The donkey-boy was there, who carries the English ladies up to Tre Castagni, and who always falls in love with them before he parts from them. Now his eyes were suddenly opened to the great benefactress. It is not only a slender, delicate body and a soft cheek that are worthy to be adored, but also strength and force. The donkey-boy suddenly dropped knife and fork, leaned his elbows on the table, and sat and looked at her. And all the other donkey-boys did the same. It spread like a contagion. It grew hot with burning glances about the English signorina.
It was not only the poor people who adored her. The advocate, Ugo Favara, came and whispered to her that she had come as a providence to his poor land and to him. “If only I had met such a woman as you before,” he said.
Fancy an old bird which has sat in a cage for many years and become rough and lost all the gloss of his feathers. And then some one comes and straightens them out and smooths them back. Think of it, signore!
There was that boy from Naples. He took his mandolin and began to sing his very best. You know how he sings; he pouts with his big mouth and says ugly words. He usually is like a grinning mask. But have you seen the angel in his eyes? An angel which seems to weep over his fall and is filled with a holy frenzy. That evening he was only an angel. He raised his head like one inspired by God, and his drooping body became elastic and full of proud vitality. Color came into his livid cheeks. And he sang; he sang so that the notes seemed to fly like fireflies from his lips and fill the air with joy and dance.
When it grew dark they all went over to the Grecian theatre. That was the finishing touch to the entertainment. What did she not have to offer there!
She had the Russian singer and the German variété artists. She had the English wrestlers and the American magician. But what was that compared to all the rest: the silvery moonlight and the place and its memories? Those poor people seemed to feel like the Greeks and leaders of fashion when they once more took their places on the stone-benches of their own old theatre and from between the tottering pillars looked out at the most beautiful panorama.
Those poor people did not stint; they shared all the pleasure they received. They did not spare jubilation; there was no stopping their hand-clapping. The performers left the platform with a wealth of praise.
Some one begged the English signorina to appear. All the adoration was meant for her. She ought to stand face to face with it and feel it. And they told her how intoxicating it was, how elevating, how inflaming.
She liked the proposal. She immediately agreed. She had sung in her youth, and the English never seem to be afraid to sing. She would not have done it if she had not been in a good mood, and she wished to sing for those who loved her.
She came as the last number. Fancy what it was to stand on such an old stage! It was where Antigone had been buried alive and Iphigenia had been sacrificed. The English signorina stepped forward there to receive every conceivable honor.