The prisoners were landed at Naples and immediately placed in a black-and-yellow van, something like a movable sepulchre. Costantino caught a brief glimpse of a wide expanse of smooth green water, a quantity of huge steamers, and innumerable small craft filled with gaily dressed men who shouted out all manner of incomprehensible things. All around the boats, on the surface of the green water, floated weeds, scraps of paper, refuse of all kinds. Enormous buildings were outlined against a sky of deepest blue. At Naples, the convicts were separated; Costantino was taken off to the prison at X⸺ and saw his yellow-visaged companion no more.
On reaching his destination, Costantino was at once consigned to a cell where he was to pass the first six months of his term in solitary confinement. This cell measured hardly two metres in length by six palms in breadth: it was furnished with a rude folding bed, which, during the day, was closed and fastened against the wall. From the tiny window nothing could be seen but a strip of sky.
Of the entire term of his imprisonment this was the dreariest period. He would sit immovable for hours with his legs crossed and his hands clasped about his knee—thinking; but strangely enough he never either lost hope or rebelled against his fate. He was persuaded that what he was enduring was in expiation of that mortal sin, as he regarded it, of having lived with a woman to whom he had not been married by religious ceremony, and he felt an absolute certainty that, this sin atoned for, his innocence would some day be established and he would be set free. At the same time, although he did not despair, he suffered acutely, and passed the days, hours, minutes in a state of nervous expectation of some change that never came, and a prey to a devouring homesickness. Thus day by day, hour by hour, moment by moment, he lived in his thoughts close to Giovanna and the child, recalling with minute precision every little unimportant detail of the cottage life, his past existence, and the happiness that had once been his. In addition, moreover, to his own misery, he suffered at the thought of what Giovanna was enduring: now and again an access of passionate tenderness, having her far more than the child for its object, would seize him and arouse him from his usual state of pensive melancholy; then, leaping to his feet, he would stride back and forth—two, or at most three, steps bringing him to the opposite wall, where he would presently stop, and, throwing himself against it, would beat his head as though trying to dash out his brains. These were his moments of utmost desperation.
Hope always returned, however, and then he would begin to weave fantastic dreams of an immediate and romantic restoration to freedom, and the guard never entered his cell that his heart did not begin to beat violently, fancying that he was the bearer of some joyful tidings.
Sometimes he played morra with himself, and he cared so much whether he lost or won that he would laugh aloud like a child. At other times he would sit for hours looking at his outstretched palm, imagining that it was a plain divided into tancas, with walls, rivers, trees, herds of cattle, and shepherds; and weaving stories about them all, full of exciting adventures. And sometimes he prayed, counting on his fingers, and repeating the lauds aloud, trying even to improvise new verses. In this way it came about that he actually did compose a laud of four strophes, dedicated to St. Costantino, in which the saint’s aid was particularly invoked in behalf of all prisoners wrongfully condemned. The refrain ran:
“Saint Costantino, we implore thee
For thy condemned innocent!”
The composing of this laud completely occupied him for many days, and made him, for the time being, almost happy. When it was finished he was wild with joy, but instantly an overpowering desire to tell someone about it seized him; whom was there, though, to tell? The guard was a little Neapolitan; bald, clean-shaven, with a flat, snub nose like that of a skeleton; he talked to him sometimes, but he was not sufficiently intelligent to understand the laud; then there were the other prisoners whom he saw during the exercise hour, but to them he was not allowed to speak; finally he bethought him of the chaplain, and asked to confess in order that he might have the opportunity to repeat the laud to him. The chaplain was a Northerner, a young man, tall and lean, with quick, nervous movements, and great flashing black eyes filled with intelligence. He listened patiently while Costantino repeated his laud, and then enquired if he did not think that, in asking to confess for the purpose of reciting it, he had been guilty of the sin of vanity.
Costantino reddened and said “No,” whereupon the confessor smiled indulgently, reassured him, praised his verses, and sent him off in a state of beatification.
A few days later the prisoner again asked to confess. “Well, have you written another laud?” asked the chaplain.
“No,” said the other, looking down, “but I want to ask a favour.”
“What is it? Let us hear.”
Costantino held his breath a moment, frightened at his own temerity; then he said quickly: “Well, this is it: I want to send the laud home!”
“Ah!” said the chaplain, “I can’t do that; how could you write it, anyhow?”
“Oh, I know how to write!” exclaimed the prisoner, raising his clear eyes to the other’s face.
“Yes; but the trouble is, my brother, that you are not allowed to write.”
“Oh, I can manage that!”
“Well, well, but I can’t; I can’t do it.”
Costantino looked extremely
