Complete Works of Aldous Huxley, page 378
“Guido,” he would say softly, “Guido.” But Guido was generally too much preoccupied to answer; and Robin, not venturing to insist, would creep near him, and throwing himself as nearly as possible into Guido’s attitude — standing Napoleonically, his hands clasped behind him, or sitting in the posture of Michelangelo’s Lorenzo the Magnificent — would try to meditate too. Every few seconds he would turn his bright blue eyes towards the elder child to see whether he was doing it quite right. But at the end of a minute he began to grow impatient; meditation wasn’t his strong point. “Guido,” he called again and, louder, “Guido!” And he would take him by the hand and try to pull him away. Sometimes Guido roused himself from his reverie and went back to the interrupted game. Sometimes he paid no attention. Melancholy, perplexed, Robin had to take himself off to play by himself. And Guido would go on sitting or standing there, quite still; and his eyes, if one looked into them, were beautiful in their grave and pensive calm.
They were large eyes, set far apart and, what was strange in a dark-haired Italian child, of a luminous pale blue-grey colour. They were not always grave and calm, as in these pensive moments. When he was playing, when he talked or laughed, they lit up; and the surface of those clear, pale lakes of thought seemed, as it were, to be shaken into brilliant sun-flashing ripples. Above those eyes was a beautiful forehead, high and steep and domed in a curve that was like the subtle curve of a rose petal. The nose was straight, the chin small and rather pointed, the mouth drooped a little sadly at the corners.
I have a snapshot of the two children sitting together on the parapet of the terrace. Guido sits almost facing the camera, but looking a little to one side and downwards; his hands are crossed in his lap and his expression, his attitude are thoughtful, grave, and meditative. It is Guido in one of those moods of abstraction into which he would pass even at the height of laughter and play — quite suddenly and completely, as though he had all at once taken it into his head to go away and had left the silent and beautiful body behind, like an empty house, to wait for his return. And by his side sits little Robin, turning to look up at him, his face half averted from the camera, but the curve of his cheek showing that he is laughing; one little raised hand is caught at the top of a gesture, the other clutches at Guido’s sleeve, as though he were urging him to come away and play. And the legs dangling from the parapet have been seen by the blinking instrument in the midst of an impatient wriggle; he is on the point of slipping down and running off to play hide-and-seek in the garden. All the essential characteristics of both the children are in that little snapshot.
“If Robin were not Robin,” Elizabeth used to say, “I could almost wish he were Guido.”
And even at that time, when I took no particular interest in the child, I agreed with her. Guido seemed to me one of the most charming little boys I had ever seen.
We were not alone in admiring him. Signora Bondi when, in those cordial intervals between our quarrels, she came to call, was constantly speaking of him. “Such a beautiful, beautiful child!” she would exclaim with enthusiasm. “It’s really a waste that he should belong to peasants who can’t afford to dress him properly. If he were mine, I should put him into black velvet; or little white knickers and a white knitted silk jersey with a red line at the collar and cuffs; or perhaps a white sailor suit would be pretty. And in winter a little fur coat, with a squirrel skin cap, and possibly Russian boots...” Her imagination was running away with her. “And I’d let his hair grow, like a page’s, and have it just curled up a little at the tips. And a straight fringe across his forehead. Every one would turn round and stare after us if I took him out with me in Via Tornabuoni.”
What you want, I should have liked to tell her, is not a child; it’s a clock-work doll or a performing monkey. But I did not say so — partly because I could not think of the Italian for a clockwork doll and partly because I did not want to risk having the rent raised another 15 per cent.
“Ah, if only I had a little boy like that!” She sighed and modestly dropped her eyelids. “I adore children. I sometimes think of adopting one — that is, if my husband would allow it.”
I thought of the poor old gentleman being dragged along at the heels of his big white dog and inwardly smiled.
“But I don’t know if he would,” the Signora was continuing, “I don’t know if he would.” She was silent for a moment, as though considering a new idea.
A few days later, when we were sitting in the garden after luncheon, drinking our coffee, Guido’s father, instead of passing with a nod and the usual cheerful good-day, halted in front of us and began to talk. He was a fine handsome man, not very tall, but well proportioned, quick and elastic in his movements, and full of life. He had a thin brown face, featured like a Roman’s and lit by a pair of the most intelligent-looking grey eyes I ever saw. They exhibited almost too much intelligence when, as not infrequently happened, he was trying, with an assumption of perfect frankness and a childlike innocence, to take one in or get something out of one. Delighting in itself, the intelligence shone there mischievously. The face might be ingenuous, impassive, almost imbecile in its expression; but the eyes on these occasions gave him completely away. One knew, when they glittered like that, that one would have to be careful.
To-day, however, there was no dangerous light in them. He wanted nothing out of us, nothing of any value — only advice, which is a commodity, he knew, that most people are only too happy to part with. But he wanted advice on what was, for us, rather a delicate subject: on Signora Bondi. Carlo had often complained to us about her. The old man is good, he told us, very good and kind indeed. Which meant, I dare say, among other things, that he could easily be swindled. But his wife... Well, the woman was a beast. And he would tell us stories of her insatiable rapacity: she was always claiming more than the half of the produce which, by the laws of the métayage system, was the proprietor’s due. He complained of her suspiciousness: she was for ever accusing him of sharp practices, of downright stealing — him, he struck his breast, the soul of honesty. He complained of her short-sighted avarice: she wouldn’t spend enough on manure, wouldn’t buy him another cow, wouldn’t have electric light installed in the stables. And we had sympathized, but cautiously, without expressing too strong an opinion on the subject. The Italians are wonderfully non-committal in their speech; they will give nothing away to an interested person until they are quite certain that it is right and necessary and, above all, safe to do so. We had lived long enough among them to imitate their caution. What we said to Carlo would be sure, sooner or later, to get back to Signora Bondi. There was nothing to be gained by unnecessarily embittering our relations with the lady — only another 15 per cent., very likely, to be lost.
To-day he wasn’t so much complaining as feeling perplexed.
The Signora had sent for him, it seemed, and asked him how he would like it if she were to make an offer — it was all very hypothetical in the cautious Italian style — to adopt little Guido. Carlo’s first instinct had been to say that he wouldn’t like it at all. But an answer like that would have been too coarsely committal. He had preferred to say that he would think about it. And now he was asking for our advice.
Do what you think best, was what in effect we replied. But we gave it distantly but distinctly to be understood that we didn’t think that Signora Bondi would make a very good foster-mother for the child. And Carlo was inclined to agree. Besides, he was very fond of the boy.
“But the thing is,” he concluded rather gloomily, “that if she has really set her heart on getting hold of the child, there’s nothing she won’t do to get him — nothing.”
He too, I could see, would have liked the physicists to start on unemployed childless women of sanguine temperament before they tried to tackle the atom. Still, I reflected, as I watched him striding away along the terrace, singing powerfully from a brazen gullet as he went, there was force there, there was life enough in those elastic limbs, behind those bright grey eyes, to put up a good fight even against the accumulated vital energies of Signora Bondi.
It was a few days after this that my gramophone and two or three boxes of records arrived from England. They were a great comfort to us on the hilltop, providing as they did the only thing in which that spiritually fertile solitude — otherwise a perfect Swiss Family Robinson’s island — was lacking: music. There is not much music to be heard nowadays in Florence. The times when Dr Burney could tour through Italy, listening to an unending succession of new operas, symphonies, quartets, cantatas, are gone. Gone are the days when a learned musician, inferior only to the Reverend Father Martini of Bologna, could admire what the peasants sang and the strolling players thrummed and scraped on their instruments. I have travelled for weeks through the peninsula and hardly heard a note that was not “Salome” or the Fascists’ song. Rich in nothing else that makes life agreeable or even supportable, the northern metropolises are rich in music. That is perhaps the only inducement that a reasonable man can find for living there. The other attractions — organized gaiety, people, miscellaneous conversation, the social pleasures — what are those, after all, but an expense of spirit that buys nothing in return? And then the cold, the darkness, the mouldering dirt, the damp and squalor.... No, where there is no necessity that retains, music can be the only inducement. And that, thanks to the ingenious Edison, can now be taken about in a box and unpacked in whatever solitude one chooses to visit. One can live at Benin, or Nuneaton, or Tozeur in the Sahara, and still hear Mozart quartets, and selections from the Well-Tempered Clavichord, and the Fifth Symphony, and the Brahms clarinet quintet, and motets by Palestrina.
Carlo, who had gone down to the station with his mule and cart to fetch the packing-case, was vastly interested in the machine.
“One will hear some music again,” he said, as he watched me unpacking the gramophone and the disks. “It is difficult to do much oneself.”
Still, I reflected, he managed to do a good deal. On warm nights we used to hear him, where he sat at the door of his house, playing his guitar and softly singing; the eldest boy shrilled out the melody on the mandoline, and sometimes the whole family would join in, and the darkness would be filled with their passionate, throaty singing. Piedigrotta songs they mostly sang; and the voices drooped slurringly from note to note, lazily climbed or jerked themselves with sudden sobbing emphases from one tone to another. At a distance and under the stars the effect was not unpleasing.
“Before the war,” he went on, “in normal times” (and Carlo had a hope, even a belief, that the normal times were coming back and that life would soon be as cheap and easy as it had been in the days before the flood), “I used to go and listen to the operas at the Politeama. Ah, they were magnificent. But it costs five lire now to get in.”
“Too much,” I agreed.
“Have you got Trooatore?” he asked.
I shook my head.
“Rigoletto?”
“I’m afraid not.”
“Bohème? Fanciulla del West? Pagliacci?”
I had to go on disappointing him.
“Not even Normal Or the Barbiere?”
I put on Battistini in “La ci darem” out of Don Giovanni. He agreed that the singing was good; but I could see that he didn’t much like the music. Why not? He found it difficult to explain.
“It’s not like Pagliacci,” he said at last.
“Not palpitating?” I suggested, using a word with which I was sure he would be familiar; for it occurs in every Italian political speech and patriotic leading article.
“Not palpitating,” he agreed.
And I reflected that it is precisely by the difference between Pagliacci and Don Giovanni, between the palpitating and the nonpalpitating, that modern musical taste is separated from the old. The corruption of the best, I thought, is the worst. Beethoven taught music to palpitate with his intellectual and spiritual passion. It has gone on palpitating ever since, but with the passion of inferior men. Indirectly, I thought, Beethoven is responsible for Parsifal, Pagliacci, and the Pom of Fire; still more indirectly for Samson and Delilah and “Ivy, cling to me.” Mozart’s melodies may be brilliant, memorable, infectious; but they don’t palpitate, don’t catch you between wind and water, don’t send the listener off into erotic ecstasies.
Carlo and his elder children found my gramophone, I am afraid, rather a disappointment. They were too polite, however, to say so openly; they merely ceased, after the first day or two, to take any interest in the machine and the music it played. They preferred the guitar and their own singing.
Guido, on the other hand, was immensely interested. And he liked, not the cheerful dance tunes, to whose sharp rhythms our little Robin loved to go stamping round and round the room, pretending that he was a whole regiment of soldiers, but the genuine stuff. The first record he heard, I remember, was that of the slow movement of Bach’s Concerto in D Minor for two violins. That was the disk I put on the turn-table as soon as Carlo had left me. It seemed to me, so to speak, the most musical piece of music with which I could refresh my long-parched mind — the coolest and clearest of all draughts. The movement had just got under way and was beginning to unfold its pure and melancholy beauties in accordance with the laws of the most exacting intellectual logic, when the two children, Guido in front and little Robin breathlessly following, came clattering into the room from the loggia.
Guido came to a halt in front of the gramophone and stood there, motionless, listening. His pale blue-grey eyes opened themselves wide; making a little nervous gesture that I had often noticed in him before, he plucked at his lower lip with his thumb and forefinger. He must have taken a deep breath; for I noticed that, after listening for a few seconds, he sharply expired and drew in a fresh gulp of air. For an instant he looked at me — a questioning, astonished, rapturous look — gave a little laugh that ended in a kind of nervous shudder, and turned back towards the source of the incredible sounds. Slavishly imitating his elder comrade, Robin had also taken up his stand in front of the gramophone, and in exactly the same position, glancing at Guido from time to time to make sure that he was doing everything, down to plucking at his lip, in the correct way. But after a minute or so he became bored.
“Soldiers,” he said, turning to me; “I want soldiers. Like in London.” He remembered the rag-time and the jolly marches round and round the room.
I put my fingers to my lips. “Afterwards,” I whispered.
Robin managed to remain silent and still for perhaps another twenty seconds. Then he seized Guido by the arm, shouting, “Vieni, Guido! Soldiers. Soldati. Vieni giuocare soldati.”
It was then, for the first time, that I saw Guido impatient. “Vai!” he whispered angrily, slapped at Robin’s clutching hand and pushed him roughly away. And he leaned a little closer to the instrument, as though to make up by yet intenser listening for what the interruption had caused him to miss.
Robin looked at him, astonished. Such a thing had never happened before. Then he burst out crying and came to me for consolation.
When the quarrel was made up — and Guido was sincerely repentant, was as nice as he knew how to be when the music had stopped and his mind was free to think of Robin once more — I asked him how he liked the music. He said he thought it was beautiful. But bello in Italian is too vague a word, too easily and frequently uttered, to mean very much.
“What did you like best?” I insisted. For he had seemed to enjoy it so much that I was curious to find out what had really impressed him.
He was silent for a moment, pensively frowning. “Well,” he said at last, “I liked the bit that went like this.” And he hummed a long phrase. “And then there’s the other thing singing at the same time — but what are those things,” he interrupted himself, “that sing like that?”
“They’re called violins,” I said.
“Violins.” He nodded. “Well, the other violin goes like this.” He hummed again. “Why can’t one sing both at once? And what is in that box? What makes it make that noise?” The child poured out his questions.
I answered him as best I could, showing him the little spirals on the disk, the needle, the diaphragm. I told him to remember how the string of the guitar trembled when one plucked it; sound is a shaking in the air, I told him, and I tried to explain how those shakings get printed on the black disk. Guido listened to me very gravely, nodding from time to time. I had the impression that he understood perfectly well everything I was saying.
By this time, however, poor Robin was so dreadfully bored that in pity for him -I had to send the two children out into the garden to play. Guido went obediently; but I could see that he would have preferred to stay indoors and listen to more music. A little while later, when I looked out, he was hiding in the dark recesses of the big bay tree, roaring like a lion, and Robin, laughing, but a little nervously, as though he were afraid that the horrible noise might possibly turn out, after all, to be the roaring of a real lion, was beating the bush with a stick, and shouting, “Come out, come out! I want to shoot you.”
