South Wind. Norman Douglas Douglas
two seats in the front row, the occupants of which smilingly took their places among the crowd at the back.
The bishop found himself sitting between his host and a distinguished-looking elderly gentleman who turned out to be Count Caloveglia. He was dressed in black. There was something alert and military in that upright carriage, those keen eyes, bushy black brows and snowy mustache. He uttered a few pleasant remarks on making Mr. Heard's acquaintance, but soon relapsed into silence. Absorbed in the spectacle, he sat motionless, his chin resting in the hollow of his right hand.
"A fine type," Keith whispered into the bishop's ear. "You will like him. I call him the Salt of the South. If you are interested in the old Greek life of these regions—well, he gives you an idea of those people. He is the epitome of the Ionian spirit. I'll take you up to see him one of these days."
The performance consisted of a series of twelve scenes without words, representing the twelve chief episodes in the life of the Patron Saint, as portrayed in a certain marble frieze in the church. The actors were a handful of the more attractive and intelligent children of the place. They had been trained under the watchful eye of a priest who confessed to some notions of stage-craft and delighted in juvenile theatricals. It was a thrillingly realistic performance; the costumes—designed, long ago, by the Good Duke himself—varied with every tableau. Vociferous expressions of approval accompanied the performance. The Saint's encounter in the grove of Alephane with the golden-haired lady was a masterpiece of histrionic art; so was his solemn preaching among the black natives. Tears flowed freely at his violent death—a scene which was only marred by the erratic movements of his venerable beard; that mill-stone, too, of PAPIER MACHE, played lovely pranks upon a pea-green ocean. Best of all was the cannibalistic feast of the Crotalophoboi ending with a tempestuous, demoniacal war-dance. Their blackened limbs emerging from the scantiest of vesture, the actors surpassed themselves. Such an uproar of applause accompanied the orgy that it had to be repeated.
Every year it had to be repeated, this particular tableau. It was by far the most popular, to the intense regret of the PARROCO, the parish priest, a rigid disciplinarian, an alien to Nepenthe, a frost-bitten soul from the Central Provinces of the mainland. He used to complain that times were changed; that what was good in the days of the Duke might not be good for the present generation; that a scene such as this was no incentive to true religion; that the Holy Mother of God could hardly be edified by the performance, seeing that the players were almost nude, and that certain of the gestures verged on indelicacy and even immodesty. Every year he complained in like fashion: Ah, what would the Madonna say, if she saw it?
And every year the entire body of the local clergy, with Don Francesco as their eloquent spokesman, opposed his views.
The play was tradition, they avowed. Tradition must be upheld. And what more? It savoured of heresy to suggest that the Mother of God was blind to anything that happened on earth. Doubtless She saw this particular scene; doubtless She approved; doubtless She smiled, like everyone else. She loved her people in true motherly fashion. She was not born in the Central Provinces. She was fond of children, whether they wore clothes or not. The players enjoyed themselves. So did the audience. The Mother of God liked them to make a cheerful show in honour of that good old man, the Patron Saint. And Saint Dodekanus himself—what would he think, if this ancient act of homage were withheld? He would be very angry. He would send an earthquake, or a visitation of the cholera, or a shower of ashes from the volcano across the water. Piety and prudence alike counselled them to keep in his good graces. And what more? The performance had been established by the Good Duke; and that endless line of godly bishops, succeeding each other since his day, would never have given their sanction to the costumes and the acting had they not known that the Madonna approved of them. Why should She now think differently? The Mother of God was not a fickle earthly creature, to change Her mind from one day to the next.
With arguments such as these they endeavoured to controvert the PARROCO who, being a fighter to the death, a resourceful ascetic of unbending will, never admitted defeat. He bethought him of other shifts. On one celebrated occasion he actually induced the bishop—tired as the old prelate was, after his morning's ride on the white donkey—to attend the performance, hoping to obtain from him some confirmation of his own view, that the objectionable scene should be entirely remodelled or, better still, cut out altogether. The reverend dignitary was supposed to be extremely short-sighted and wandering, moreover, in his mind, from sheer decrepitude. Perhaps he was wily beyond the common measure of man. Be that as it may, he witnessed the spectacle but allowed nothing to escape his lips safe a succession of soft purring sound resembling:
Gu-gu-gu-gu-gu-gu-gu-gu-gu-,
An ambiguous utterance, which was construed by both parties as a verdict in their favour.
Mr. Heard, while conceding that the acting was good—first rate, in fact—could not make up his mind whether to be shocked or pleased. He wondered whether such a play had any features in common with religion. His host, who stood for paganism and nudity and laughter, convinced him that it had.
"You would have seen the same thing in pre-Puritan England," he concluded, at the end of a long exposition. "And now, if you like, we will have a look at that Club. It may amuse you. There is still time for the Duchess."
CHAPTER V
"This is the place," said Mr. Keith.
It was one of a row of tawdry modern buildings, the lower floors of which were utilized as shops—an undistinguished sort of place, in an undistinguished street. They climbed upstairs and wandered through two or three rooms, all alike save that one of them had a balcony; square, white-washed rooms, not very clean, and inadequately furnished with tables, cane-bottomed chairs and a few prints on the walls. There was a lavish display, however, of bottles and glasses, and several shelves were littered with newspapers in different languages. Acetylene lamps hung from the flat ceiling. An odour of stale tobacco and alcohol pervaded the premises. Flies were buzzing against the window-panes.
Half a dozen nondescript members, looking considerably the worse for wear, loafed about moodily or snored in deck chairs. Two or three were writing letters. It was the sulkiest hour of the day. Mr. Heard noticed a slender young Indian and a blond-haired fellow—probably a Scandinavian. They were arguing about cigars with a rosy-cheeked old reprobate whom they called Charlie. An adjoining apartment, the card-room, contained a livelier party, among whom the bishop recognized Mr. Muhlen. He had lost no time in making himself popular. He must have found congenial spirits here.
"Well?" asked Keith.
"Cheap and nasty," suggested the other.
"That's it! They call it the Alpha and Omega Club, to shadow forth its all-embracing international character; it's just a boozing institution, where you run to seed. They come in here, and say the south wind makes them thirsty. Red and Blue Club would be a more appropriate name. That is the whisky they have to drink."
"Why cannot they drink wine or—or ginger beer?"
"He tries to stop that. He would not be able to make any profits on wine."
"Who?"
"The President."
And Mr. Keith proceeded to sketch the history of the establishment.
The Alpha and Omega Club had led a precarious existence. Often its life dangled by a thread for lack of members, or because those members who owed subscriptions were unable or unwilling to pay them. Such had been the case before the accession of the new President. It hung its drooping head; had almost withered away. Mr. Freddy Parker tended the languid flower, and watered it—with whisky of his own composition.
It revived. Or rather (which amounts to the same thing) Mr. Parker revived—sufficiently, at all events, to pay off some of the more pressing of his private debts. Napoleon, or somebody, once remarked: "L'ETAT, C'EST MOI." Mr. Parker thought highly of a strong character like Napoleon. He used to say, when talking things over with his lady in her "boudoir"