The Island of the Day Before

by Umberto Eco

  And finally, Roberto continued to argue, mine is the tale of love for a woman: now, only stories, and surely not History, deal with questions of Love, and only stories (never History) are concerned with explaining the thoughts and feelings of those daughters of Eve who from the days of the Earthly Paradise to the Inferno of the Courts of our time have always so influenced the events of our species.

  All reasonable arguments when considered individually, but not when taken together. In fact, there is a difference between a man who writes a story and one who suffers jealousy. A jealous man enjoys picturing what he wishes would not happen—but at the same time he refuses to believe that it can happen—whereas a storyteller resorts to every artifice to see not only that the reader enjoys imagining what has not happened but also that at a certain point he forgets that he is reading and believes it really did happen. It is a source of the most intense suffering for a jealous man to read a story written by another, because whatever is said seems to refer to his personal story. So imagine a jealous man who pretends to invent the story that is his own. Is it not said of the jealous that they give body to shadows? So, however shadowy the creatures of a romance may be, as the Romance is a full brother to History, those shadows appear too corporeal to the jealous man, and even more so if they are his own.

  On the other hand, for all their virtues, romances have their defects, which Roberto should have known. As medicine teaches also about poisons, metaphysics disturbs with inopportune subtleties the dogmata of religion, ethics recommends magnificence (which is not of help to everyone), astrology fosters superstition, optics deceives, music rouses lust, geometry encourages unjust dominion, and mathematics avarice—so the Art of the Romance, though warning us that it is providing fictions, opens a door into the Palace of Absurdity, and when we have lightly stepped inside, slams it shut behind us.

  But it is not in our power to keep Roberto from taking this step, since we know for sure that he took it.

  CHAPTER 29

  The Soul of Ferrante

  AT WHAT POINT should he take up the story of Ferrante? Roberto considered it best to begin from that day when Ferrante, having betrayed the French, on whose side he was pretending to fight at Casale, passing himself off as Captain Gambero, sought refuge in the Spanish camp.

  Perhaps he was received with enthusiasm there by some great gentleman who had promised to take him, at the war's end, to Madrid. And in that city Ferrante's rise began, at the outer edge of the Spanish court, where he learned that the virtue of sovereigns is their caprice, and Power is an insatiable monster, to be served with slavish devotion in order to snatch every crumb falling from that table. Ferrante was able to make a slow and rough ascent—first as henchman, assassin, and confidant, then as a bogus gentleman.

  He could not help but be of lively intelligence, even when constrained to villainy, and in that environment he immediately learned how to behave. He therefore heard (or guessed) those principles of courtesan education in which Senor de Salazar had tried to catechize Roberto.

  Ferrante cultivated his own mediocrity (the baseness of his bastard origins), not fearing to be eminent in mediocre things, so as to avoid one day being mediocre in eminent things.

  He understood that when you cannot wear the skin of the lion, you wear that of the fox, for after the Flood more foxes were saved than lions. Every creature has its own wisdom, and from the fox he learned that playing openly achieves neither the useful nor the pleasurable.

  If he was invited to spread a slander among the domestics so that gradually it would reach the ears of their master, and he enjoyed the favors of a chambermaid, he would promptly say that he would plant the lie at the tavern with the coachman; or, if the coachman was his companion in debauchery at the tavern, he would affirm with a smile of complicity that he knew how to win the ear of a certain chambermaid. Ignorant of how he acted or how he would act, his master lost a point to him, for Ferrante knew that the man who does not show his cards leaves his adversary in suspense, and that such mystery inspires respect in others.

  In eliminating his enemies, who at the beginning were pages and grooms, then gentlemen who believed him their peer, he understood that he had to aim obliquely, never directly: wisdom fights with carefully studied subterfuges and never acts in the predictable fashion. If he hinted at a movement, it was only to deceive; if he dextrously sketched a gesture in the air, he then behaved in a manner that contradicted the displayed intention. He never attacked when his adversary was at the peak of his strength (he made a show, instead, of friendship and respect for him), but only at the moment when the man appeared helpless. Ferrante then led him to the precipice with the air of one rushing to his aid.

  He lied often but never pointlessly. He knew that to be believed he had to make everyone see that sometimes he told the truth to his own disadvantage, and kept silent when the truth might win him praise. On the other hand, he tried to gain the reputation of a man sincere with his inferiors, so that their words would reach the ears of the powerful. He became convinced that to simulate with one's equals is a fault, but not to simulate with one's superiors is foolhardiness.

  Still he did not act too frankly, and in any case not always frankly, fearing that others would become aware of his patterns and one day anticipate him. Nor did he exaggerate in his duplicity, lest it be discovered a second time.

  To become wise he trained himself to tolerate the foolish, and he surrounded himself with them. He was not so imprudent as to attribute to them all his errors, but when the stakes were high, he made sure that beside him there was always a straw man (impelled by vain ambition to be seen always in front, while Ferrante remained in the background), whom not Ferrante but others would then hold responsible for any misdeed. In short, he appeared to do everything that could redound to his credit, but arranged for another hand to do whatever might earn him a grudge.

  In displaying his own virtues (which we would better call diabolical talents) he knew that a half displayed and a half barely glimpsed are worth more than a whole openly asserted. At times he made ostentation consist of mute eloquence, in a heedless show of his own excellences, and he had the ability never to reveal all of himself at once.

  As his position gradually rose and he had to measure himself against those of superior station, he became very able in mimicking their gestures and their language, but he did so only before persons of inferior condition whom he had to charm for some illicit end; with his betters he took care to make his ignorance evident, while seeming to admire in them what he already knew.

  He carried out every unsavory mission that his patrons entrusted to him, but only if the evil he did was not of such dimensions as to inspire their revulsion; if they asked of him crimes too great, he refused, first to prevent their thinking he might one day be capable of doing as much to them, and secondly (if the sin cried to Heaven for vengeance) so as not to become the undesired witness of their remorse.

  In public he openly manifested piety, but valued only betrayed loyalty, tarnished virtue, self-love, ingratitude, contempt of the sacred; he cursed God in his heart and believed the world to be the offspring of chance, while he trusted in a fate prepared to shift its own course to favor those who knew how to bend it to their own account.

  To cheer his rare moments of repose, he had commerce only with married prostitutes, incontinent widows, shameless maids. But this always in great moderation, as in his machinations, Ferrante sometimes forewent an immediate reward if he felt attracted by another machination, for his villainy never gave him respite.

  He lived, in short, day by day, like a murderer in motionless ambush behind an arras, where daggers' blades do not glint. He knew that the first rule of success was to await opportunity, but he suffered because opportunity seemed still far off.

  This grim, stubborn ambition deprived him of all inner peace. As he believed Roberto had usurped the place which was his by right, no success could appease him, and the only form that happiness and well-being could assume in the eyes
of his spirit was his brother's misfortune, and the day when he could be its author. Hazy, embattled giants swarmed in his head, for him there was no sea or land or sky that could afford him relief and calm. Everything that had offended him, everything he desired was a source of torment.

  He never laughed if not in the tavern to urge drink on some unwitting accomplice. But in the secret of his room he examined himself every day in the glass, to see if the way he moved revealed his impatience, if his eye looked too insolent, if his head was inclined more than was proper, if it did not betray hesitation, or if the wrinkles, too deep on his brow, did not make him seem envenomed.

  When he interrupted these exercises and, weary, laid aside his masks late in the night, he saw himself as he really was—ah, and then Roberto could not refrain from murmuring some verses he had read a few years earlier:

  In those eyes where sadness dwells and death

  Flaming light flares murky and bold scarlet,

  Sidelong glances and averted eyes are comets;

  The lashes, lamps, wrathful, proud and desperate

  While thunder are the moans; and lightning, breath.

  Inasmuch as no one is perfect, not even in evil, and Ferrante was not totally able to control the excess of his own villainy, he could not avoid making a misstep. Charged by his master to organize the abduction of a chaste maiden of high degree who was betrothed to a noble gentleman, Ferrante began by writing her love letters signed with the name of his employer. Then, when she drew back, he penetrated to her bedchamber, and made her the prey of a violent seduction and ravishment. In a single blow he had deceived her, her betrothed, and the man who had ordered the abduction.

  After the crime was reported, Ferrante's master was found guilty, then killed in a duel with the betrothed; but by this time Ferrante was on his way to France.

  In a moment of good humor, Roberto caused Ferrante to attempt, on a January night, the crossing of the Pyrenees astride a stolen mule, which must have taken the vows of some order of reformist tertiaries, considering the monkish qualities it evinced, being so wise, sober, abstinent, and of upright life, that to emphasize the mortification of the flesh, clearly visible in the boniness of its ribs, it knelt down at every step and kissed the earth.

  The steep mountainsides seemed laden with clotted milk, or plastered over with whitewash. The few trees not completely buried under the snow looked so white that they seemed to have stripped off their bark and were shaking more because of the cold than because of the wind. The sun was locked inside its palace and dared not even peer out on the balcony. And if it did show its face for an instant, it hid its nose in a cowl of clouds.

  The few wayfarers encountered on that path seemed so many Monteoliveto friars in procession singing Lavabis me et super nivem dealbabor.... And Ferrante, seeing himself so white, felt transformed into one dusted by the Divine Baker with the flour of virtue.

  One night, tufts of cotton fell from Heaven, so thick and big that, as someone else once became a pillar of salt, Ferrante suspected he had become a pillar of snow. The owls, bats, grasshoppers, and moths made arabesques around him as if they wanted to catch him. In the end he struck his head against the feet of a hanged man who, swaying from a tree, made of himself a grisaille grotesque.

  But Ferrante—though a Romance must be decked out with pleasant descriptions—could not be a figure in a comedy. He had to head for his goal, imagining to his own measure the Paris he was approaching.

  Whence he yearned: "O Paris, boundless gulf in which whales shrink to dolphins, land of sirens, emporium of vanities, garden of satisfactions, maze of intrigues, Nile of courtiers, and ocean of deception!"

  Here, wishing to invent a passage that no author of novels had yet conceived, to portray the feelings of that greedy youth preparing to conquer the city that was a compendium of Europe's civility, Asia's profusion, Africa's extravagance, and America's riches, where novelty had its realm, deceit its palace, luxury its center, courage its arena, beauty its hemicycle, fashion its cradle, and virtue its grave, Roberto put into Ferrante's mouth an arrogant cry: "Paris, a nous deux!"

  From Gascony to Poitou, beyond the lie de France, Ferrante had occasion to carry out a few bold strokes that allowed him to transfer a modest capital from the pockets of some gulls into his own, and thus he arrived at the capital in the garb of a young gentleman, reserved and pleasant, Signor del Pozzo. Since no news had reached there of his knaveries in Madrid, he presented himself to some Spaniards close to the Queen, who immediately appreciated his ability to render discreet services for a sovereign who, while faithful to her husband and apparently respectful of the Cardinal, maintained relations with the enemy court.

  His reputation as a reliable executant reached the ears of Richelieu, who, a profound scholar of the human spirit, decided that a man without scruples who served the Queen and was notoriously short of money, if offered a richer reward, would serve him, and he began employing Ferrante, so secretly that not even the Cardinal's intimates were aware of that young agent's existence.

  Apart from his long practice in Madrid, Ferrante had the rare gift of learning languages easily and imitating accents. It was not his habit to boast of his talents, but one day when Richelieu received, in his presence, an English spy, Ferrante demonstrated that he could converse with the traitor. Whereupon Richelieu, in one of the most difficult moments in the relations between France and England, sent the youth to London, where he was to pretend he was a Maltese merchant while gathering information about the movement of ships in the ports.

  Now Ferrante had made a part of his dream come true: he was a spy, no longer in the pay of just any gentleman but of a Biblical Leviathan whose arms extended everywhere.

  Espionage (Roberto was shocked and terrified), the most contagious plague of courts, harpy that swoops down on the royal table with rouged face and hooked claws, flying on bat-wings and listening with ears endowed with great tympana, an owl that sees only in the dark, a viper among roses, cockroach on flowers converting into venom the juice it sips at its sweetest, spider of antechambers weaving the strands of its subtle talk to catch every passing fly, parrot with curved beak reporting everything it hears, transforming truth into falsehood and falsehood into truth, chameleon that receives every color and dresses in all save the one that is its true garb. All qualities of which anyone would be ashamed, save the one who by divine (or infernal) decree is born to the service of evil.

  But Ferrante was not content simply to be a spy and have in his power those whose thoughts he reported; he wanted to be, as they said at that time, a double spy, who like the monster of legend could walk in two opposing directions. If the arena where the Powers contend can be a maze of intrigues, who in that maze is the Minotaur who represents the union of both combatant natures? The double spy. If the field on which the battle between Courts is played out can be called an Inferno where in the bed of Ingratitude flows with rapid flood the Phlegethon of oblivion, and where the murky water of Passion boils, who is the three-throated Cerberus who barks after discovering and sniffing those who enter there to be torn apart? The double spy...

  Once arrived in England, while spying for Richelieu, Ferrante decided to enrich himself by also doing the English some service. Wresting information from hirelings and petty functionaries over great mugs of beer in rooms smoky with mutton grease, he introduced himself into ecclesiastical circles as a Spanish priest determined to abandon the Roman Church, whose foul deeds he could bear no longer.

  Music to the ears of the antipapists eager for any opportunity to document the turpitude of the Catholic clergy. And there was no need even for Ferrante to confess what he did not know. The English already had in their hands the anonymous confession, presumed or real, of another priest. Ferrante then confirmed that document, signing it with the name of a coadjutor to the bishop of Madrid, who had once treated him with scorn, for which he swore vengeance.

  When he received from the English the assignment to return to Spain to gather further dec
larations from priests prepared to slander the Holy See, Ferrante encountered in a tavern of the port a Genoese traveler. Gaining his confidence, he soon discovered that the man was actually one Mahmut, a renegade who in the East had embraced the faith of the Mohammedans, but, disguised as a Portuguese merchant, was collecting information about the English navy, while other spies in the hire of the Sublime Porte were doing the same in France.

  Ferrante avowed that he had worked for Turkish agents in Italy and had embraced the same religion, assuming the name of Dgennet Oglou. He immediately sold his new acquaintance his news of movements in the English ports, and was given a sum to take a message to Mahmut's brothers in France. The English ecclesiastics believed he had already set out for Spain, but he was unwilling to reject a chance to earn more from his stay in England. So, getting in touch with men of the Admiralty, he described himself as a Venetian, Messer Scampi (a name he invented, recalling Captain Gambero), who had performed secret duties for the Council of that Republic, with particular reference to the plans of the French merchant marine. Now, banished as a consequence of a duel, he had to seek refuge in a friendly country. To show his good faith, he was able to inform his new masters that France had obtained information on the English ports through Mahmut, a Turkish spy now living in London disguised as a Portuguese.

  In the possession of Mahmut, promptly arrested, notes on the English ports were duly discovered, and thus Ferrante or, rather, Scampi, was judged reliable. Promised a situation in England and blessed with a good initial sum, he was sent to France to join other English agents there.

  On arriving in Paris, he immediately passed on to Richelieu some of the information the English had taken from Mahmut. Then he found the friends whose addresses the Genoese renegade had given him, and he presented himself as Charles de la Bresche, a former monk who had gone over to the service of the crescent and had just arranged in London a plot to cast discredit on the whole breed of Christians. Those agents gave him credence, because they had already learned of a pamphlet in which the Anglican Church had published the malefactions of a Spanish priest—and in Madrid, when the news reached there, they arrested the prelate to whom Ferrante had attributed his treason, and now the man was awaiting death in the dungeons of the Inquisition.