I say that—however it may be from other points of view—from the standpoint of art, democracy is simply the triumph of ignorance and brutality." ("Gewisz!"—"Nimmermehr!"—"Vortrefflich!") "I don't care to draw distinctions between forms of the thing. Socialism, communism, collectivism, parliamentarism—all these have one and the same end: to put men on an equality; and in proportion as that end is approached, so will art in every shape languish. Art, gentlemen, is nourished upon inequalities and injustices!" ("Ach!"—"Wie kann man so etwas sagen!"—"Hoch! verissime!") "I am not representing this as either good or bad. It may be well that justice should be established, even though art perish. I simply state a fact!" ("Doch!"—"Erlauben Sie!") "Supremacy of the vulgar interest means supremacy of ignoble judgment in all matters of mind. See what plutocracy already makes of art!"
Here one of the Germans insisted on a hearing; a fine fellow, with Samsonic locks and a ringing voice.
"Sir! sir! who talks of a genuine democracy with mankind in its present state? Before it comes about, the multitude will be instructed, exalted, emancipated, humanized!"
"Sir!" shouted Marsh, "who talks of the Millennium? I speak of things possible within a few hundred years. The multitude will never be humanized. Civilization is attainable only by the few; nature so ordains it."
"Pardon me for saying that is a lie! I use the word controversially."
"It is a manifest truth!" cried the other. "Who ever doubted it but a Dummkopf? I use the word with reference to this argument only."
So it went on for a long time. Mallard and Elgar knew no German, so could derive neither pleasure nor profit from the high debate.
"Are you as glum here as in London?" Reuben asked of his companion, in a bantering voice. "I should have pictured you grandly jovial, wreathed perhaps with ruddy vine-leaves, the light of inspiration in your eye, and in your hand a mantling goblet! Drink, man, drink! you need a stimulant, an exhilarant, an anti-phlegmatic, a counter-irritant against English spleen. You are still on the other side of the Alps, of the Channel; the fogs yet cling about you. Clear your brow, O painter of Ossianic wildernesses! Taste the foam of life! We are in the land of Horace, and nunc est bibendum!—Seriously, do you never relax?"
"Oh yes. You should see me over the fifth tumbler of whiskey at Stornoway."
"Bah! you might as well say the fifth draught of fish-oil at North Cape. How innocent this wine is! A gallon of it would give one no more than a pleasant glow, the faculty of genial speech. Take a glass with me to the health of your enchanting ward."
"Please to command your tongue," growled Mallard, with a look that was not to be mistaken.
"I beg your pardon. It shall be to the health of that superb girl we saw in the Mercato. But, as far as I can judge yet, the Neapolitan type doesn't appeal to me very strongly. It is finely animal, and of course that has its value; but I prefer the suggestion of a soul, don't you? I remember a model old Langton had in Rome, a girl fresh from the mountains; by Juno! a glorious creature! I dare say you have seen her portrait in his studio; he likes to show it. But it does her nothing like justice; she might have sat for the genius of the Republic. Utterly untaught, and intensely stupid; but there were marvellous things to be read in her face. Ah, but give me the girls of Venice! You know them, how they walk about the piazza; their tall, lithe forms,
