THE MOTHER

by GRAZIA DELEDDA Translated from the Italian by MARY G. STEEGMANN GROSSET & DUNLAP, Publishers by arrangement with THE MACMILLAN COMPANY

PRINTED IN THE UNITED STATES OF AMERICA Copyright, 1923, By THE MACMILLAN COMPANY Set up and electrotyped. Published November, 1923. Reprinted August, 1928. Reprinted October, 1928.

[Contents]

Translator’s Note · Preface · Chapter I · Chapter II · Chapter III · Chapter IV · Chapter V · Chapter VI · Chapter VII · Chapter VIII · Chapter IX · Chapter X · Chapter XI · Chapter XII · Chapter XIII · Chapter XIV

[v]

TRANSLATOR’S NOTE

The Mother⁠[1] is an unusual book, both in its story and its setting in a remote Sardinian hill village, half civilized and superstitious. But the chief interest lies in the psychological study of the two chief characters, and the action of the story takes place so rapidly (all within the space of two days) and the actual drama is so interwoven with the mental conflict, and all so forced by circumstances, that it is almost Greek in its simple and inevitable tragedy.

The book is written without offence to any creed or opinions, and touches on no questions of either doctrine or Church government. It is just a human problem, the result of primitive human nature against man-made laws it cannot understand.

[1] Translated from the Italian novel La Madre.

[vii]

PREFACE

Novelists who have laid the scenes of their stories almost invariably in one certain country or district, or amongst one certain class of people, or who have dealt with one special topic or interest, are apt to be called monotonous by a public which merely reads to kill time or is always craving for new sensations in its literature. But to another and more serious class of reader this very fidelity to scene and steadfastness of outlook is one of the principal incentives to take up each fresh work of such writers, for it is safe to assume that they are writing about what they really know and understand and their work may be expected to deepen and develop with each succeeding book.

Amongst such writers Grazia Deledda takes high rank. One of the foremost women novelists of Italy, if not the very first, she has been writing for some five and twenty years, and though almost always utilizing the same setting [viii]for her novels, each succeeding one has shown a different leading idea, a new variation upon the eternal theme of more or less primitive human nature.

Madame Deledda is a Sardinian by birth and parentage. She was born at Nuoro, the little inland town that figures so often in her books, and there she spent her first youth amongst the shepherds and peasants and small landed proprietors such as live again in her pages. On her marriage to a young Lombard she left Sardinia and went with her husband to Rome, where she still lives and works, with the steadfast aim of yet further perfecting herself in her art.

As may be expected, the action of her numerous novels takes place principally in her native island of Sardinia, with its wild and rugged background of mountain, rock, and wide tracts of thicket and shrub. The people of Sardinia, chiefly shepherds, agriculturists, and fishermen, differ considerably from those of the mainland, and a graver and less vivacious demeanour than most other Italians, a strict sense of honour, and hospitality regarded [ix]as an actual duty, makes them more resemble the ancient Spanish race with which indeed they are probably distantly akin.

The life of the poorer islanders is usually one of great privation, and ceaseless hard work is required to win a subsistence from the soil in the mountain uplands, exposed alternately to the scorching summer sun and the fierce gales and icy winds of winter. The native dress is still worn, though the fashion is dying out, and the old traditional superstitions and half pagan beliefs in witchcraft and the evil eye survive side by side with a profound and simple religious faith, a combination only possible in the islands, as in the remoter parts of the mainland, where the people never go far from their native districts and seldom come in contact with outside influences.

Nowhere, perhaps, has Grazia Deledda better portrayed this mingling of inbred superstition with Church-directed religion than in The Mother. Here the scene is laid in the remote and only half civilized hill village of Aar, and while the action of the story is dramatic and swift (it takes place all within the space [x]of two days), the chief interest lies in the psychological study of the two principal characters, and the actual drama is so interwoven with the mental conflict, so developed by outward circumstances, that it is almost Greek in its simple and inevitable tragedy.

We meet here many of the inhabitants of the mountain district; the old hunter who has turned solitary through dread of men, the domineering keeper and his dog, the wholly delightful boy sacristan and his friends. But the figures in whom the interest centres are, first and foremost, the mother of the young parish priest of Aar (hence the title “La Madre” in the original Italian), Paul, the priest himself, and Agnes, the lonely woman who wrecks the lives of both mother and son.

The love story of Paul is doubtless common enough. As is generally the case, especially with priests promoted from the humbler ranks of life, he made his vows whilst still too young to understand all that he was professing and renouncing. He had been taught that divine love was all-sufficing, to the exclusion of any other kind, and when human love overtook [xi]him he was too inexperienced and too weak to have any chance in the struggle for victory—and he desperately trusted to the hazard of events to save him when his own self-deception and cowardice had failed—when confronted with the greater strength and moral honesty of the woman.

It is the fine and consistently drawn character of Maria Maddalena, however, that claims the reader’s whole sympathy. Poor, ignorant, able neither to read nor write, she has brought up her boy by her own hard work and has achieved the peasant’s ambition of seeing him admitted to the priesthood and given charge of a parish. For a time all goes well, until the inevitable woman appears on the scene, and then suddenly she finds her son gone beyond her reach and exposed to perils she dare not contemplate. In her unquestioning acceptance of the Church’s laws her simple mind is only filled with terror lest Paul should break those laws. But while she is inexorable with the priest her heart yearns over the young man, tender with his grief, and, spurred on by a phantom, a dream, her love and her intelligence [xii]begin for the first time to regret the natural happiness he is denied and to question the Church’s right to impose such a denial. And at last the struggle and the suspense grow more than she can bear and live.

It should be stated emphatically that the book is written without the least offence to any creed or opinion whatsoever, and touches on no question of either doctrine or Church government. It is just a human problem, the revolt of primitive human nature in distress against man-made laws it suffers from and cannot understand.

M. G. S.

[1]

CHAPTER I

To-night again Paul was preparing to go out, it seemed.

From her room adjoining his the mother could hear him moving about furtively, perhaps waiting to go out until she should have extinguished her light and got into bed.

She put out her light, but she did not get into bed.

Seated close against the door, she clasped her hands tightly together, those work-worn hands of a servant, pressing the thumbs one upon the other to give herself courage; but every moment her uneasiness increased and overcame her obstinate hope that her son would sit down quietly, as he used to do, and begin to read, or else go to bed. For a few minutes, indeed, the young priest’s cautious steps were silent. She felt herself all alone. Outside, the noise [2]of the wind mingled with the murmuring of the trees which grew on the ridge of high ground behind the little presbytery; not a high wind, but incessant, monotonous, that sounded as though it were enveloping the house in some creaking, invisible band, ever closer and closer, trying to uproot it from its foundations and drag it to the ground.

The mother had already closed the house door and barricaded it with two crossed bars, in order to prevent the devil, who on windy nights roams abroad in search of souls, from penetrating into the house. As a matter of fact, however, she put little faith in such things. And now she reflected with bitterness, and a vague contempt of herself, that the evil spirit was already inside the little presbytery, that it drank from her Paul’s cup and hovered about the mirror he had hung on the wall near his window.

Just then she heard Paul moving about again. Perhaps he was actually standing in front of the mirror, although that was forbidden to priests. But what had Paul not allowed himself for some considerable time now?

[3]

The mother remembered that lately she had several times come upon him gazing at himself in the glass like any woman, cleaning and polishing his nails, or brushing his hair, which he had left to grow long and then turned back over his head, as though trying to conceal the holy mark of the tonsure. And then he made use of perfumes, he brushed his teeth with scented powder, and even combed out his eyebrows.

She seemed to see him now as plainly as though the dividing wall did not exist, a black figure against the white background of his room; a tall, thin figure, almost too tall, going to and fro with the heedless steps of a boy, often stumbling and slipping about, but always holding himself erect. His head was a little too large for the thin neck, his face pale and overshadowed by the prominent forehead that seemed to force the brows to frown and the long eyes to droop with the burden of it. But the powerful jaw, the wide, full mouth and the resolute chin seemed in their turn to revolt with scorn against this oppression, yet not be able to throw it off.

[4]

But now he halted before the mirror and his whole face lighted up, the eyelids opened to the full and the pupils of his clear brown eyes shone like diamonds.

Actually, in the depths of her maternal heart, his mother delighted to see him so handsome and strong, and then the sound of his furtive steps moving about again recalled her sharply to her anxiety.

He was going out, there could be no more doubt about that. He opened the door of his room and stood still again. Perhaps he, too, was listening to the sounds without, but there was nothing to be heard save the encircling wind beating ever against the house.

The mother made an effort to rise from her chair, to cry out “My son, Paul, child of God, stay here!” but a power stronger than her own will kept her down. Her knees trembled as though trying to rebel against that infernal power; her knees trembled, but her feet refused to move, and it was as though two compelling hands were holding her down upon her seat.

Thus Paul could steal noiselessly downstairs, [5]open the door and go out, and the wind seemed to engulf him and bear him away in a flash.

Only then was she able to rise and light her lamp again. But even this was only achieved with difficulty, because, instead of igniting, the matches left long violet streaks on the wall wherever she struck them. But at last the little brass lamp threw a dim radiance over the small room, bare and poor as that of a servant, and she opened the door and stood there, listening. She was still trembling, yet she moved stiffly and woodenly, and with her large head and her short, broad figure clothed in rusty black she looked as though she had been hewn with an axe, all of a piece, from the trunk of an oak.

From her threshold she looked down the slate stairs descending steeply between whitewashed walls, at the bottom of which the door shook upon its hinges with the violence of the wind. And when she saw the two bars which Paul had unfastened and left leaning against the wall she was filled with sudden wild anger.

[6]

Ah no, she must defeat the devil. Then she placed her light on the floor at the top of the stairs, descended and went out, too.

The wind seized hold of her roughly, blowing out her skirts and the handkerchief over her head, as though it were trying to force her back into the house. But she knotted the handkerchief tightly under her chin and pressed forward with bent head, as though butting aside all obstacles in her path. She felt her way past the front of the presbytery, along the wall of the kitchen garden and past the front of the church, but at the corner of the church she paused. Paul had turned there, and swiftly, like some great black bird, his cloak flapping round him, he had almost flown across the field that extended in front of an old house built close against the ridge of land that shut in the horizon above the village.

The uncertain light, now blue, now yellow, as the moon’s face shone clear or was traversed by big clouds, illumined the long grass of the field, the little raised piazza in front of the church and presbytery, and the two lines of cottages on either side of the steep road, [7]which wound on and downwards till it lost itself amidst the trees in the valley. And in the centre of the valley, like another grey and winding road, was the river that flowed on and in its turn lost itself amidst the rivers and roads of the fantastic landscape that the wind-driven clouds alternately revealed and concealed on that distant horizon that lay beyond the valley’s edge.

In the village itself not a light was to be seen, nor even a thread of smoke. They were all asleep by now in the poverty-stricken cottages, which clung to the grassy hill-side like two rows of sheep, whilst the church with its slender tower, itself protected by the ridge of land behind it, might well represent the shepherd leaning upon his staff.

The elder trees which grew along the parapet of the piazza before the church were bending and tossing furiously in the wind, black and shapeless monsters in the gloom, and in answer to their rustling cry came the lament of the poplars and reeds in the valley. And in all this dolour of the night, the moaning wind and the moon drowning midst the angry clouds, was [8]merged the sorrow of the mother seeking for her son.

Until that moment she had tried to deceive herself with the hope that she would see him going before her down into the village to visit some sick parishioner, but instead, she beheld him running as though spurred on by the devil towards the old house under the ridge.

And in that old house under the ridge there was no one save a woman, young, healthy and alone....

Instead of approaching the principal entrance like an ordinary visitor, he went straight to the little door in the orchard wall, and immediately it opened and closed again behind him like a black mouth that had swallowed him up.

Then she too ran across the meadow, treading in the path his feet had made in the long grass; straight to the little door she ran, and she put her open hands against it, pushing with all her strength. But the little door remained closed, it even seemed to repulse her by an active power of its own, and the woman felt she must strike it and cry aloud. She looked at the wall and touched it as though to test its solidity, [9]and at last in despair she bent her head and listened intently. But nothing could be heard save the creaking and rustling of the trees inside the orchard, friends and accomplices of their mistress, trying to cover with their own noises all other sounds there within.

But the mother would not be beaten, she must hear and know—or rather, since in her inmost soul she already knew the truth, she wanted some excuse for still deceiving herself.

Careless now whether she were seen or not, she walked the whole length of the orchard wall, past the front of the house, and beyond it as far as the big gate of the courtyard; and as she went she touched the stones as though seeking one that would give way and leave a hole whereby she might enter in. But everything was solid, compact, fast shut—the big entrance gate, the hall door, the barred windows were like the openings in a fortress.

At that moment the moon emerged from behind the clouds and shone out clear in a lake of blue, illuminating the reddish frontage of the house, which was partly overshadowed by the deep eaves of the overhanging grass-grown [10]roof; the inside shutters of the windows were closed and the panes of glass shone like greenish mirrors, reflecting the drifting clouds and the patches of blue sky and the tossing branches of the trees upon the ridge.

Then she turned back, striking her head against the iron rings let into the wall for tethering horses. Again she halted in front of the chief entrance, and before that big door with its three granite steps, its Gothic porch and iron gate, she felt suddenly humiliated, powerless to succeed, smaller even than when, as a little girl, she had loitered near with other poor children of the village, waiting till the master of the house should come out and fling them a few pence.

It had happened sometimes in those far-off days that the door had been left wide open and had afforded a view into a dark entrance hall, paved with stone and furnished with stone seats. The children had shouted at this and thrust themselves forward even to the threshold, their voices re-echoing in the interior of the house as in a cave. Then a servant had appeared to drive them away.

[11]

“What! You here, too, Maria Maddalena! Aren’t you ashamed to go running about with those boys, a great girl like you?”

And she, the girl, had shrunk back abashed, but nevertheless she had turned to stare curiously at the mysterious inside of the house. And just so did she shrink back now and move away, wringing her hands in despair and staring again at the little door which had swallowed up her Paul like a trap. But as she retraced her steps and walked homeward again she began to regret that she had not shouted, that she had not thrown stones at the door and compelled those inside to open it and let her try to rescue her son. She repented her weakness, stood still, irresolute, turned back, then homewards again, drawn this way and that by her tormenting anxiety, uncertain what to do: until at last the instinct of self-preservation, the need of collecting her thoughts and concentrating her strength for the decisive battle, drove her home as a wounded animal takes refuge in its lair.

The instant she got inside the presbytery she shut the door and sat down heavily on the bottom stair. From the top of the staircase [12]came the dim flickering light of the lamp, and everything within the little house, up to now as steady and quiet as a nest built in some crevice of the rocks, seemed to swing from side to side: the rock was shaken to its foundations and the nest was falling to the ground.

Outside the wind moaned and whistled more loudly still; the devil was destroying the presbytery, the church, the whole world of Christians.

“Oh Lord, oh Lord!” wailed the mother, and her voice sounded like the voice of some other woman speaking.

Then she looked at her own shadow on the staircase wall and nodded to it. Truly, she felt that she was not alone, and she began to talk as though another person were there with her, listening and replying.

“What can I do to save him?”

“Wait here till he comes in, and then speak to him plainly and firmly whilst you are still in time, Maria Maddalena.”