Casa Braccio, Volumes 1 and 2. F. Marion Crawford

that she was answered. There in the cell of a Carmelite convent, in the heart of a young girl who had perhaps never heard of Shakespeare and who certainly knew nothing of Hamlet, the question of all questions found itself, and she found for it such speech as she could command. It broke out passionately and impatiently.

      "What are we? And why are we what we are? Yes, mother—I know that you are good, and that all you say is true. But it is not all. There is all the world beyond it. To live, or not to live—but you know that this is not living! It is not meant to be living, as the people outside understand what living means. What does it all signify but death, when we take the veil, and lie before the altar, and are covered with a funeral pall? It means dying—then why not altogether dying? Has not God angels, in thousands, to praise Him and worship Him, and pray for sinners on earth? And they sing and pray gladly, because they are blessed and do not suffer, as we do. Why should God want us, poor little nuns, to live half dead, and to praise Him with voices that crack with the cold in winter, and to kneel till we faint with the heat in summer, and to wear out our bodies with fasting and prayer and penance, till it is all we can do to crawl to our places in the choir? Not I—I am young and strong still—nor you, perhaps, for you are strong still, though you are not young. But many of the sisters—yes, they are the best ones, I know—they are killing themselves by inches before our eyes. You know it—I know it—they know it themselves. Why should they not find some shorter way of death for God's glory? Or if not, why should they not live happily, since many of them could? Why should God, who made us, wish us to destroy ourselves—or if He does, then why may we not do it in our own way? Ah—it would be so short—a knife-thrust, and then the great peace forever!"

      The abbess had risen and was standing before Maria, one hand resting on the back of the rush-bottomed chair.

      "Blasphemy!" she cried, finding breath at last. "It is blasphemy, or madness, or both! It is the evil one's own doing! Forgive her, good God! She does not know what she is saying! Almighty and most merciful God, forgive her!"

      For a moment Maria Addolorata was silent, realizing how far she had forgotten herself, and startled by the abbess's terrified eyes and excited tone. But she was naturally a far more daring woman than she herself knew. Though her face was pale, her lips smiled at her good aunt's fright.

      "But that is not an answer—just to cry 'blasphemy!'" she said. "The question is clear—"

      She did not finish the sentence. The abbess was really beside herself with religious terror. With almost violent hands she dragged and thrust her niece down till Maria fell upon her knees.

      "Pray, child! Pray, before it is too late!" she cried. "Pray on your knees that this possession may pass, before your soul is lost forever!"

      She herself knelt beside the girl upon the stones, still clasping her and pressing her down. And she prayed aloud, long, fervently, almost wildly, appealing to God for protection against a bodily tempting devil, who by his will, and with evil strength, was luring and driving a human soul to utter damnation.

CHAPTER III.

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      "It is well," said Stefanone. "The world is come to an end. I will not say anything more."

      He finished his tumbler of wine, leaned back on the wooden bench against the brown wall, played with the broad silver buttons of his dark blue jacket, and stared hard at Sor Tommaso, the doctor, who sat opposite to him. The doctor returned his glance rather unsteadily and betook himself to his snuffbox. It was of worn black ebony, adorned in the middle of the lid with a small view of Saint Peter's and the colonnades in mosaic, with a very blue sky. From long use, each tiny fragment of the mosaic was surrounded by a minute black line, which indeed lent some tone to the intensely clear atmosphere of the little picture, but gave the architecture represented therein a dirty and neglected appearance. The snuff itself, however, was of the superior quality known as Sicilian in those days, and was of a beautiful light brown colour.

      "And why?" asked the doctor very slowly, between the operations of pinching, stuffing, snuffing, and dusting. "Why is the world come to an end?"

      Stefanone's eyes grew sullen, with a sort of dull glare in their unwinking gaze. He looked dangerous just then, but the doctor did not seem to be in the least afraid of him.

      "You, who have made it end, should know why," answered the peasant, after a short pause.

      Stefanone was a man of the Roman type, of medium height, thick set and naturally melancholic, with thin, straight lips that were clean shaven, straight black hair, a small but aggressively aquiline nose and heavy hands, hairy on the backs of the fingers, between the knuckles. His wife, Sora Nanna, said that he had a fist like a paving-stone. He also looked as though he might have the constitution of a mule. He was at that time about five-and-thirty years of age, and there were a few strong lines in his face, notably those curved ones drawn from the beginning of the nostrils to the corners of the mouth, which are said to denote an uncertain temper.

      He wore the dress of the richer peasants of that day, a coarse but spotless white shirt, very open at the throat, a jacket and waistcoat of stout dark blue cloth, with large and smooth silver buttons, knee-breeches, white stockings, and heavy low shoes with steel buckles. He combined the occupations of farmer, wine-seller, and carrier. When he was on the road between Subiaco and Rome, Gigetto, already mentioned, was supposed to represent him. It was understood that Gigetto was to marry Annetta—if he could be prevailed upon to do so, for he was the younger son of a peasant family which held its head even higher than Stefanone, and the young man as well as his people looked upon Annetta's wild ways with disapproval, though her fortune, as the only child of Stefanone and Sora Nanna, was a very strong attraction. In the meantime, Gigetto acted as though he were the older man's partner in the wine-shop, and as he was a particularly honest, but also a particularly idle, young man with a taste for singing and playing on the guitar, the position suited him admirably.

      As for Sor Tommaso, with whom Stefanone seemed inclined to quarrel on this particular evening, he was a highly respectable personage in a narrow-shouldered, high-collared black coat with broad skirts, and a snuff-coloured waistcoat. He wore a stock which was decidedly shabby, but decent, and the thin cuffs of his shirt were turned back over the tight sleeves of his coat, in the old fashion. He also wore amazingly tight black trousers, strapped closely over his well-blacked boots. To tell the truth, these nether garments, though of great natural resistance, had lived so long at a high tension, so to say, that they were no longer equally tight at all points, and there were, undoubtedly, certain perceptible spots on them; but, on the whole, the general effect of the doctor's appearance was fashionable, in the fashion of several years earlier and judged by the standard of Subiaco. He wore his hair rather long, in a handsome iron-grey confusion, his face was close-shaven, and, though he was thin, his complexion was somewhat apoplectic.

      Having duly and solemnly finished the operation of taking snuff, the doctor looked at the peasant.

      "I do not wish to have said anything," he observed, by way of a general retraction. "These are probably follies."

      "And for not having meant to say anything, you have planted this knife in my heart!" retorted Stefanone, the veins swelling at his temples. "Thank you. I wish to die, if I forget it. You tell me that this daughter of mine is making love with the Englishman. And then you say that you do not wish to have said anything! May he die, the Englishman, he, and whoever made him, with the whole family! An evil death on him and all his house!"

      "So long as you do not make me die, too!" exclaimed Sor Tommaso, with rather a pitying smile.

      "Eh! To die—it is soon said! And yet, people do die. You, who are a doctor, should know that. And you do not wish to have said anything! Bravo, doctor! Words are words. And yet they can sting. And after a thousand years, they still sting. You—what can you understand? Are you perhaps a father? You have not even a wife. Oh, blessed be God! You do not even know what you are saying. You know nothing. You think, perhaps, because you are a doctor, that you know more than I do. I will tell you that you are