"Carlo-Battista! May Christ receive thy soul! . . . To live is to suffer! Thou goest to a place . . . where there is neither sun nor cold. . . . No longer dost thou need thy pruning-hook . . . nor thy heavy pick. . . . There is no more work for thee! . . . Henceforward all thy days are Sundays! . . . Carlo-Battista! May Christ receive thy soul! . . . Thy son rules in thy house. . . . I have seen the oak fall, . . . dried up by the /libeccio/. . . . I thought it was dead indeed, . . . but when I passed it again, its root . . . had thrown up a sapling. . . . The sapling grew into an oak . . . of mighty shade.
. . . Under its great branches, Maddele, rest thee well! . . . And think of the oak that is no more!"
Here Maddalena began to sob aloud, and two or three men who, on occasion, would have shot at a Christian as coolly as at a partridge, brushed big tears off their sunburnt faces.
For some minutes Colomba continued in this strain, addressing herself sometimes to the corpse, sometimes to the family, and sometimes, by a personification frequently employed in the /ballata/, ****** the dead man himself speak words of consolation or counsel to his kinsfolk. As she proceeded, her face assumed a sublime expression, a delicate pink tinge crept over her features, heightening the brilliancy of her white teeth and the lustre of her flashing eyes. She was like a Pythoness on her tripod. Save for a sigh here and there, or a strangled sob, not the slightest noise rose from the assembly that crowded about her.
Orso, though less easily affected than most people by this wild kind of poetry, was soon overcome by the general emotion. Hidden in a dark corner of the room, he wept as heartily as Pietri's own son.
Suddenly a slight stir was perceptible among the audience. The circle opened, and several strangers entered. The respect shown them, and the eagerness with which room was made for them, proved them to be people of importance, whose advent was a great honour to the household.
Nevertheless, out of respect for the /ballata/, nobody said a word to them. The man who had entered first seemed about forty years of age.
From his black coat, his red rosette, his confident air, and look of authority, he was at once guessed to be the prefect. Behind him came a bent old man with a bilious-looking complexion, whose furtive and anxious glance was only partially concealed by his green spectacles.
He wore a black coat, too large for him, and which, though still quite new, had evidently been made several years previously. He always kept close beside the prefect and looked as though he would fain hide himself under his shadow. Last of all, behind him, came two tall young men, with sunburnt faces, their cheeks hidden by heavy whiskers, proud and arrogant-looking, and showing symptoms of an impertinent curiosity. Orso had had time to forget the faces of his village neighbours; but the sight of the old man in green spectacles instantly called up old memories in his mind. His presence in attendance on the prefect sufficed to insure his recognition. This was Barricini, the lawyer, mayor of Pietranera, who had come, with his two sons, to show the prefect what a /ballata/ was. It would be difficult exactly to describe what happened within Orso's soul at that moment, but the presence of his father's foe filled him with a sort of horror, and more than ever he felt inclined to yield to the suspicions with which he had been battling for so long.
As to Colomba, when she saw the man against whom she had sworn a deadly hatred, her mobile countenance assumed a most threatening aspect. She turned pale, her voice grew hoarse, the line she had begun to declaim died on her lips. But soon, taking up her /ballata/ afresh, she proceeded with still greater vehemence.
"When the hawk bemoans himself . . . beside his harried nest, . . . the starlings flutter round him . . . insulting his distress."
A smothered laugh was heard. The two young men who had just come in doubtless considered the metaphor too bold.
"The falcon will rouse himself. . . . He will spread his wings. . . .
He will wash his beak in blood! . . . Now, to thee, Carlo-Battista, let thy friends . . . bid an eternal farewell! . . . Long enough have their tears flowed! . . . Only the poor orphan girl will not weep for thee! . . . Wherefore should she moan? . . . Thou has fallen asleep, full of years, . . . in the midst of thine own kin. . . . ready to appear . . . in the presence of the Almighty. . . . The orphan weeps for her father . . . overtaken by vile murderers, . . . struck from behind. . . . For her father, whose blood lies red . . . beneath the heaped-up green leaves. . . . But she has gathered up this blood, . . . this innocent and noble blood! . . . She has poured it out over Pietranera . . . that it may become a deadly poison. . . . And the mark shall be on Pietranera . . . until the blood of the guilty . . . shall have wiped out the blood of the innocent man!"
As Colomba pronounced the last words, she dropped into a chair, drew her /mezzaro/ over her face, and was heard sobbing beneath it. The weeping women crowded round the /improvisatrice/; several of the men were casting savage glances at the mayor and his sons; some of the elders began to protest against the scandal to which their presence had given rise. The dead man's son pushed his way through the throng, and was about to beg the mayor to clear out with all possible speed.
But this functionary had not waited for the suggestion. He was on his way to the door, and his two sons were already in the street. The prefect said a few words of condolence to young Pietri, and followed them out, almost immediately. Orso went to his sister's side, took her arm, and drew her out of the room.
"Go with them," said young Pietri to some of his friends. "Take care no harm comes to them!"
Hastily two or three young men slipped their stilettos up the left sleeves of their jackets and escorted Orso and his sister to their own door.
