Part 25

Now whoever, after walking from Scanno over Pescasseroli to Sora in one day, and on the next, in the blazing heat of early autumn, from Sora over Isola Liri and Veroli to Alatri--touching in two days the soil of three Italian provinces: Aquila, Caserta, and Rome--whoever, after doing this, and inspecting the convent of Casamari en route, feels inclined for a similar promenade on the third day: let him rest assured of my profound respect.

Calm, sunny days at Olevano. And tranquil nights, for some time past.

The nightingale has been inspired to move a little up country, into another bush. Its rivals have likewise retired further off, and their melodramatic trills sound quite pleasant at this distance.

So tin cans have their uses, even when empty. Certain building operations may have been interrupted. I apologise, though I will not promise not to repeat the offence. They can move their nests; I cannot move this house. Bless their souls! I would not hurt a hair on their dear little heads, but one must really have a few hours' sleep, somehow or other. A single night's repose is more precious to me than a myriad birds or quadrupeds or bipeds; my ideas on the sacred nature of sleep being perfectly Oriental. That Black Hole of Calcutta was an infamous business. And yet, while nowise approving the tyrant's action, I can thoroughly understand his instructions on the subject of slumber.

Not every one at Olevano is so callous. Waiting the other day at the bifurcation of the roads for the arrival of the station motor-car--the social event of the place--I noticed two children bringing up to a bigger one the nest of a chaffinch, artfully frosted over with silver lichen from some olive, and containing a naked brood which sprawled pathetically within. Wasn't it pretty, they asked?

"Very pretty," he replied. "Now you will take it straight back where you found it. Go ahead. I am coming with you." And he marched them off.

I am glad to put this incident on record. It is the second of its kind which I have observed in this country, the first being when a fisherman climbed up a bad piece of rock to replace a nest--idle undertaking--which some boys had dislodged with stones. At a short distance from the scene sat the mother-bird in pensive mood, her head cocked on one side. What did she think of the benevolent enthusiast?...

Olevano is said to have been discovered by the Germans. I am sceptical on this point, having never yet found a place that was discovered by them. An English eccentric or two is sure to have lived and died here all by himself; though doubtless, once on the spot, they did their best to popularise and vulgarise it. In this matter, as in art or science or every department of life, a German requires forerunners. He must follow footsteps. He gleans; picks the brains of other people, profits by their mistakes and improves on their ideas.

I know nothing of the social history of Olevano--of its origin, so far as foreigners are concerned. It is the easiest and the flimsiest thing in the world to invent; there are so many analogies!

The first foreign resident of Olevano was a retired Anglo-Indian army officer with unblemished record, Major Frederick Potter. He came across the place on a trip from Rome, and took a fancy to it. Decent climate. Passable food. You could pick up a woodcock or two. He was accustomed to solitude anyhow, all his old friends being dead or buried, or scattered about the world. He had tried England for a couple of years and discovered that people there did not like being ordered about as they should be; they seemed to mind it less, at Olevano. He had always been something of a pioneer, and the mere fact of being the first "white man" in the place gave him a kind of fondness for it.

It was he, then, who discovered Olevano--Freddy Potter. We can see him living alone, wiry and whiskered and cantankerous, glorying in his solitude up to the fateful day when, to his infinite annoyance, a fellow-countryman turns up--Mr. Augustus Browne of London. Mr. Browne is a blameless personality who, enjoying indifferent health, brings an equally blameless old housekeeper with him. He is not a sportsman like Potter, but indulges in a pretty taste for landscape painting, with elaborate flowers and butterflies worked into the foreground. So they live, each in jealous seclusion, drinking tea at fixed hours, importing groceries from England, dressing for dinner, avoiding contact with the "natives" and, of course, pretending to be unaware of one another's existence.

As time goes on, their mutual distrust grows stronger. The Major has never forgiven that cockney for invading Olevano, his private domain, while Browne finds no words to express his disgust at Potter, who presumably calls himself a Briton and yet smokes those filthy cheroots in public (this was years and years ago). Why is the fellow skulking here, all by himself? Some hanky-panky with regimental money; every one knows how India plays the devil with a man's sense of right and wrong. And Potter is not long in making up his mind that this civilian has bolted to Olevano for reasons which will not bear investigation and is living in retirement, ten to one, under an assumed name. Browne! He really might have picked out a better one, while he was about it. That water-colour business--a blind, a red herring; the so-called lady companion----

The natives, meanwhile, observe with amazement the mutual conduct of two compatriots. They are known, far and wide, as "the madmen" till some bright spirit makes the discovery that they are not madmen at all, but only homicides hiding from justice; whereupon contempt is changed to grudging admiration.

Browne dies, after many years. His lady packs up and departs. The old Major's delight at being once more alone is of short duration; he falls ill and is entombed, his last days being embittered by the arrival of a party of German tourists who declare they have "discovered" this wonderful new spot, and threaten to bring more Teutons in their rear to participate in its joys.

They come, singly and in batches, and soon make Olevano uninhabitable to men of the Potter and Browne type. They keep the taverns open all night, sing boisterous choruses, kiss each other in the street "as if they were in their bedrooms," organise picnics in the woods, sketch old women sitting in old doorways, start a Verschoenerungsverein and indulge in a number of other antics which, from the local point of view, are held to be either coarse or childish. The natives, after watching their doings with critical interest, presently pronounce a verdict--a verdict to which the brightest spirits of the place give their assent--a verdict which, by the way, I have myself heard uttered.

"Those Englishmen"--thus it runs--"were at least assassins. These people are merely fools."

POSTSCRIPT--One thing has occurred of late which would hardly have happened were the Germans still in occupation of Olevano. At the central piazza is a fountain where the cattle drink and where, formerly, you could rest and glance down upon the country lying below--upon a piece of green landscape peering in upon the street. This little view was like a window, it gave an aerial charm to the place. They have now blocked it up with an ugly house. The beauty of the site is gone. It is surprising that local municipalities; however stupid, however corrupt, should not be aware of the damage done to their own interests when they permit such outrages. The Germans--were any of them still here--would doubtless have interfered en masse and stopped the building.

Something should be done about these reviewers.

There has followed me hither a bundle of press notices of a recent book of mine. They are favourable. I ought to be delighted. I happen to be annoyed.

What takes place in this absurd book? The three unities are preserved. A respectable but rather drab individual, a bishop, whose tastes and moods are fashioned to reflect those of the average drab reader, arrives at a new place and is described as being, among other things, peculiarly sensitive on the subject of women. He cannot bear flippant allusions to the sex. He has preserved a childlike faith in their purity, their sacred mission on earth, their refining influence upon the race. His friends call him old-fashioned and quixotic on this point. A true woman, he declares, can do no wrong. And this same man, towards the end of the book, watches how the truest woman in the place, the one whom he admires more than all the rest, his own cousin and a mother, calmly throws her legitimate husband over a cliff. He realises that he is "face to face with an atrocious and carefully planned murder." Such, however, has been the transformation of his mind during a twelve days' sojourn that he understands the crime, he pardons it, he approves it.

Can this wholesale change of attitude be brought about without a plot? Yet many of these reviewers discover no such thing in the book. "It possesses not the faintest shadow of a plot," says one of the most reputable of them. This annoys me.

I see no reason why a book should have a plot. In regard to this one, it would be nearer the truth to say that it is nothing but plot from beginning to end. How to make murder palatable to a bishop: that is the plot. How? You must unconventionalise him, and instil into his mind the seeds of doubt and revolt. You must shatter his old notions of what is right. It is the only way to achieve this result, and I would defy the critic to point to a single incident or character or conversation in the book which does not further the object in view. The good bishop soon finds himself among new influences; his sensations, his intellect, are assailed from within and without. Figures such as those in chapters 11, 19 and 35; the endless dialogue in the boat; the even more tedious happenings in the local law-court; the very externals--relaxing wind and fantastic landscape and volcanic phenomena--the jovial immoderation of everything and everybody: they foster a sense of violence and insecurity; they all tend to make the soil receptive to new ideas.

If that was your plot, the reviewer might say, you have hidden it rather successfully. I have certainly done my best to hide it. For although the personalities of the villain and his legal spouse crop up periodically, with ominous insistence, from the first chapter onwards, they are always swallowed up again. The reason is given in the penultimate chapter, where the critic might have found a résumé of my intentions and the key to this plot--to wit, that a murder under those particular circumstances is not only justifiable and commendable but--insignificant. Quite insignificant! Not worth troubling about. Hundreds of decent and honest folk are being destroyed every day; nobody cares tuppence; "one dirty blackmailer more or less--what does it matter to anybody"? There are so many more interesting things on earth. That is why the bishop--i.e. the reader--here discovers the crime to be a "contemptible little episode," and decides to "relegate it into the category of unimportant events." He was glad that the whole affair had remained in the background, so to speak, of his local experiences. It seemed appropriate. In the background: it seemed appropriate. That is the heart, the core, of the plot. And that is why all those other happenings find themselves pushed into the foreground.

I know full well that this is not the way to write an orthodox English novel. For if you hide your plot, how shall the critic be expected to see it? You must serve it on a tray; you must (to vary the simile) hit the nail on the head and ask him to be so good as to superintend the operation. That is the way to rejoice the cockles of his heart. He can then compare you to someone else who has also hit the nail on the head and with whose writings he happens to be familiar. You have a flavour of Dostoievsky minus the Dickens taint; you remind him of Flaubert or Walter Scott or somebody equally obscure; in short, you are in a condition to be labelled--a word, and a thing, which comes perilously near to libelling. If, to this description, he adds a short summary of your effort, he has done his duty. What more can he do? He must not praise overmuch, for that might displease some of his own literary friends. He must not blame overmuch, else how shall his paper survive? It lives on the advertisements of publishers and--say those persons, perhaps wisely--"if you ill-treat our authors, there's an end to our custom." Commercialism....

Which applies far less to literary criticism than to other kinds. Of most of the critics of music and art the best one can say is that there are hearty fellows among them who, with the requisite training, might one day become fit for their work. England is the home of the amateur in matters intellectual, the specialist in things material. No bootmaker would allow an unpractised beginner to hack his leather about in a jejune attempt to construct a pair of shoes. The other commodity, being less valuable than cowhide, may be entrusted to the hands of any 'prentice who cares to enliven our periodicals with his playful hieroglyphics. Criticism in England--snakes in Iceland.

All alone, for a wonder, I climbed up to the sanctuary of St. Michael above Serrone, that solitary white speck visible from afar on the upper slopes of Mount Scalambra. It is a respectable walk, and would have been inconveniently warm but for the fact that I rose with the nightingales, reaching my destination at the very moment when the sun peered over the ridge of the mountain at its back. A delicious ramble in the dewy shade of morning, with ten minutes' rest on a wall at Serrone, talking to an old woman who wore those ponderous red ornaments designed, I suppose, to imitate coral.

I had hoped to meet at this hermitage some amiable and garrulous anchorite who would share my breakfast. It is the ideal place for such a life, and many are the mountain solitaries of this species I have known in Italy (mostly retired shepherds). There was he of Scanno--dead, I doubt not, by this time--that simple-hearted venerable with whom I whiled away the long evenings at the shrine of Sant' Egidio, gazing over the placid lake below, or up stream, at the dusky houses of Scanno theatrically ranged against their hill-side. I became his friend, once and for ever, after finding a wooden snuff-box he had lost--his only snuff-box; it lay at the edge of the path among thick shrubs, and he could hardly believe his eyes when he saw it again. One of my many strokes of luck! Once I found a purse--

The little structure here was barred and deserted. I had no company save a couple of ravens who, after assuring themselves, with that infernal cunning of theirs, that I carried no gun, became as friendly as could be expected of such solemn fowls. They are always in pairs--incurably monogamous; whereas the carrion crow, for reasons of its own, has a fondness for living in trios. This ménage à trois may have subtle advantages and seems to be a step in the direction of the truly social habits of the rook; it enables them to fight with more success against their enemies, the hawks, and fosters, likewise, a certain lightheartedness which the sententious raven lacks. No one who has watched the aerial antics of a triplet of carrion crows can deny them a sense of fun.