A Set of Six/Il Conde
IL CONDE
The first time we got into conversation was in the National Museum in Naples, in the rooms on the ground floor containing the famous collection of bronzes from Herculaneum and Pompeii: that marvellous legacy of antique art whose delicate perfection has been preserved for us by the catastrophic fury of a volcano.
He addressed me first, over the celebrated Resting Hermes which we had been looking at side by side. He said the right things about that wholly admirable piece. Nothing profound. His taste was natural rather than cultivated. He had obviously seen many fine things in his life and appreciated them: but he had no jargon of a dilettante or the connoisseur. A hateful tribe. He spoke like a fairly intelligent man of the world, a perfectly unaffected gentleman.
We had known each other by sight for some few days past. Staying in the same hotel—good, but not extravagantly up to date—I had noticed him in the vestibule going in and out. I judged he was an old and valued client. The bow of the hotel-keeper was cordial in its deference, and he acknowledged it with familiar courtesy. For the servants he was Il Conde. There was some squabble over a man's parasol—yellow silk with white lining sort of thing—the waiters had discovered abandoned outside the dining-room door. Our gold-laced door-keeper recognized it and I heard him directing one of the lift boys to run after Il Conde with it. Perhaps he was the only Count staying in the hotel, or perhaps he had the distinction of being the Count par excellence, conferred upon him because of his tried fidelity to the house.
Having conversed at the Museo—(and by the by he had expressed his dislike of the busts and statues of Roman emperors in the gallery of marbles: their faces were too vigorous, too pronounced for him)—having conversed already in the morning I did not think I was intruding when in the evening, finding the dining-room very full, I proposed to share his little table. Judging by the quiet urbanity of his consent he did not think so either. His smile was very attractive.
He dined in an evening waistcoat and a "smoking" (he called it so) with a black tie. All this of very good cut, not new—just as these things should be. He was, morning or evening, very correct in his dress. I have no doubt that his whole existence had been correct, well ordered and conventional, undisturbed by startling events. His white hair brushed upwards off a lofty forehead gave him the air of an idealist, of an imaginative man. His white moustache, heavy but carefully trimmed and arranged, was not unpleasantly tinted a golden yellow in the middle. The faint scent of some very good perfume, and of good cigars (that last an odour quite remarkable to come upon in Italy) reached me across the table. It was in his eyes that his age showed most. They were a little weary with creased eyelids. He must have been sixty or a couple of years more. And he was communicative. I would not go so far as to call it garrulous—but distinctly communicative.
He had tried various climates, of Abbazia, of the Riviera, of other places, too, he told me, but the only one which suited him was the climate of the Gulf of Naples. The ancient Romans, who, he pointed out to me, were men expert in the art of living, knew very well what they were doing when they built their villas on these shores, in Baiæ, in Vico, in Capri. They came down to this seaside in search of health, bringing with them their trains of mimes and flute-players to amuse their leisure. He thought it extremely probable that the Romans of the higher classes were specially predisposed to painful rheumatic affections.
This was the only personal opinion I heard him express. It was based on no special erudition. He knew no more of the Romans than an average informed man of the world is expected to know. He argued from personal experience. He had suffered himself from a painful and dangerous rheumatic affection till he found relief in this particular spot of Southern Europe.
This was three years ago, and ever since he had taken up his quarters on the shores of the gulf, either in one of the hotels in Sorrento or hiring a small villa in Capri. He had a piano, a few books: picked up transient acquaintances of a day, week, or month in the stream of travellers from all Europe. One can imagine him going out for his walks in the streets and lanes, becoming known to beggars, shopkeepers, children, country people; talking amiably over the walls to the contadini—and coming back to his rooms or his villa to sit before the piano, with his white hair brushed up and his thick orderly moustache, "to make a little music for myself." And, of course, for a change there was Naples near by—life, movement, animation, opera. A little amusement, as he said, is necessary for health. Mimes and flute-players, in fact. Only unlike the magnates of ancient Rome, he had no affairs of the city to call him away from these moderate delights. He had no affairs at all. Probably he had never had any grave affairs to attend to in his life. It was a kindly existence, with its joys and sorrows regulated by the course of Nature—marriages, births, deaths—ruled by the prescribed usages of good society and protected by the State.
He was a widower; but in the months of July and August he ventured to cross the Alps for six weeks on a visit to his married daughter. He told me her name. It was that of a very aristocratic family. She had a castle—in Bohemia, I think. This is as near as I ever came to ascertaining his nationality. His own name, strangely enough, he never mentioned. Perhaps he thought I had seen it on the published list. Truth to say, I never looked. At any rate, he was a good European—he spoke four languages to my certain knowledge—and a man of fortune. Not of great fortune evidently and appropriately. I imagine that to be extremely rich would have appeared to him improper, outré—too blatant altogether. And obviously, too, the fortune was not of his making. The making of a fortune cannot be achieved without some roughness. It is a matter of temperament. His nature was too kindly for strife. In the course of conversation he mentioned his estate quite by the way, in reference to that painful and alarming rheumatic affection. One year, staying incautiously beyond the Alps as late as the middle of September, he had been laid up for three months in that lonely country house with no one but his valet and the caretaking couple to attend to him. Because, as he expressed it, he "kept no establishment there." He had only gone for a couple of days to confer with his land agent. He promised himself never to be so imprudent in the future. The first weeks of September would find him on the shores of his beloved gulf.
Sometimes in travelling one comes upon such lonely men, whose only business is to wait for the unavoidable. Deaths and marriages have made a solitude round them, and one really cannot blame their endeavours to make the waiting as easy as possible. As he remarked to me, "At my time of life freedom from physical pain is a very important matter.
It must not be imagined that he was a wearisome hypochondriac. He was really much too well-bred to be a nuisance. He had an eye for the small weaknesses of humanity. But it was a good-natured eye. He made a restful, easy, pleasant companion for the hours between dinner and bedtime. We spent three evenings together, and then I had to leave Naples in a hurry to look after a friend who had fallen seriously ill in Taormina. Having nothing to do, Il Conde came to see me off at the station. I was somewhat upset, and his idleness was always ready to take a kindly form. He was by no means an indolent man.
He went along the train peering into the carriages for a good seat for me, and then remained talking cheerily from below. He declared he would miss me that evening very much and announced his intention of going after dinner to listen to the band in the public garden, the Villa Nazionale. He would amuse himself by hearing excellent music and looking at the best society. There would be a lot of people, as usual.
I seem to see him yet—his raised face with a friendly smile under the thick moustaches, and his kind, fatigued eyes. As the train began to move, he addressed me in two languages: first in French, saying, "Bon voyage"; then, in his very good, somewhat emphatic English, encouragingly, because he could see my concern: "All will—be well—yet!"
My friend's illness having taken a decidedly favourable turn, I returned to Naples on the tenth day. I cannot say I had given much thought to Il Conde during my absence, but entering the dining-room I looked for him in his habitual place. I had an idea he might have gone back to Sorrento to his piano and his books and his fishing. He was great friends with all the boatmen, and fished a good deal with lines from a boat. But I made out his white head in the crowd of heads, and even from a distance noticed something unusual in his attitude. Instead of sitting erect, gazing all round with alert urbanity, he drooped over his plate. I stood opposite him for some time before he looked up, a little wildly, if such a strong word can be used in connection with his correct appearance.
"Ah, my dear sir! Is it you?" he greeted me. "I hope all is well."
He was very nice about my friend. Indeed, he was always nice, with the niceness of people whose hearts are genuinely humane. But this time it cost him an effort. His attempts at general conversation broke down into dullness. It occurred to me he might have been indisposed. But before I could frame the inquiry he muttered:
"You find me here very sad."
"I am sorry for that," I said. "You haven't had bad news, I hope?"
It was very kind of me to take an interest. No. It was not that. No bad news, thank God. And he became very still as if holding his breath. Then, leaning forward a little, and in an odd tone of awed embarrassment, he took me into his confidence.
"The truth is that I have had a very—a very—how shall I say? abominable adventure happen to me."
The energy of the epithet was sufficiently startling in that man of moderate feelings and toned-down vocabulary. The word unpleasant I should have thought would have fitted amply the worst experience likely to befall a man of his stamp. And an adventure, too. Incredible! But it is in human nature to believe the worst; and I confess I eyed him stealthily, wondering what he had been up to. In a moment, however, my unworthy suspicions vanished. There was a fundamental refinement of nature about the man which made me dismiss all idea of some more or less disreputable scrape.
"It it very serious. Very serious." He went on, nervously. "I will tell you after dinner, if you will allow me."
I expressed my perfect acquiescence by a little bow, nothing more. I wished him to understand that I was not likely to hold him to that offer, if he thought better of it later on. We talked of indifferent things, but with a sense of difficulty quite unlike our former easy, gossipy intercourse. The hand raising a piece of bread to his lips, I noticed, trembled slightly. This symptom, in regard to my reading of the man, was no less than startling.
In the smoking-room he did not hang back at all. Directly we had taken our usual seats he leaned sideways over the arm of his chair and looked straight into my eyes earnestly.
"You remember," he began, "that day you went away? I told you then I would go to the Villa Nazionale to hear some music in the evening."
I remembered. His handsome old face, so fresh for his age, unmarked by any trying experience, appeared haggard for an instant. It was like the passing of a shadow. Returning his steadfast gaze, I took a sip of my black coffee. He was systematically minute in his narrative, simply in order, I think, not to let his excitement get the better of him.
After leaving the railway station, he had an ice, and read the paper in a cafe. Then he went back to the hotel, dressed for dinner, and dined with a good appetite. After dinner he lingered in the hall (there were chairs and tables there) smoking his cigar; talked to the little girl of the Primo Tenore of the San Carlo theatre, and exchanged a few words with that "amiable lady," the wife of the Primo Tenore. There was no performance that evening, and these people were going to the Villa also. They went out of the hotel. Very well.
At the moment of following their example—it was half-past nine already—he remembered he had a rather large sum of money in his pocket-book. He entered, therefore, the office and deposited the greater part of it with the book-keeper of the hotel. This done, he took a carozella and drove to the seashore. He got out of the cab and entered the Villa on foot from the Largo di Vittoria end.
He stared at me very hard. And I understood then how really impressionable he was. Every small fact and event of that evening stood out in his memory as if endowed with mystic significance. If he did not mention to me the colour of the pony which drew the carozella, and the aspect of the man who drove, it was a mere oversight arising from his agitation, which he repressed manfully.
He had then entered the Villa Nazionale from the Largo di Vittoria end. The Villa Nazionale is a public pleasure-ground laid out in grass plots, bushes, and flower-beds between the houses of the Riviera di Chiaja and the waters of the bay. Alleys of trees, more or less parallel, stretch its whole length—which is considerable. On the Riviera di Chiaja side the electric tramcars run close to the railings. Between the garden and the sea is the fashionable drive, a broad road bordered by a low wall, beyond which the Mediterranean splashes with gentle murmurs when the weather is fine.
As life goes on late at night in Naples, the broad drive was all astir with a brilliant swarm of carriage lamps moving in pairs, some creeping slowly, others running rapidly under the thin, motionless line of electric lamps defining the shore. And a brilliant swarm of stars hung above the land humming with voices, piled up with houses, glittering with lights—and over the silent flat shadows of the sea.
The gardens themselves are not very well lit. Our friend went forward in the warm gloom, his eyes fixed upon a distant luminous region extending nearly across the whole width of the Villa, as if the air had glowed there with its own cold, bluish, and dazzling light. This magic spot, behind the black trunks of trees and masses of inky foliage, breathed out sweet sounds mingled with bursts of brassy roar, sudden clashes of metal, and grave, vibrating thuds.
As he walked on, all these noises combined together into a piece of elaborate music whose harmonious phrases came persuasively through a great disorderly murmur of voices and shuffling of feet on the gravel of that open space. An enormous crowd immersed in the electric light, as if in a bath of some radiant and tenuous fluid shed upon their heads by luminous globes, drifted in its hundreds round the band. Hundreds more sat on chairs in more or less concentric circles, receiving unflinchingly the great waves of sonority that ebbed out into the darkness. The Count penetrated the throng, drifted with it in tranquil enjoyment, listening and looking at the faces. All people of good society: mothers with their daughters, parents and children, young men and young women all talking, smiling, nodding to each other. Very many pretty faces, and very many pretty toilettes. There was, of course, a quantity of diverse types: showy old fellows with white moustaches, fat men, thin men, officers in uniform; but what predominated, he told me, was the South Italian type of young man, with a colourless, clear complexion, red lips, jet-black little moustache and liquid black eyes so wonderfully effective in leering or scowling.
Withdrawing from the throng, the Count shared a little table in front of the café with a young man of just such a type. Our friend had some lemonade. The young man was sitting moodily before an empty glass. He looked up once, and then looked down again. He also tilted his hat forward. Like this
The Count made the gesture of a man pulling his hat down over his brow, and went on:
"I think to myself: he is sad; something is wrong with him; young men have their troubles. I take no notice of him, of course. I pay for my lemonade, and go away."
Strolling about in the neighbourhood of the band, the Count thinks he saw twice that young man wandering alone in the crowd. Once their eyes met. It must have been the same young man, but there were so many there of that type that he could not be certain. Moreover, he was not very much concerned except in so far that he had been struck by the marked, peevish discontent of that face.
Presently, tired of the feeling of confinement one experiences in a crowd, the Count edged away from the band. An alley, very sombre by contrast, presented itself invitingly with its promise of solitude and coolness. He entered it, walking slowly on till the sound of the orchestra became distinctly deadened. Then he walked back and turned about once more. He did this several times before he noticed that there was somebody occupying one of the benches.
The spot being midway between two lamp-posts the light was faint.
The man lolled back in the corner of the seat, his legs stretched out, his arms folded and his head drooping on his breast. He never stirred, as though he had fallen asleep there, but when the Count passed by next time he had changed his attitude. He sat leaning forward. His elbows were propped on his knees, and his hands were rolling a cigarette. He never looked up from that occupation.
The Count continued his stroll away from the band. He returned slowly, he said. I can imagine him enjoying to the full, but with his usual tranquillity, the balminess of this southern night and the sounds of music softened delightfully by the distance.
Presently, he approached for the third time the man on the garden seat, still leaning forward with his elbows on his knees. It was a dejected pose. In the semi-obscurity of the alley his high shirt collar and his cuffs made small patches of vivid whiteness. The Count said that he had noticed him getting up brusquely as if to walk away, but almost before he was aware of it the man stood before him asking in a low, gentle tone whether the signore would have the kindness to oblige him with a light.
The Count answered this request by a polite "Certainly," and dropped his hands with the intention of exploring both pockets of his trousers for the matches.
"I dropped my hands," he said, "but I never put them in my pockets. I felt a pressure there"
He put the tip of his linger on a spot close under his breastbone, the very spot of the human body where a Japanese gentleman begins the operations of the Hara-kiri, which is a form of suicide following upon dishonour, upon an intolerable outrage to the delicacy of one's feelings.
"I glance down," the Count continued in an awestruck voice, "and what do I see? A knife! A long knife"
"You don't mean to say," I exclaimed, amazed, "that you have been held up like this in the Villa at half-past ten o'clock, within a stone's throw of a thousand people!"
He nodded several times, staring at me with all his might.
"The clarionet," he declared, solemnly, "was finishing his solo, and I assure you I could hear every note. Then the band crashed fortissimo, and that creature rolled its eyes and gnashed its teeth hissing at me with the greatest ferocity, 'Be silent! No noise or"
I could not get over my astonishment.
"What sort of knife was it?" I asked, stupidly.
"A long blade. A stiletto—perhaps a kitchen knife. A long narrow blade. It gleamed. And his eyes gleamed. His white teeth, too. I could see them. He was very ferocious. I thought to myself: 'If I hit him he will kill me.' How could I fight with him? He had the knife and I had nothing. I am nearly seventy, you know, and that was a young man. I seemed even to recognize him. The moody young man of the café. The young man I met in the crowd. But I could not tell. There are so many like him in this country."
The distress of that moment was reflected in his face. I should think that physically he must have been paralyzed by surprise. His thoughts, however, remained extremely active. They ranged over every alarming possibility. The idea of setting up a vigorous shouting for help occurred to him, too. But he did nothing of the kind, and the reason why he refrained gave me a good opinion of his mental self-possession. He saw in a flash that nothing prevented the other from shouting, too.
"That young man might in an instant have thrown away his knife and pretended I was the aggressor. Why not? He might have said I attacked him. Why not? It was one incredible story against another! He might have said anything—bring some dishonouring charge against me—what do I know? By his dress he was no common robber. He seemed to belong to the better classes. What could I say? He was an Italian—I am a foreigner. Of course, I have my passport, and there is our consul—but to be arrested, dragged at night to the police office like a criminal!"
He shuddered. It was in his character to shrink from scandal, much more than from mere death. And certainly for many people this would have always remained—considering certain peculiarities of Neapolitan manners—a deucedly queer story. The Count was no fool. His belief in the respectable placidity of life having received this rude shock, he thought that now anything might happen. But also a notion came into his head that this young man was perhaps merely an infuriated lunatic.
This was for me the first hint of his attitude towards this adventure. In his exaggerated delicacy of sentiment he felt that nobody's self-esteem need be affected by what a madman may choose to do to one. It became apparent, however, that the Count was to be denied that consolation. He enlarged upon the abominably savage way in which that young man rolled his glistening eyes and gnashed his white teeth. The band was going now through a slow movement of solemn braying by all the trombones, with deliberately repeated bangs of the big drum.
"But what did you do?" I asked, greatly excited.
"Nothing," answered the Count. "I let my hands hang down very still. I told him quietly I did not intend making a noise. He snarled like a dog, then said in an ordinary voice:
"'Vostro portofolio.'"
"So I naturally," continued the Count—and from this point acted the whole thing in pantomime. Holding me with his eyes, he went through all the motions of reaching into his inside breast pocket, taking out a pocket-book, and handing it over. But that young man, still bearing steadily on the knife, refused to touch it.
He directed the Count to take the money out himself, received it into his left hand, motioned the pocketbook to be returned to the pocket, all this being done to the sweet thrilling of flutes and clarionets sustained by the emotional drone of the hautboys. And the "young man," as the Count called him, said: "This seems very little."
"It was, indeed, only 340 or 360 lire," the Count pursued. "I had left my money in the hotel, as you know. I told him this was all I had on me. He shook his head impatiently and said:
"'Vostro orologio.'"
The Count gave me the dumb show of pulling out his watch, detaching it. But, as it happened, the valuable gold half-chronometer he possessed had been left at a watch-maker's for cleaning. He wore that evening (on a leather guard) the Waterbury fifty-franc thing he used to take with him on his fishing expeditions. Perceiving the nature of this booty, the well-dressed robber made a contemptuous clicking sound with his tongue like this, "Tse-Ah!" and waved it away hastily. Then, as the Count was returning the disdained object to his pocket, he demanded with a threateningly increased pressure of the knife on the epigastrium, by way of reminder:
"Vostri anelli."
"One of the rings," went on the Count, "was given me many years ago by my wife; the other is the signet ring of my father. I said, 'No. That you shall not have!'"
Here the Count reproduced the gesture corresponding to that declaration by clapping one hand upon the other, and pressing both thus against his chest. It was touching in its resignation. "That you shall not have," he repeated, firmly, and closed his eyes, fully expecting—I don't know whether I am right in recording that such an unpleasant word had passed his lips—fully expecting to feel himself being—I really hesitate to say—being disembowelled by the push of the long, sharp blade resting murderously against the pit of his stomach—the very seat, in all human beings, of anguishing sensations.
Great waves of harmony went on flowing from the band.
Suddenly the Count felt the nightmarish pressure removed from the sensitive spot. He opened his eyes. He was alone. He had heard nothing. It is probable that "the young man" had departed, with light steps, some time before, but the sense of the horrid pressure had lingered even after the knife had gone. A feeling of weakness came over him. He had just time to stagger to the garden seat. He felt as though he had held his breath for a long time. He sat all in a heap, panting with the shock of the reaction.
The band was executing, with immense bravura, the complicated finale. It ended with a tremendous crash. He heard it unreal and remote, as if his ears had been stopped, and then the hard clapping of a thousand, more or less, pairs of hands, like a sudden hail-shower passing away. The profound silence which succeeded recalled him to himself.
A tramcar resembling a long glass box wherein people sat with their heads strongly lighted, ran along swiftly within sixty yards of the spot where he had been robbed. Then another rustled by, and yet another going the other way. The audience about the band had broken up, and were entering the alley in small conversing groups. The Count sat up straight and tried to think calmly of what had happened to him. The vileness of it took his breath away again. As far as I can make it out he was disgusted with himself. I do not mean to say with his behaviour. Indeed, if his pantomimic rendering of it for my information was to be trusted, it was simply perfect. No, it was not that. He was not ashamed. He was shocked at being the selected victim, not of robbery so much as of contempt. His tranquillity had been wantonly desecrated. His lifelong, kindly nicety of outlook had been defaced.
Nevertheless, at that stage, before the iron had time to sink deep, he was able to argue himself into comparative equanimity. As his agitation calmed down somewhat, he became aware that he was frightfully hungry. Yes, hungry. The sheer emotion had made him simply ravenous. He left the seat and, after walking for some time, found himself outside the gardens and before an arrested tramcar, without knowing very well how he came there. He got in as if in a dream, by a sort of instinct. Fortunately he found in his trouser pocket a copper to satisfy the conductor. Then the car stopped, and as everybody was getting out he got out, too. He recognized the Piazza San Ferdinando, but apparently it did not occur to him to take a cab and drive to the hotel. He remained in distress on the Piazza like a lost dog, thinking vaguely of the best way of getting something to eat at once.
Suddenly he remembered his twenty-franc piece. He explained to me that he had that piece of French gold for something like three years. He used to carry it about with him as a sort of reserve in case of accident. Anybody is liable to have his pocket picked—a quite different thing from a brazen and insulting robbery.
The monumental arch of the Galleria Umberto faced him at the top of a noble flight of stairs. He climbed these without loss of time, and directed his steps towards the Café Umberto. All the tables outside were occupied by a lot of people who were drinking. But as he wanted something to eat, he went inside into the café, which is divided into aisles by square pillars set all round with long looking-glasses. The Count sat down on a red plush bench against one of these pillars, waiting for his risotto. And his mind reverted to his abominable adventure.
He thought of the moody, well-dressed young man, with whom he had exchanged glances in the crowd around the bandstand, and who, he felt confident, was the robber. Would he recognize him again? Doubtless. But he did not want ever to see him again. The best thing was to forget this humiliating episode.
The Count looked round anxiously for the coming of his risotto, and, behold! to the left against the wall—there sat the young man. He was alone at a table, with a bottle of some sort of wine or syrup and a carafe of iced water before him. The smooth olive cheeks, the rod lips, the little jet-black moustache turned up gallantly, the fine black eyes a little heavy and shaded by long eyelashes, that peculiar expression of cruel discontent to be seen only in the busts of some Roman emperors—it was he, no doubt at all. But that was a type. The Count looked away hastily. The young officer over there reading a paper was like that, too. Same type. Two young men farther away playing draughts also resembled
The Count lowered his head with the fear in his heart of being everlastingly haunted by the vision of that young man. He began to eat his risotto. Presently he heard the young man on his left call the waiter in a bad-tempered tone.
At the call, not only his own waiter, but two other idle waiters belonging to a quite different row of tables, rushed towards him with obsequious alacrity, which is not the general characteristic of the waiters in the Café Umberto. The young man muttered something and one of the waiters walking rapidly to the nearest door called out into the Galleria: "Pasquale! O! Pasquale!"
Everybody knows Pasquale, the shabby old fellow who, shuffling between the tables, offers for sale cigars, cigarettes, picture postcards, and matches to the clients of the café. He is in many respects an engaging scoundrel. The Count saw the grey-haired, unshaven ruffian enter the café, the glass case hanging from his neck by a leather strap, and, at a word from the waiter, make his shuffling way with a sudden spurt to the young man's table. The young man was in need of a cigar with which Pasquale served him fawningly. The old pedlar was going out, when the Count, on a sudden impulse, beckoned to him.
Pasquale approached, the smile of deferential recognition combining oddly with the cynical searching expression of his eyes. Leaning his case on the table, he lifted the glass lid without a word. The Count took a box of cigarettes and urged by a fearful curiosity, asked as casually as he could—
"Tell me, Pasquale, who is that young signore sitting over there?"
The other bent over his box confidentially.
"That, Signor Conde," he said, beginning to rearrange his wares busily and without looking up, "that is a young Cavaliere of a very good family from Bari. He studies in the University here, and is the chief, capo, of an association of young men—of very nice young men."
He paused, and then, with mingled discretion and pride of knowledge, murmured the explanatory word "Camorra" and shut down the lid. "A very powerful Camorra," he breathed out. "The professors themselves respect it greatly . . . una lira e cinquanti centesimi, Signor Conde."
Our friend paid with the gold piece. While Pasquale was making up the change, he observed that the young man, of whom he had heard so much in a few words, was watching the transaction covertly. After the old vagabond had withdrawn with a bow, the Count settled with the waiter and sat still. A numbness, he told me, had come over him.
The young man paid, too, got up, and crossed over, apparently for the purpose of looking at himself in the mirror set in the pillar nearest to the Count's seat. He was dressed all in black with a dark green bow tie. The Count looked round, and was startled by meeting a vicious glance out of the corners of the other's eyes. The young Cavaliere from Bari (according to Pasquale; but Pasquale is, of course, an accomplished liar) went on arranging his tie, settling his hat before the glass, and meantime he spoke just loud enough to be heard by the Count. He spoke through his teeth with the most insulting venom of contempt and gazing straight into the mirror.
"Ah! So you had some gold on you—you old liar—you old birba—you furfante! But you are not done with me yet."
The fiendishness of his expression vanished like lightning, and he lounged out of the café with a moody, impassive face.
The poor Count, after telling me this last episode, fell back trembling in his chair. His forehead broke into perspiration. There was a wanton insolence in the spirit of this outrage which appalled even me. What it was to the Count's delicacy I won't attempt to guess. I am sure that if he had been not too refined to do such a blatantly vulgar thing as dying from apoplexy in a café, he would have had a fatal stroke there and then. All irony apart, my difficulty was to keep him from seeing the full extent of my commiseration. He shrank from every excessive sentiment, and my commiseration was practically unbounded. It did not surprise me to hear that he had been in bed a week. He had got up to make his arrangements for leaving Southern Italy for good and all.
And the man was convinced that he could not live through a whole year in any other climate!
No argument of mine had any effect. It was not timidity, though he did say to me once: "You do not know what a Camorra is, my dear sir. I am a marked man." He was not afraid of what could be done to him. His delicate conception of his dignity was defiled by a degrading experience. He couldn't stand that. No Japanese gentleman, outraged in his exaggerated sense of honour, could have gone about his preparations for Hara-kiri with greater resolution. To go home really amounted to suicide for the poor Count.
There is a saying of Neapolitan patriotism, intended for the information of foreigners, I presume: "See Naples and then die." Vedi Napoli e poi mori. It is a saying of excessive vanity, and everything excessive was abhorrent to the nice moderation of the poor Count. Yet, as I was seeing him off at the railway station, I thought he was behaving with singular fidelity to its conceited spirit. Vedi Napoli! … He had seen it! He had seen it with startling thoroughness—and now he was going to his grave. He was going to it by the train de luxe of the International Sleeping Car Company, via Trieste and Vienna. As the four long, sombre coaches pulled out of the station I raised my hat with the solemn feeling of paying the last tribute of respect to a funeral cortège. Il Conde's profile, much aged already, glided away from me in stony immobility, behind the lighted pane of glass—Vedi Napoli e poi mori!
THE END