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 verrà 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.