On The Lago Di Garda - Chapter 5. The Dance

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_ Maria had no real licence for San Gaudenzio, yet the peasants always called for wine. It is easy to arrange in Italy. The penny is paid another time.

The wild old road that skirts the lake-side, scrambling always higher as the precipice becomes steeper, climbing and winding to the villages perched high up, passes under the high boundary-wall of San Gaudenzio, between that and the ruined church. But the road went just as much between the vines and past the house as outside, under the wall; for the high gates were always open, and men or women and mules come into the property to call at the door of the homestead. There was a loud shout, 'Ah--a--a--ah--Mari--a. O--O--Oh Pa'o!' from outside, another wild, inarticulate cry from within, and one of the Fiori appeared in the doorway to hail the newcomer.

It was usually a man, sometimes a peasant from Mugiano, high up, sometimes a peasant from the wilds of the mountain, a wood-cutter, or a charcoal-burner. He came in and sat in the house-place, his glass of wine in his hand between his knees, or on the floor between his feet, and he talked in a few wild phrases, very shy, like a hawk indoors, and unintelligible in his dialect.

Sometimes we had a dance. Then, for the wine to drink, three men came with mandolines and guitars, and sat in a corner playing their rapid tunes, while all danced on the dusty brick floor of the little parlour. No strange women were invited, only men; the young bloods from the big village on the lake, the wild men from above. They danced the slow, trailing, lilting polka-waltz round and round the small room, the guitars and mandolines twanging rapidly, the dust rising from the soft bricks. There were only the two English women: so men danced with men, as the Italians love to do. They love even better to dance with men, with a dear blood-friend, than with women.

'It's better like this, two men?' Giovanni says to me, his blue eyes hot, his face curiously tender.

The wood-cutters and peasants take off their coats, their throats are bare. They dance with strange intentness, particularly if they have for partner an English Signora. Their feet in thick boots are curiously swift and significant. And it is strange to see the Englishwomen, as they dance with the peasants transfigured with a kind of brilliant surprise. All the while the peasants are very courteous, but quiet. They see the women dilate and flash, they think they have found a footing, they are certain. So the male dancers are quiet, but even grandiloquent, their feet nimble, their bodies wild and confident.

They are at a loss when the two English Signoras move together and laugh excitedly at the end of the dance.

'Isn't it fine?'

'Fine! Their arms are like iron, carrying you round.'

'Yes! Yes! And the muscles on their shoulders! I never knew there were such muscles! I'm almost frightened.'

'But it's fine, isn't it? I'm getting into the dance.'

'Yes--yes--you've only to let them take you.'

Then the glasses are put down, the guitars give their strange, vibrant, almost painful summons, and the dance begins again.

It is a strange dance, strange and lilting, and changing as the music changed. But it had always a kind of leisurely dignity, a trailing kind of polka-waltz, intimate, passionate, yet never hurried, never violent in its passion, always becoming more intense. The women's faces changed to a kind of transported wonder, they were in the very rhythm of delight. From the soft bricks of the floor the red ochre rose in a thin cloud of dust, making hazy the shadowy dancers; the three musicians, in their black hats and their cloaks, sat obscurely in the corner, making a music that came quicker and quicker, making a dance that grew swifter and more intense, more subtle, the men seeming to fly and to implicate other strange inter-rhythmic dance into the women, the women drifting and palpitating as if their souls shook and resounded to a breeze that was subtly rushing upon them, through them; the men worked their feet, their thighs swifter, more vividly, the music came to an almost intolerable climax, there was a moment when the dance passed into a possession, the men caught up the women and swung them from the earth, leapt with them for a second, and then the next phase of the dance had begun, slower again, more subtly interwoven, taking perfect, oh, exquisite delight in every interrelated movement, a rhythm within a rhythm, a subtle approaching and drawing nearer to a climax, nearer, till, oh, there was the surpassing lift and swing of the women, when the woman's body seemed like a boat lifted over the powerful, exquisite wave of the man's body, perfect, for a moment, and then once more the slow, intense, nearer movement of the dance began, always nearer, nearer, always to a more perfect climax.

And the women waited as if in transport for the climax, when they would be flung into a movement surpassing all movement. They were flung, borne away, lifted like a boat on a supreme wave, into the zenith and nave of the heavens, consummate.

Then suddenly the dance crashed to an end, and the dancers stood stranded, lost, bewildered, on a strange shore. The air was full of red dust, half-lit by the lamp on the wall; the players in the corner were putting down their instruments to take up their glasses.

And the dancers sat round the wall, crowding in the little room, faint with the transport of repeated ecstasy. There was a subtle smile on the face of the men, subtle, knowing, so finely sensual that the conscious eyes could scarcely look at it. And the women were dazed, like creatures dazzled by too much light. The light was still on their faces, like a blindness, a reeling, like a transfiguration. The men were bringing wine, on a little tin tray, leaning with their proud, vivid loins, their faces flickering with the same subtle smile. Meanwhile, Maria Fiori was splashing water, much water, on the red floor. There was the smell of water among the glowing, transfigured men and women who sat gleaming in another world, round the walls.

The peasants have chosen their women. For the dark, handsome Englishwoman, who looks like a slightly malignant Madonna, comes Il Duro; for the '_bella bionda_', the wood-cutter. But the peasants have always to take their turn after the young well-to-do men from the village below.

Nevertheless, they are confident. They cannot understand the middle-class diffidence of the young men who wear collars and ties and finger-rings.

The wood-cutter from the mountain is of medium height, dark, thin, and hard as a hatchet, with eyes that are black like the very flaming thrust of night. He is quite a savage. There is something strange about his dancing, the violent way he works one shoulder. He has a wooden leg, from the knee-joint. Yet he dances well, and is inordinately proud. He is fierce as a bird, and hard with energy as a thunderbolt. He will dance with the blonde signora. But he never speaks. He is like some violent natural phenomenon rather than a person. The woman begins to wilt a little in his possession.

'_E bello--il ballo?_' he asked at length, one direct, flashing question.

'_Si--molto bello_,' cries the woman, glad to have speech again.

The eyes of the wood-cutter flash like actual possession. He seems now to have come into his own. With all his senses, he is dominant, sure.

He is inconceivably vigorous in body, and his dancing is almost perfect, with a little catch in it, owing to his lameness, which brings almost a pure intoxication. Every muscle in his body is supple as steel, supple, as strong as thunder, and yet so quick, so delicately swift, it is almost unbearable. As he draws near to the swing, the climax, the ecstasy, he seems to lie in wait, there is a sense of a great strength crouching ready. Then it rushes forth, liquid, perfect, transcendent, the woman swoons over in the dance, and it goes on, enjoyment, infinite, incalculable enjoyment. He is like a god, a strange natural phenomenon, most intimate and compelling, wonderful.

But he is not a human being. The woman, somewhere shocked in her independent soul, begins to fall away from him. She has another being, which he has not touched, and which she will fall back upon. The dance is over, she will fall back on herself. It is perfect, too perfect.

During the next dance, while she is in the power of the educated Ettore, a perfect and calculated voluptuary, who knows how much he can get out of this Northern woman, and only how much, the wood-cutter stands on the edge of the darkness, in the open doorway, and watches. He is fixed upon her, established, perfect. And all the while she is aware of the insistent hawk-like poising of the face of the wood-cutter, poised on the edge of the darkness, in the doorway, in possession, unrelinquishing.

And she is angry. There is something stupid, absurd, in the hard, talon-like eyes watching so fiercely and so confidently in the doorway, sure, unmitigated. Has the creature no sense?

The woman reacts from him. For some time she will take no notice of him. But he waits, fixed. Then she comes near to him, and his will seems to take hold of her. He looks at her with a strange, proud, inhuman confidence, as if his influence with her was already accomplished.

'_Venga--venga un po'_,' he says, jerking his head strangely to the darkness.

'What?' she replies, and passes shaken and dilated and brilliant, consciously ignoring him, passes away among the others, among those who are safe.

There is food in the kitchen, great hunks of bread, sliced sausage that Maria has made, wine, and a little coffee. But only the quality come to eat. The peasants may not come in. There is eating and drinking in the little house, the guitars are silent. It is eleven o'clock.

Then there is singing, the strange bestial singing of these hills. Sometimes the guitars can play an accompaniment, but usually not. Then the men lift up their heads and send out the high, half-howling music, astounding. The words are in dialect. They argue among themselves for a moment: will the Signoria understand? They sing. The Signoria does not understand in the least. So with a strange, slightly malignant triumph, the men sing all the verses of their song, sitting round the walls of the little parlour. Their throats move, their faces have a slight mocking smile. The boy capers in the doorway like a faun, with glee, his straight black hair falling over his forehead. The elder brother sits straight and flushed, but even his eyes glitter with a kind of yellow light of laughter. Paolo also sits quiet, with the invisible smile on his face.' Only Maria, large and active, prospering now, keeps collected, ready to order a shrill silence in the same way as she orders the peasants, violently, to keep their places.

The boy comes to me and says:

'Do you know, Signore, what they are singing?'

'No,' I say.

So he capers with furious glee. The men with the watchful eyes, all roused, sit round the wall and sing more distinctly:

_Si verra la primavera
Fiorann' le mandoline,
Vienn' di basso le Trentine
Coi 'taliani far' l'amor._

But the next verses are so improper that I pretend not to understand. The women, with wakened, dilated faces, are listening, listening hard, their two faces beautiful in their attention, as if listening to something magical, a long way off. And the men sitting round the wall sing more plainly, coming nearer to the correct Italian. The song comes loud and vibrating and maliciously from their reedy throats, it penetrates everybody. The foreign women can understand the sound, they can feel the malicious, suggestive mockery. But they cannot catch the words. The smile becomes more dangerous on the faces of the men.

Then Maria Fiori sees that I have understood, and she cries, in her loud, overriding voice:

'_Basta--basta._

The men get up, straighten their bodies with a curious, offering movement. The guitars and mandolines strike the vibrating strings. But the vague Northern reserve has come over the Englishwomen. They dance again, but without the fusion in the dance. They have had enough.

The musicians are thanked, they rise and go into the night. The men pass off in pairs. But the wood-cutter, whose name and whose nickname I could never hear, still hovered on the edge of the darkness.

Then Maria sent him also away, complaining that he was too wild, _proprio selvatico_, and only the 'quality' remained, the well-to-do youths from below. There was a little more coffee, and a talking, a story of a man who had fallen over a declivity in a lonely part going home drunk in the evening, and had lain unfound for eighteen hours. Then a story of a donkey who had kicked a youth in the chest and killed him.

But the women were tired, they would go to bed. Still the two young men would not go away. We all went out to look at the night.

The stars were very bright overhead, the mountain opposite and the mountains behind us faintly outlined themselves on the sky. Below, the lake was a black gulf. A little wind blew cold from the Adige.

In the morning the visitors had gone. They had insisted on staying the night. They had eaten eight eggs each and much bread at one o'clock in the morning. Then they had gone to sleep, lying on the floor in the sitting-room.

In the early sunshine they had drunk coffee and gone down to the village on the lake. Maria was very pleased. She would have made a good deal of money. The young men were rich. Her cupidity seemed like her very blossom. _

Read next: On The Lago Di Garda: Chapter 6. Il Duro

Read previous: On The Lago Di Garda: Chapter 4. San Gaudenzio

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