The Miracles of Antichrist. Selma Lagerlöf
He felt at the same time trembling and happy, and had begun to work with redoubled zeal in order that Donna Elisa should have something to sell while he was away earning great fortunes for her.
Now he was waiting for but one more sign from God before he decided on the journey. And this was that he should have the strength to speak to Donna Elisa of his longing to go. For he knew that it would cause her such sorrow that he did not know how he could bring himself to speak of it.
While he stood and thought Donna Elisa came into the workshop. Then he said to himself that this day he could not think of saying it to her, for to-day Donna Elisa was happy. Her tongue wagged and her face beamed.
Gaetano asked himself when he had seen her so. Ever since the famine had come, it had been as if they had lived without light in one of the caves of Etna.
Why had Gaetano not been with her in the square and heard the music? asked Donna Elisa. Why did he never come to hear and see her brother, Don Ferrante? Gaetano, who only saw him when he stood in the shop with his tufts of hair and his short jacket, did not know what kind of a man he was. He considered him an ugly old tradesman, who had a wrinkled face and a rough beard. No one knew Don Ferrante who had not seen him on Sunday, when he conducted the music.
That day he had donned a new uniform. He wore a three-cornered hat with green, red, and white feathers, silver on his collar, silver-fringed epaulets, silver braid on his breast, and a sword at his side. And when he stepped up to the conductor’s platform the wrinkles had been smoothed out of his face and his figure had grown erect. He could almost have been called handsome.
When he had led Cavalleria, people had hardly been able to breathe. What had Gaetano to say to that, that the big houses round the market-place had sung too? From the black Palazzo Geraci, Donna Elisa had distinctly heard a love song, and from the convent, empty as it was, a beautiful hymn had streamed out over the market-place.
And when there was a pause in the music the handsome advocate Favara, who had been dressed in a black velvet coat and a big broad-brimmed hat and a bright red necktie, had gone up to Don Ferrante, and had pointed out over the open side of the square, where Etna and the sea lay. “Don Ferrante,” he had said, “you lift us toward the skies, just as Etna does, and you carry us away into the eternal, like the infinite sea.”
If Gaetano had seen Don Ferrante to-day he would have loved him. At least he would have been obliged to acknowledge his stateliness. When he laid down his baton for a while and took the advocate’s arm, and walked forward and back with him on the flat stones by the Roman gate and the Palazzo Geraci, every one could see that he could well measure himself against the handsome Favara.
Donna Elisa sat on the stone bench by the cathedral, in company with the wife of the syndic. And Signora Voltaro had said quite suddenly, after sitting for a while, watching Don Ferrante: “Donna Elisa, your brother is still a young man. He may still be married, in spite of his fifty years.”
And she, Donna Elisa, had answered that she prayed heaven for it every day.
But she had hardly said it, when a lady dressed in mourning came into the square. Never had anything so black been seen before. It was not enough that dress and hat and gloves were black; her veil was so thick that it was impossible to believe that there was a face behind it. Santissimo Dio! it looked as if she had hung a pall over herself. And she had walked slowly, and with a stoop. People had almost feared, believing that it was a ghost.
Alas, alas! the whole market-place had been so full of gayety! The peasants, who were at home over Sunday, had stood there in great crowds in holiday dress, with red shawls wound round their necks. The peasant women on their way to the cathedral had glided by, dressed in green skirts and yellow neckerchiefs. A couple of travellers had stood by the balustrade and looked at Etna; they had been dressed in white. And all the musicians in uniform, who had been almost as fine as Don Ferrante, and the shining instruments, and the carved cathedral façade! And the sunlight, and Mongibello’s snow top—so near to-day that one could almost touch it—had all been so gay.
Now, when the poor black lady came into the midst of it all, they had stared at her, and some had made the sign of the cross. And the children had rushed down from the steps of the town-hall, where they were riding on the railing, and had followed her at a few feet’s distance. And even the lazy Piero, who had been asleep in the corner of the balustrade, had raised himself on his elbow. It had been a resurrection, as if the black Madonna from the cathedral had come strolling by.
But had no one thought that it was unkind that all stared at the black lady? Had no one been moved when she came so slowly and painfully?
Yes, yes; one had been touched, and that had been Don Ferrante. He had the music in his heart; he was a good man and he thought: “Curses on all those funds that are gathered together for the poor, and that only bring people misfortune! Is not that poor Signorina Palmeri, whose father has stolen from a charitable fund, and who is now so ashamed that she dares not show her face?” And, as he thought of it, Don Ferrante went towards the black lady and met her just by the church door.
There he made her a bow, and mentioned his name. “If I am not mistaken,” Don Ferrante had said, “you are Signorina Palmeri. I have a favor to ask of you.”
Then she had started and taken a step backwards, as if to flee, but she had waited.
“It concerns my sister, Donna Elisa,” he had said. “She knew your mother, signorina, and she is consumed with a desire to make your acquaintance. She is sitting here by the Cathedral. Let me take you to her!”
And then Don Ferrante put her hand on his arm and led her over to Donna Elisa. And she made no resistance. Donna Elisa would like to see who could have resisted Don Ferrante to-day.
Donna Elisa rose and went to meet the black lady, and throwing back her veil, kissed her on both cheeks.
But what a face, what a face! Perhaps it was not pretty, but it had eyes that spoke, eyes that mourned and lamented, even when the whole face smiled. Yes, Gaetano perhaps would not wish to carve or paint a Madonna from that face, for it was too thin and too pale; but it is to be supposed that our Lord knew what he was doing when he did not put those eyes in a face that was rosy and round.
When Donna Elisa kissed her, she laid her head down on her shoulder, and a few short sobs shook her. Then she looked up with a smile, and the smile seemed to say: “Ah, does the world look so? Is it so beautiful? Let me see it and smile at it! Can a poor unfortunate really dare to look at it? And to be seen? Can I bear to be seen?”
All that she had said without a word, only with a smile. What a face, what a face!
But here Gaetano interrupted Donna Elisa. “Where is she now?” he said. “I too must see her.”
Then Donna Elisa looked Gaetano in the eyes. They were glowing and clear, as if they were filled with fire, and a dark flush rose to his temples.
“You will see her all in good time,” she said, harshly. And she repented of every word she had said.
Gaetano saw that she was afraid, and he understood what she feared. It came into his mind to tell her now that he meant to go away, to go all the way to America.
Then he understood that the strange signorina must be very dangerous. Donna Elisa was so sure that Gaetano would fall in love with her that she was almost glad to hear that he meant to go away.
For anything seemed better to her than a penniless daughter-in-law, whose father was a thief.
VI
DON MATTEO’S MISSION
One afternoon the old priest, Don Matteo, inserted his feet into newly polished shoes, put on a newly brushed soutane, and laid his cloak in the most effective folds. His face shone as he went up the street, and when he distributed blessings to the