In the Strada del Porto
A strip of treacherous pavement slimy with garbage; the wan flicker of foul lanterns, vaguely revealing the black shapes of sail-like awnings above a network of mysterious masts; and the sodden, continuous uproar of a reeking crowd—hawkers of fruit, of fish, of assorted cigar-ends—fiercely clamouring together in the darkness....
By-and-bye, through the obscurity, peers the glossy vermilion of piled capsicums, the scarlet sparkle of bleeding pomegranates, and the hard flashing of scattered, silvery sardines. Here and there, behind a chestnut-brazier that shoots long, licking tongues of ruddy flame, the vacant, battered countenance of some aged crone; or amid a frenzied cracking of whips the clattering passage of a team of trembling mules, straining at a lean-shafted, high-wheeled cart, passing across the street, to disappear, engulfed in cavernous blackness, beneath a noisome archway. Bands of sailors jostle their way down the alley, rudely rebuffing the obscene advances of slatternly women; the night grows airless and stifling, under the dingy stars that speckle the black strip of sky overhead; and the street comes to possess a satanic fascination, almost epic in its intensity....
Moonlight
The long line of lamps casts countless, trembling pillars of dusky gold into the sea: the night is full of stifled light—a pale, quivering suffusion of mysterious blue. The Castello d’Oro floats, black as ink, like a shapeless hulk; across the empty sky a solitary, ghostly cloud lies sleeping; somewhere, beyond the bay, the moonlight is dancing; and the rhythm of the sleek, rolling waves drowsily, lazily, rises and falls.
A boy and a girl lean together, watching the waves: some mandolines start a faint twanging; the distant rattle of a cab—then all is quiet; and the glow above Vesuvius, sullenly pulsing, alone breaks in upon the delicate serenity of the night....
At the Theatre Manzoni
I have been to many first-nights there, for I have found a certain childish charm in the small, shabby, blue-and-white theatre, the tiers of minute boxes, close-packed with faces, the noisy Neapolitan pit, and the inevitable row of callow critics, sucking their pencil-stumps, each with his hat tight-jammed behind his head.
But especially there lingers in my mind the memory of a certain brief, mediæval drama, where a little flaxen-haired lady, wearing a low-cut dress of arsenic-green satin, passionately implored mercy of a curly-pated knight in a shirt of maroon-coloured velvet, for a great wrong she had done him. She wept piteously, poor little creature, tearing tremulously at her fluffy locks, and on her knees appealing to us all to help her. But the little knight kept his wooden gaze obdurately averted from her, till, exhausted, she sank dying on to a gilt-legged couch.