Diversions in Sicily Part 4

The operators must have been standing on a platform behind the back scene; the figures were able to pa.s.s one another, but never came forward more than a step or two, the footlights being in the way, and no doubt the operators could not reach further forward than they did. Each figure was worked by two iron rods, one to his head and one to his right hand, and several strings to which after a few minutes I paid no attention; perhaps their very obviousness saved them from notice. Any attempt to conceal them would have been a mistake, for what is the use of announcing a performance by marionettes and then pretending there is no mechanism?

Besides, if one cannot accept a few conventions one had better stay away from the theatre altogether.

At the conclusion of the interview the knights followed one another off; and the buoyancy of their walk must be seen to be believed. The students have seen it and believe it so thoroughly that, when they meet one another in the Quattro Canti, they not unfrequently adopt it to the amus.e.m.e.nt of the bystanders. But the students make the mistake of slightly overdoing it. The marionettes often take a step or two quite naturally, and this, while adding to the absurdity (which cannot be the intention of the operator), also shows what is possible and makes one think that with a little extra trouble they might be made to walk always as smoothly as they move their heads and arms. It might, however, be necessary for them to have more strings, and this would make them more difficult to manipulate. In Sicily the marionettes who tell the story of the Paladins do not lay themselves out to be of a mechanism so ingenious that they shall appear to be alive; such illusion as they do produce, like the incompetent ill.u.s.tration to Shakespeare which Lamb preferred, is insufficient to cripple the imagination of the audience who are the more intimately touched by the romance of the story and by the voice of the speaker.

The back cloth was raised and we had before us a tranquil sea with two little islands sleeping under a sunset sky. Michele entered; he was a very splendid fellow in golden armour with draperies of purple and scarlet and white, and in his helmet a plume that nearly trailed on the ground. No playbill was provided, but none was wanted for Michele, he could not have been taken for anything but an operatic tenor of n.o.ble birth about to proceed against the Saracens. He first meditated and then soliloquized as he paced the sandy sh.o.r.e. The Princess of Bizerta in a flowing robe, covered with spangles, though not actually in sight, was not far off, imparting her griefs to the unsympathetic ocean. Spying the paladin, she strolled in his direction and spoke to him, but it was not an a.s.signation; Michele, indeed, was obviously distressed at having his soliloquy interrupted; nevertheless, being a knight and a gentleman, he could but reply politely, and so they got into conversation. She told him who she was, which would not have been necessary if they had ever met before, then she told him of her unhappy plight, namely, that she was in the custody of an Arabian giant, and then she implored his a.s.sistance.

Michele was as unsympathetic as the ocean, his mind being full of Saracens; but before he had time to invent a plausible lie, the giant entered very suddenly. Physically he was not a particularly gigantic giant, being but three or four inches taller than Michele. If he had been much more, his head, which like that of all stage giants was undeveloped at the back, would have been hidden by the clouds that hung from the sky. His inches, however, were enough, for, in romance, height is given to a giant to symbolize power, and provided he is perceptibly taller than the hero, the audience accept him as a giant and a bully and one, moreover, who is, as a rule, nearing the end of his wicked career.

Accordingly, when, in a voice of thunder, he demanded of Michele an immediate explanation--wanted to know how he dared address the princess--we all felt that he was putting himself in the wrong and that a catastrophe was imminent. Giants, that is, unscrupulous people in power, are too fond of a.s.suming this att.i.tude of unprovoked hostility and overbearing insolence, but they a.s.sume it once too often. Had he remembered Adam and Eve and the apple it might have occurred to him to inquire whether in the present case also the lady had not begun it.

Giants, however, are for the most part unintelligent, not to say downright stupid people, and seldom have the sense to know how to use their power wisely--think of the giant in _Jack and the Beanstalk_, think of Polyphemus and Ulysses, think of the Inquisition and Galileo.

And then this giant made the mistake of losing his temper, and the further mistake of showing that he had lost it, and when giants do this, it means that they know they are in the wrong and don't care. He insulted Michele most grossly, and the knight very properly drew his sword and went for him, and a terrible battle ensued throughout which realism was thrown to the waves. The combatants rose off the ground so high that Michele's head and the giant's head and shoulders were frequently lost in the clouds; and they clanked down again upon the sandy sh.o.r.e two or three feet in front of where they had stood--or behind, just as it happened; and their swords banged against their breast-plates and shields, proving that they were real metal and not merely tinsel; and they twirled round and round like beef on a roasting-jack, until at last Michele dealt the inevitable blow and the giant fell dead on the sand with a thud that jolted the coast, shook the islands, rippled across the sunset sky and restored animation to the lifeless form of the princess.

While the battle raged she had been standing by, unmoved, blankly glaring at the audience; and yet she must have known as well as we did that it was all about her. The probability is that her operator had temporarily moored her to a convenient peg in the back of the clouds while he worked the giant, and that at the conclusion of the duel he was free to return to her. She first looked round and then swooped hurriedly across the stage, three inches from the ground; before quite touching her protector, however, she swung halfway back again, then a little forwards, and finally, coming to anchor at a suitable distance, raised her two hands and, as though offering him a tray of refreshments, said--

"Grazie."

He, pursuing his policy of frigid politeness, bowed in acknowledgment and followed her off the stage, leaving the corpse of the giant lying near the sea.

The back cloth was intentionally too long, so that the bottom was crumpled into folds which did well enough for little waves breaking on the sh.o.r.e. These waves now began to be agitated, and gradually rose gustily and advanced until they had covered the dead giant. It was a very good effect and avoided the ba.n.a.lity of removing the body in sight of the audience; it looked as though the wind had risen and the depths had swallowed him. And this, as I afterwards was told, is what happens to the giant's body in the story.

When the back cloth went up for the next scene the corpse was gone, and we were in The House of the Poor Man where Michele came to take refuge--from what I did not clearly understand, but if from the Princess of Bizerta he would have been better advised had he sought some other sanctuary; for no sooner had he performed his usual meditation and soliloquy and got himself to sit down on The Poor Man's chair, where he instantly fell asleep with his head resting on his hand, than Her Highness entered and, addressing the audience confidentially, said that she loved him and intended to take this opportunity of giving him a kiss.

She was, however, on the other side of the stage and had first to get to him, which she did so like a bird with a broken wing that he woke up before she reached him. She evidently did not consider that this added to her difficulties, but something else did.

A dispute had been simmering in the gallery just opposite where we sat, and now began to boil over, and threatened to swamp the play as the waves had submerged the Arabian giant. I thought perhaps we ought to leave, though it would have been impossible to pa.s.s out quickly, but the professor again a.s.sured me there was no danger; the management are accustomed to disturbances and know how to deal with them. So I sat still, and the proprietor came on the stage and stood in front of the gas-jets. He joined his hands as though in prayer and begged us to be quiet, saying that it was a complicated story and would require all our attention, that Michele would die on Wednesday, and he hoped we should not cause the speaker to die of starvation before that day by preventing him from earning his bread. The appearance of the proprietor among his puppets confirmed me in the conclusion I had arrived at as to their size; he may have been a small man, but he was about the size of the giant. He must have been a strong man, for, with all their armour, the figures must be very heavy.

The proprietor's appeal went to all our hearts; silence was restored and the princess repeated to the warrior what we already knew--that she loved him and desired to kiss him. Something of the kind was exactly what poor Michele had been dreading. He turned to her and, almost choking with despair, said, "Misericordia," not meaning to be hostile, but that the killing of her giant had already delayed him, and if he were to allow himself to yield to her blandishments he would be too late for the Saracens. No doubt he also had a vow. But when a lady has made up her mind on a matter of this kind, to thwart her is to invite disaster--think of Joseph and Potiphar's wife. Not that Michele thought of them, nor would it have influenced him if he had, for he was a paladin and incapable of fear; but he had the instincts of a gentleman, so, in spite of his anxiety to be off to the wars, he rose as well as he could, which was unsteadily, and staggered towards the princess who made every effort to meet him. In time they drew close enough to fall into one another's arms, and the curtain descended as they were accomplishing not a pa.s.sionate but a quite creditable embrace.

Then there was a scene between three kings with golden crowns who conversed at length of battles and the King of Athens, of Adrianopoli and the Grand Turk, of princesses and of journeys by sea and land. These were the things they spoke about as they stood together in the hall that had served for the first scene with a vista of columns behind, and when they had done they followed one another off. Then we also followed one another out of the theatre, not because of the Saracens, nor because we had any vow, nor because we feared a repet.i.tion of the uproar, nor even because of the coming-on disposition of the Princess of Bizerta, but because one open window was not enough.

TRAPANI

CHAPTER VI--FERRAU AND ANGELICA

My next experience in a marionette theatre was at Trapani. I approached the subject with Mario, a coachman whom I have known since he was a boy.

He was quite ready to help me, and told me there were two companies in the town, one of large puppets, about as high as my umbrella, the others, to which he went every evening, being rather smaller. Accordingly, at about a quarter to eight, he called for me, wrapped in his melodramatic cloak, and hurried me through the wet and windy streets to the teatrino.

He kept me on his right hand because he was the host and I the guest, and if, owing to obstructions, he found me accidentally on his left he was round in a moment and I was in the place of honour again. He insisted on paying for our seats, fifteen centimes each, and we went in.

This teatrino was in every way a much smaller place than that in Catania; it belonged to a private gentleman who had bought the puppets for his own amus.e.m.e.nt and spent much of his time among them, sometimes working them himself. He has since married and parted with them and the theatre is now (1908) closed. No complaint could be made about the seating arrangements or the ventilation. There were benches on the floor with a pa.s.sage down the middle, a few rows in front were reserved for boys at ten centimes each and at the other end of the hall was a small gallery for ladies, twenty centimes each. I asked Mario so many questions that he proposed we should go behind the scenes, which was exactly what I wanted. He spoke to one of the authorities, who was politeness itself and, showing us through a door and up three steps, introduced us behind the curtain. Our heads were high above the opening of the proscenium, which was about the size and shape of the opening of the fireplace in a fairly large room. We were in a grove of puppets hanging up against the walls like turkeys in a poulterer's shop at Christmas--scores and scores of them. There were six or eight men preparing for the performance and a youth, Pasquale, took charge of us and pointed out the princ.i.p.al figures.

"This warrior," he said, "is Ferrau di Spagna."

He was in tin armour, carefully made and enriched with bra.s.s and copper ornamentation, all as bright as a biscuit-box. I said--

"He looks a very terrible fellow. Why is he so red about the eyes?" for the whites of his eyes were redder than his cheeks.

"Because he is always in a rage. And this lady is Angelica, Empress of Cathay; she wears a crown and will die this evening. This is her husband, Medoro; he is a black man and wears a crown; he will perish to-night by the sword of Ferrau."

I rapidly constructed by antic.i.p.ation the familiar plot. The jealous husband would kill his erring wife and would then be killed by her lover; but, being unversed in the habits of Cathaian emperors and their entourage, I had run off the track. Pasquale put me straight.

"Prima Ferrau uccide Medoro." (Ferrau first kills Medoro.)

"And then kills Angelica?" I inquired.

"No. Angelica si uccide personalmente, so as not to marry Ferrau."

I was next introduced to Galafrone, the father of Angelica, who also wore a crown, and to two valorous knights, Sacripante, King of the Circa.s.sians, and the Duca d'Avilla.

There were more than two hundred marionettes altogether, including Turkish and Spanish soldiers. The knights and ladies were kept in green holland bags to preserve them from the dust, and taken out as they were wanted. They varied in height from twenty-four to thirty-two inches.

Ferrau was thirty-one and a half inches from the soles of his feet to the top of his helmet; Angelica was twenty-six and a half inches; ordinary Turks and Spanish soldiers were only twenty-four inches each.

Pasquale was very proud of Ferrau who really was magnificent. He was made of wood with loose joints. An iron rod went through his head, and was hooked into a ring between his collar-bones. Another rod was fastened to his right wrist. There were three strings--one for his left hand, which held his shield, one to raise his vizor and one which pa.s.sed through his right fist and across his body to his sword-hilt so that he could draw his sword. I should have liked to buy him and bring him to London with me; he would be an ornament to any house. But he was not for sale; and, besides, it would not have been right to break up the company.

When Don Quixote, carried away by his feelings like a Sicilian facchino, came to the a.s.sistance of Don Gayferos by drawing his sword and attacking the Moorish puppets, he broke up Master Peter's company in a very literal sense, and had to pay four and a half reals for King Marsilio of Saragossa and five and a quarter for the Emperor Carlo Magno; but it is not clear how large or how splendid they were.

Each figure requires one operator who stands between the wings, which are about up to his waist and so solid that he can lean his elbows on them and reach comfortably more than halfway across the stage. There are four openings between the wings, and thus there can be eight puppets on the stage at once, operated by eight manipulators, four on each side. This could not be done with the life-sized marionettes in Catania, which were all operated from behind, and never came forward. At Trapani the stage was much deeper in proportion, and the flies from which the scenery descended were high above the heads of the operators, so that the figures could walk about backwards and forwards all over the stage. The footlights were in the usual place in front of the curtain, and during the performance boys got up from their seats in the front row and lighted their cigarettes at them.

I had not nearly completed my investigations; but, fearing we might be in the way, we returned to the front and inquired about play-bills. There was only one in the house, posted up near the box-office; we went and inspected it--

TEATRO DI MARIONETTE.

Per questa sera dara 2 recite la prima alle 5.5 la seconda alle 8 Pugna fra Sacripante e il Duca d'Avilla-- Ferrau uccide Medoro e acquista Angelica-- Morte di Sacripante per mani di Ferrau-- Morte di Angelica.

MARIONETTE THEATRE.

This evening two performances will be given The first at 5.30, the second at 8 Fight between Sacripante and the Duke of Avilla-- Ferrau kills Medoro and gains possession of Angelica-- Death of Sacripante at the hands of Ferrau-- Death of Angelica.

There was a pleasant-looking, retiring young man in the box-office, who was pointed out to me as "Lui che parla"--the one who speaks. They said he was a native of Mount Eryx and a shoemaker by trade.

We returned to our places and sat talking, smoking, eating American pea-nuts and waiting. The audience, which consisted of men of the cla.s.s of life to which Mario belonged, all knew one another; most of them met there every evening. A subscription for one month costs three lire and ent.i.tles the holder to one performance a day, the performance at 8 being a repet.i.tion of that at 5.30.

The play now being performed is _The Paladins of France_; it was written by Manzanares in Italian prose and is in three volumes. It does not always agree with the other versions of the same story; but that is only as it should be, for romances have always been re-written to suit the audience they are intended for. It has been going on about four months, that is, since last October, when it began with Pipino, Re di Francia ed Imperatore di Roma, the father of Carlo Magno, and it will continue day after day till May, like the feuilleton in a journal. During the hot weather there is no performance in this theatre; but the same story will be taken up again next October and is long enough to last through two winters. It could last longer, but they bring it within reasonable limits by removing some of the boredom. It concludes with the defeat and death of Orlando and the paladins at Roncisvalle.

The portion of the story appointed for the evening's performance was in five acts, divided into a large number of very short scenes, and if I did not always know quite clearly what was going on, that was partly due to the distracting uproar, for nearly every scene contained a fight, and some contained several, the shortest lasting well over a minute. Whoever had been employed to shorten the story would have earned the thanks of one member of the audience if he had acted upon Pococurante's remarks to Candide about the works of Homer. He ought not to have left in so many combats; they were as like one another and as tedious as those in the _Iliad_, besides being much noisier, at least we are not told that the Homeric heroes were accompanied by a muscular pianist, fully armed, and by the incessant stamping of clogged boots. Nevertheless the majority of the audience enjoyed the fights, for no Sicilian objects to noise.

This is what I gathered: Angelica had come from far Cathay with the express intention of sowing discord among the paladins by inducing them to fall in love with her, and at the present moment Sacripante and the Duca d'Avilla were her victims. These two knights met in a wood, raised their vizors and talked matters over; there was to be a fight about it, of course, but the preliminaries were to be conducted in a friendly spirit--like a test case in Chancery. They separated, no doubt to give them an opportunity of going home to make their wills and take leave of their wives and families, if any. In the second scene they met again, lowered their vizors, drew their swords and fought till Angelica supervened. In the next scene the two knights and Angelica were joined by Medoro with whom one of the knights fought. I recognized Medoro when his vizor was up because he was a black man, but Sacripante and the Duca d'Avilla were so much alike that I did not know which was fighting and which was standing with Angelica looking on; say it was Sacripante that was fighting, being king of the Circa.s.sians he was probably ent.i.tled to precedence over a mere duke. Angelica, after some time, began to feel qualms of conscience, so she interrupted and mentioned who Medoro really was. Sacripante, in the most chivalrous manner, immediately desisted and apologized--he had failed to recognize his opponent and had no idea he had been fighting with the lady's husband. The apology was accepted in the spirit in which it was offered, all accusations, expressed or implied, were withdrawn, and friendly relations established. The four then set out together to pa.s.s the night in an albergo. Angelica, however, with her quick, womanly instinct, mistrusted the knights and, taking her husband aside, proposed that they two should depart by stealth and escape to Cathay, leaving Sacripante and the Duca d'Avilla asleep.

Medoro demurred, saying it was a very good inn and he was quite comfortable where he was. So she told him a few facts which alarmed him to such a degree that he consented and they decamped.

On their way they encountered Ferrau who entered with a stamp of the foot, sforzando, attacked Medoro and killed him dead, thus obtaining possession of Angelica according to the play-bill. But she managed to get free and appeared upon the coast where she met a sea-captain and, telling him she was very rich, made terms with him, bought his vessel and embarked for the Court of her father, Galafrone. She might have made better terms had she not opened negotiations by telling him she was very rich, but it was a matter of life or death and she was reckless, knowing that Ferrau was after her. Sacripante and the Duca d'Avilla were after Ferrau and presently caught him up and attacked him. He fought with them both at once and killed one of them in a minute and a half. With the exception of myself, every one in the theatre knew which he killed, for they knew all the knights as they came on. Let us again give Sacripante the precedence and suppose that he was killed first. Ferrau went on fighting with the Duca d'Avilla and both were hard at work when the curtain fell.

It rose again, very effectively, on the continuation of the fight, and almost at once Ferrau cut off the Duca d'Avilla's head which rolled about on the stage. Immediately there came three Turks; Ferrau stabbed each as he entered--one, two, three--and their bodies enc.u.mbered the ground as the curtain fell.

It rose as soon as the bodies had been removed and disclosed Ferrau stamping about alone. There came three more Turks; he stabbed them each as they entered--one, two, three--and their bodies enc.u.mbered the ground.

Then there came three knights in armour; Ferrau fought them all three together for a very considerable time and it was deafening. He killed them all and their bodies enc.u.mbered the ground with those of the last three Turks. It was a b.l.o.o.d.y sight that met the eyes of Galafrone who now entered.