After the Fireworks (12 page)

O
H, IT WAS MARVELLOUS BEFORE THE WAR, THE
Girandola. Really marvelous.”

“But then what wasn't
marvellous
before the War?” said Pamela sarcastically. These references to a Golden Age in which she had no part always annoyed her.

Fanning laughed. “Another one in the eye for the aged gentleman!”

There, he had slipped back again behind his defences! She did not answer for fear of giving him some excuse to dig himself in, impregnably. This hateful bantering with feelings! They walked on in silence. The night was breathlessly warm; the sounds of brassy music came to them faintly through the dim enormous noise of a crowd that thickened with every step they took towards the Piazza del Popolo. In the end they had to shove their way by main force.

Sunk head over ears in this vast sea of animal contacts, animal smells and noise, Pamela was afraid. “Isn't it awful?” she said, looking up at him over her shoulder; and she shuddered. But at the same time she rather liked her fear, because it seemed in some way to break down the barriers that sepa
rated them, to bring him closer to her—close with a physical closeness of protective contact that was also, increasingly, a closeness of thought and feeling.

“You're all right,” he reassured her through the tumult. He was standing behind her, encircling her with his arms. “I won't let you be squashed”; and as he spoke he fended off the menacing lurch of a large back.
“Ignorante!”
he shouted at it.

A terrific explosion interrupted the distant selections from
Rigoletto
and the sky was suddenly full of coloured light; the Girandola had begun. A wave of impatience ran through the advancing crowd; they were violently pushed and jostled. But, “It's all right,” Fanning kept repeating, “it's all right.” They were squeezed together in a staggering embrace. Pamela was terrified, but it was with a kind of swooning pleasure that she shut her eyes and abandoned herself limply in his arms.

“Ma piano!”
shouted Fanning at the nearest jostlers.
“Piano!”
and “ 'Sblood!” he said in English, for he had the affection of using literary oaths. “Hell and Death!” But in the tumult his words were as though unspoken. He was silent; and suddenly, in the midst of that heaving chaos of noise and rough contacts, of movement and heat and smell, suddenly he became aware that his lips were almost touching her hair, and that under his right hand was the firm resilience of her breast. He hesitated for a moment on the threshold of his sensuality, then averted his face, shifted the position of his hand.

“At last!”

The haven to which their tickets admitted them was a little garden on the western side of the Piazza, opposite the Pincio and the source of the fireworks. The place was
crowded, but not oppressively. Fanning was tall enough to overlook the interposed heads, and when Pamela had climbed on to a little parapet that separated one terrace of the garden from another, she too could see perfectly.

“But you'll let me lean on you,” she said, laying a hand on his shoulder, “because there's a fat woman next to me who's steadily squeezing me off. I think she's expanding with the heat.”

“And she almost certainly understands English. So for heaven's sake . . .”

A fresh volley of explosions from the other side of the great square interrupted him and drowned the answering mockery of her laughter. “Ooh! Ooh!” the crowd was moaning in a kind of amorous agony. Magical flowers in a delirium of growth, the rockets mounted on their slender stalks and, ah! high up above the Pincian Hill, dazzlingly, deafeningly, in a bunch of stars and a thunder-clap, they blossomed.

“Isn't it marvellous?” said Pamela looking down at him with shining eyes. “Oh God!” she added, in another voice. “She's expanding again. Help!” And for a moment she was on the verge of falling. She leaned on him so heavily that he had to make an effort not to be pushed sideways. She managed to straighten herself up again into equilibrium.

“I've got you in case . . .” He put his arm round her knees to steady her.

“Shall I see if I can puncture the old beast with a pin?” And Fanning knew, by the tone of her voice, that she was genuinely prepared to make the experiment.

“If you do,” he said, “I shall leave you to be lynched alone.”

Pamela felt his arm tighten a little about her thighs. “Coward!” she mocked and pulled his hair.

“Martyrdom's not in my line,” he laughed back. “Not even martyrdom for your sake.” But her youth was a perversity, her freshness a kind of provocative vice. He had taken a step across that supernatural threshold. He had given—after all, why not?—a certain license to his desires. Amid their multitudinous uncoiling, his body seemed to be coming to a new and obscure life of its own. When the time came he would revoke the license, step back again into the daily world.

There was another bang, another, and the obelisk at the centre of the Piazza leapt out sharp and black against apocalypse after apocalypse of jewelled light. And through the now flushed, now pearly-brilliant, now emerald-shining smoke-clouds, a pine tree, a palm, a stretch of grass emerged, like strange unearthly visions of pine and palm and grass, from the darkness of the else invisible gardens.

There was an interval of mere lamplight—like sobriety, said Fanning, between two pipes of opium, like daily life after an ecstasy. And perhaps, he was thinking, the time to step back again had already come. “If only one could live without any lucid intervals,” he concluded.

“I don't see why not.” She spoke with a kind of provocative defiance, as though challenging him to contradict her. Her heart beat very fast, exultantly. “I mean, why shouldn't it be fireworks all the time?”

“Because it just isn't, that's all. Unhappily.” It was time to step back again; but he didn't step back.

“Well, then it's a case of damn the intervals and enjoy . . . Oh!” She started. That prodigious bang had sent a large
red moon sailing almost slowly into the sky. It burst into a shower of meteors that whistled as they fell, expiringly.

Fanning imitated their plaintive noise. “Sad, sad,” he commented. “Even the fireworks can be sad.”

She turned on him fiercely. “Only because you want them to be sad. Yes, you want them to be. Why do you want them to be sad?”

Yes, why? It was a pertinent question. She felt his arm tighten again round her knees and was triumphant. He was defending himself no more, he was listening to those oracles. But at the root of his deliberate recklessness, its contradiction and its cause, his sadness obscurely persisted. “But I
don't
want them to be sad,” he protested.

Another garden of rockets began to blossom. Laughing, triumphant, Pamela laid her hand on his head.

“I feel so superior up here,” she said.

“On a pedestal, what?” He laughed.
“‘Guardami ben; ben son, ben son Beatrice!'
*
”

“Such a comfort you're not bald,” she said, her fingers in his hair. “That must be a great disadvantage of pedestals—I mean, seeing the baldness of the men down below.”

“But the great advantage of pedestals, as I now suddenly see for the first time . . .” Another explosion covered his voice. “ . . . make it possible . . .” Bang!

“Oh, look!” A blueish light was brightening, brightening.

“ . . . possible for even the baldest . . .” There was a continuous uninterrupted rattle of detonations. Fanning gave it up. What he had meant to say was that pedestals gave even the baldest men unrivalled opportunities for pinching the idol's legs.

“What were you saying?” she shouted through the battle.

“Nothing,” he yelled back. He had meant, of course, to suit the action to the word, playfully. But the fates had decided otherwise and he wasn't really sorry. For he was tired; he had realized it almost suddenly. All this standing. He was no good at standing nowadays.

A cataract of silver fire was pouring down the slopes of the Pincian Hill, and the shining smokeclouds rolled away from it like the spray from a tumbling river. And suddenly, above it, the eagle of Savoy emerged from the darkness, enormous, perched on the lictor's axe and rods. There was applause and patriotic music. Then, gradually, the brightness of the cataract grew dim; the sources of its silver streaming were one by one dried up. The eagle moulted its shining plumage, the axe and rods faded, faded and at last were gone. Lit faintly by only the common lamplight, the smoke drifted slowly away towards the north. A spasm of motion ran through the huge crowd in the square below them. The show was over.

“But I feel,” said Pamela, as they shoved their way back towards the open streets, “I feel as though the rockets were still popping off inside me.” And she began to sing to herself as she walked.

Fanning made no comment. He was thinking of that Girandola he'd seen with Alice and Tony, and Laurina Frescobaldi—was it in 1907 or 1908? Tony was an ambassador now, and Alice was dead, and one of Laurina's sons (he recalled the expression of despair on that worn, but still handsome face, when she had told him yesterday, at Tivoli) was already old enough to be getting housemaids into trouble.

“Not only rockets,” Pamela went on, interrupting her sing
ing, “but even catherine wheels. I feel all catherine-wheely. You know, like when one's a little drunk.” And she went on again with “Old Man River,” tipsily happy and excited.

The crowd grew thinner around them and at last they were almost alone. Pamela's singing abruptly ceased. Here, in the open, in the cool of the dark night it had suddenly become inappropriate, a little shameful. She glanced anxiously at her companion; had he too remarked that inappropriateness, been shocked by it? But Fanning had noticed nothing; she wished he had. Head bent, his hands behind his back, he was walking at her side, but in another universe.—When had his spirit gone away from her, and why? She didn't know, hadn't noticed. Those inward fireworks, that private festival of exultation had occupied her whole attention. She had been too excitedly happy with being in love to be able to think of the object of that love. But now, abruptly sobered, she had become aware of him again, repentantly at first, and then, as she realized his new remoteness, with a sinking of the heart. What had happened in these few moments? She was on the point of addressing him, then checked herself. Her apprehension grew and grew till it became a kind of terrified certainty that he'd never loved her at all, that he'd suddenly begun to hate her. But why, but why? They walked on.

“How lovely it is here!” she said at last. Her voice was timid and unnatural. “And so deliciously cool.” They had emerged on to the embankment of the Tiber. Above the river, a second invisible river of air flowed softly through the hot night. “Shall we stop for a moment?” He nodded without speaking. “I mean, only if you want to,” she added. He nodded again.

They stood, leaning on the parapet, looking down at the
black water. There was a long, long silence. Pamela waited for him to say something, to make a gesture; but he did not stir, the word never came. It was as though he were at the other end of the world. She felt almost sick with unhappiness. Heartbeat after heart-beat, the silence prolonged itself.

Fanning was thinking of to-morrow's journey. How he hated the train! And in this heat. . . . But it was necessary. The wicked flee, and in this case the fleeing would be an act of virtue—painful. Was it love? Or just an itch of desire, of the rather crazy, dirty desire of an aging man?
“A cinquant' anni si diventa un po' pazzo.
*
”
He heard his own voice speaking, laughingly, mournfully, to Laurina.
“Pazzo e porco. Si, anch' io divento un porco. Le minorenni—a cinquant' anni, sa sono un ossessione. Proprio un' ossessione.
^†
”
Was that all—just an obsession of crazy desire? Or was it love? Or wasn't there any difference, was it just a question of names and approving or disapproving tones of voice? What was certain was that you could be as desperately unhappy when you were robbed of your crazy desire as when you were robbed of your love. A
porco
suffers as much as Dante. And perhaps Beatrice too was lovely, in Dante's memory, with the perversity of youth, the shamelessness of innocence, the vice of freshness. Still, the wicked flee, the wicked flee. If only he'd had the strength of mind to flee before! A touch made him start. Pamela had taken his hand.

“Miles!” Her voice was strained and abnormal. Fanning turned towards her and was almost frightened by the look of determined despair he saw on her face. The Eiffel Tower . . . “Miles!”

“What is it?”

“Why don't you speak to me?”

He shrugged his shoulders. “I didn't happen to be feeling very loquacious. For a change,” he added, self-mockingly, in the hope (he knew it for a vain one) of being able to turn away her desperate attack with a counter-attack of laughter.

She ignored his counter-attack. “Why do you shut yourself away from me like this?” she asked. “Why do you hate me.”

“But, my sweet child . . .”

“Yes, you hate me. You shut me away. Why are you so cruel, Miles?” Her voice broke; she was crying. Lifting his hand, she kissed it, passionately, despairingly. “I love you so much, Miles. I love you.” His hand was wet with her tears when, almost by force, he managed to draw it away from her.

He put his arm round her, comfortingly. But he was annoyed as well as touched, annoyed by her despairing determination, by the way she had made up her mind to jump off the Eiffel Tower, screwed up her courage turn by turn. And now she was jumping—but how gracelessly! The way he had positively had to struggle for his hand! There was something forced and unnatural about the whole scene. She was being a character in fiction. But characters in fiction suffer. He patted her shoulder, he made consolatory murmurs. Consoling her for being in love with him! But the idea of explaining and protesting and being lucidly reasonable was appalling to him at the moment, absolutely appalling. He hoped that she'd just permit herself to be consoled and ask no further questions, just leave the whole situation comfortably inarticulate. But his hope was again disappointed.