by Umberto Eco
"His brother must have told him."
"No, his brother learned everything from us only that evening, and afterwards he was never out of someone's sight, until the ship set sail. No, no, this man knows too many things he should not know."
"What shall we do with him?"
"Interesting question, Colbert. If he is Roberto, he knows what he has seen on that ship and he must speak. If he is not, we must absolutely discover where he obtained his information. In either case, excluding the very thought of haling him before a judge, where he would say too much and in the presence of too many people, we cannot simply make him disappear with a few inches of steel in his back: he still has much to tell us. If he is not Roberto but, as he says, Ferrand or Fernand..."
"Ferrante, I believe."
"No matter. If he is not Roberto, who is behind him? Not even the Bastille is a secure place. People are known to have sent messages from there and received them. We must wait till he speaks, and find the way to open his mouth, but in the meantime we should shut him up somewhere unknown to all, and make sure no one finds out who he is."
And it was at this point that Colbert had a darkly luminous idea.
A few days before, a French vessel had captured a pirate ship off the coast of Brittany. It was, by strange coincidence, a Dutch fluyt with the name, naturally unpronounceable, of Tweede Daphne, that is to say, Daphne the Second, a sign—Mazarin remarked—that somewhere there must be a Daphne the First, which showed how those Protestants lacked not only faith but also imagination. The crew was made up of people of every race. The only thing to do was hang them all, but it was worth investigating whether or not they were in the hire of England and from whom they had seized the ship, which might then be advantageously bartered with its legitimate owners.
So it was decided to moor the ship not far from the Seine estuary, in a little half-hidden bay that escaped the notice even of the pilgrims for Santiago who, coming from Flanders, passed a short distance away. On a tongue of land that enclosed the bay there was an old fortress which had once served as a prison but was now more or less abandoned. And there the pirates were cast into dungeons, guarded by only three men.
"Enough," Mazarin said. "Take ten of my guards, put them under the command of a good captain not without prudence...."
"Biscarat. He has always done things well, from the days when he duelled with the musketeers over the Cardinal's honor...."
"Perfect. Have the prisoner taken to the fort and put him in the guard room. Biscarat will eat his meals with the prisoner in that room and accompany him if he is taken out for air. A guard at the door of the room also, at night. Time in confinement weakens even the most stubborn spirit; our obstinate spy will have only Biscarat to speak to, and he may let some confidence slip. And, above all, no one must recognize him, either during the trip or at the fort...."
"If he goes out for air..."
"Come, Colbert ... where's your inventive spirit? Cover his face."
"Might I suggest ... an iron mask closed with a lock, the key thrown into the sea?"
"Come now, Colbert, are we in the Land of Romances? Last night we saw those Italian players wearing leather masks with long noses that alter their features yet leave the mouth free. Find one of those, put it on him in such a way that he cannot remove it, and give him a mirror in his cell, so he can die of shame day by day. He chose to mask himself as his brother, did he not? Then let him be masked as Polichinelle! And remember: from here to the fort, a closed carriage, stopping only at night and in open country, no showing himself at the post-stations. If anyone asks questions, a lady high degree is being escorted to the frontier, a conspirator against the Cardinal."
Ferrante, embarrassed by his burlesque disguise, now had been staring for days (through a grating that allowed scant light into his room) at a gray amphitheater surrounded by bleak dunes, with the Tweede Daphne riding at anchor in the bay.
He controlled himself when he was in Biscarat's presence, letting the captain believe sometimes he was Roberto, sometimes Ferrante, so that the reports sent to Mazarin were always puzzling. He managed to overhear, in passing, some conversation among the guards, and had learned that in the dungeons of the fort a band of pirates lay in chains.
Wanting to take revenge on Roberto for a wrong he had not inflicted, Ferrante racked his brain for a way to encourage a revolt, to free those rogues, seize the ship, and set out on Roberto's trail. He knew where to begin: in Amsterdam he would find spies who could tell him something of the destination of the Amaryllis. He would overtake it, would discover Roberto's secret, rid himself of that tedious double in the sea, and then he would be able to sell something to the Cardinal at a high price.
Or perhaps not. Once he discovered the secret, he might decide to sell it to others. But why sell it, indeed? For all he knew, Roberto's secret could involve the map of a treasure island, or else the secret of the Alumbrados and the Rosy-Cross, of which people had been talking for twenty years. He would exploit the revelation to his own advantage, would no longer have to spy for a master, would have spies in his own service. Wealth and power gained, not only would he possess the ancient name of his family, but the Lady would be his as well.
To be sure, Ferrante, steeped in rancor, was not capable of true love, but—Roberto told himself—there are people who would never have fallen in love if they had not heard love talked about. Perhaps, in his cell, Ferrante finds a love story, reads it, and convinces himself he is in love as a way of feeling himself elsewhere.
Perhaps She, in the course of that first encounter, gave Ferrante her comb as a pledge of love. Now Ferrante is kissing it, and as he kisses it, he is wrecked, oblivious, in the gulf whose waves the ivory prow had fended.
Perhaps—who knows?—even such a scoundrel could succumb to the memory of that face.... Roberto now saw Ferrante seated in the darkness at the mirror that reflected only the candle set before it. Contemplating two little flames, one aping the other, the eye stares, the mind is infatuated, visions rise. Shifting his head slightly, Ferrante sees Lilia, her face of virgin wax, so bathed in light that it absorbs every other ray and causes her blond hair to flow like a dark mass wound in a spindle behind her back, her bosom just visible beneath a delicate dress, its neck cut low....
Then Ferrante (at last! Roberto exulted) sought to gain too much from the vanity of a dream, and set himself, insatiable, before the mirror, and saw behind the reflected candle only the disfiguring black snout.
An animal unable to bear the loss of an undeserved gift, he resumed touching her comb; but now, in the smoking of the candle-end, that object (which for Roberto would have been the most adorable of relics) seemed to Ferrante a toothy mouth ready to bite his dejection.
CHAPTER 32
A Garden of Delights
AT THE IDEA of Ferrante shut up on that island looking at a Tweede Daphne he would never reach, separated from the Lady, Roberto felt, and we must allow it, a reprehensible but comprehensible satisfaction, not unconnected with a certain satisfaction as narrator, since—with fine antimetabole—he had managed to seal up also his adversary in a siege spectacularly dissimilar to his own.
You from that island of yours, with your leather mask, will never reach the ship. I, on the contrary, from my ship, with my mask of glass, am now on the verge of reaching my Island. Thus he spoke (to him, to himself) as he prepared to attempt once more his journey by water.
He remembered the distance from the ship to the point where he had been wounded, and therefore he swam calmly at first, the mask at his belt. When he believed he was drawing close to the reef, he slipped on the mask and sank to explore the sea bed.
For a while he saw only patches; then, like a seaman on a ship in a foggy night, approaching a cliff, which suddenly looms, sheer, before his eyes, he saw the rim of the chasm over which he was swimming.
He took off the mask, emptied it, replaced it, holding it with his hand, and with a slow kicking motion he headed for the spectacle he had just glimpsed.
>
So this was coral. His first impression, to judge by his later notes, was confused, dazed. It was an impression of being in the shop of a merchant of stuffs who draped before his eyes sendals and taffetas, brocades, satins, damasks, velvets, and bows, fringes and furbelows, and then stoles, pluvials, chasubles, dalmatics. But the stuffs moved with a life of their own, sensual as Oriental dancing-maids.
In that landscape—which Roberto does not describe because, seeing it for the first time, he cannot find in his memory images capable of translating it into words—now suddenly a host of creatures erupted and these, indeed, he recognized, or at least could compare to others previously seen. They were fish, intersecting like shooting stars in an August sky, but in composing and distributing the hues and patterns of their scales, Nature must have wanted to demonstrate the variety of accents that exists in the Universe and how many can be placed together on a single surface.
Some were striped in several colors, lengthwise or breadthwise, some had slanting lines and others had curving lines. Some seemed worked like intarsia with crumbs of spots brilliantly deployed, some were speckled or dotted, others patched, spattered, or minutely stippled, or veined like marble.
Still others had a serpentine design, or a pattern like several interwoven chains. Some were spotted with enamels, sown with shields and rosettes. And one, beautiful above the rest, seemed circled with cordons forming two rows of grapes and milk; and it was miraculous that not once did the row that enfolded the belly fail to continue on the flank, as if it were the work of an artist's hand.
Only at that moment, seeing against the background of fish the coralline forms he had not been able to recognize at first, could Roberto make out bunches of bananas, baskets of bread rolls, corbeilles of bronze loquats over which canaries and geckos and hummingbirds were hovering.
He was above a garden, no, he was mistaken, now it seemed a petrified forest, and at the next moment there were mounds, folds, shores, gaps and grottoes, a single slope of living stones on which a vegetation not of this earth was composed in squat forms, or round, or scaly, that seemed to wear a granulated coat of mail, or else gnarled, or else coiled. But, different as they were, they were all stupendous in their grace and loveliness, to such a degree that even those worked with feigned negligence, roughly shaped, displayed their roughness with majesty: they were monsters, true, but monsters of beauty.
Or else (Roberto crosses out and revises, and is unable to report, like someone who must describe for the first time a squared circle, a coastal plain, a noisy silence, a nocturnal rainbow) what he was seeing were shrubs of cinnabar.
Perhaps, holding his breath so long, he had grown befuddled, and the water entering his mask blurred shapes and hues. He thrust his head up to let air into his lungs, and resumed floating along the edge of the barrier, following its rifts and anfracts, past corridors of chalk in which vinous harlequins were stuck, while on a promontory he saw reposing, stirred by slow respiration and a waving of claws, a lobster crested with whey over a coral net (this coral looked like the coral he knew, but was spread out like the legendary cheese of Fra Stefano, which never ends).
What he saw now was not a fish, nor was it a leaf; certainly it was a living thing, like two broad slices of whitish matter edged in crimson and with a feather fan; and where you would have expected eyes there were two horns of whipped sealing-wax.
Cypress-polyps, which in their vermicular writhing revealed the rosy color of a great central lip, stroked plantations of albino phalli with amaranth glandes; pink minnows dotted with olive grazed ashen cauliflowers sprayed with scarlet, striped tubers of blackening copper ... And then he could see the porous, saffron liver of a great animal, or else an artificial fire of mercury arabesques, wisps of thorns dripping sanguine and finally a kind of chalice of flaccid mother-of-pearl...
That chalice then looked to him like an urn, and he thought that among those rocks was inhumed Father Caspar's corpse. No longer visible, if the action of the water had covered it with coralline cartilage; but the corals, absorbing the terrestrial humors of that body, had assumed shapes of flowers and garden fruits. Perhaps in a little while he would recognize the poor old man transformed into an alien creature down here: the globe of the head made from a hairy coconut, two withered apples for the cheeks, eyes and eyelids turned into two unripe apricots, the nose of sow thistle knotty like an animal's dung; below, in place of lips, dried figs, a beet with its apiculate stalk for the chin, and a wrinkled cardoon functioning as the throat; and at both temples, two chestnut burrs to act as side-curls, and for ears the halves of a split walnut; for fingers, carrots; a watermelon as belly; quinces, the knees.
How could Roberto dress such funereal thoughts in such a grotesque form? No, in quite different form the remains of his poor friend would have proclaimed in this place their fateful Et in Arcadia ego....
There, perhaps in the form of that gravelly coral skull ... that double of a stone that seemed already uprooted from its bed. Whether out of piety, in memory of his lost master, or to rob from the sea at least one of its treasures, he grasped it and, having seen too much for that day, clutched this booty to his bosom and returned to the ship.
CHAPTER 33
Mundus Subterraneus
THE CORAL HAD challenged Roberto. After discovering the extent of Nature's capacity for invention, he felt bidden to a contest. Could he leave Ferrante in that prison, leave his own story only half-finished? Assuage his bitterness towards his rival and mortify his storyteller's pride? No. But what could he make happen to Ferrante?
The idea came to Roberto one morning when, as usual, he had placed himself in ambush, at dawn, to catch the Orange Dove unawares. Early in the morning the sun struck his eyes, and Roberto had even tried to construct around the larger lens of his spyglass a kind of shield, using a page from the ship's log, but at certain moments he was reduced to seeing only glints. When the sun finally did appear on the horizon, the sea mirrored it, doubling its every ray.
But that morning, Roberto was convinced he had seen something rise from the trees towards the sun, then melt into its luminous sphere. Probably it was an illusion. Any bird in that light would have seemed to glitter.... Roberto was convinced he had seen the Dove, and yet was disappointed at having lied to himself. In this contradictory mood he felt once again defrauded.
For a creature like Roberto, who by now had reached the point where he jealously enjoyed only what was stolen from him, it took little to dream that Ferrante had been given what to him was denied. But since Roberto was the author of this story and unwilling to grant Ferrante too much, he decided that the wretch would deal only with the other dove, the blue-green one. And this was because Roberto had decided, though without any certitude, that of the couple the orange must be the female, as if to say She. Since in the story of Ferrante the dove was not to represent the conclusion but, rather, the agent of possession, for the present the male fell to him.
Could a blue-green dove, which flies only over the South Seas, go and light on the sill of that window where Ferrante was pining for his freedom? Yes, in the Land of Romances. And anyway, could not the Tweede Daphne have returned only recently from these seas, more fortunate than her older sister, bearing in the hold this bird, now set free?
In any case, Ferrante, ignorant of the Antipodes, could not ask himself such questions. He saw the dove, first fed it a few bread crumbs merely to pass the time, then he wondered if it could not be used to further his own purposes. He knew that doves sometimes served to carry messages: of course, entrusting a message to that animal did not mean it would necessarily reach its destination, but in this total ennui the effort was worth making.
To whom could he appeal for help, he who out of enmity towards all, himself included, had made only enemies, and the few people who had served him were shameless, prepared to follow him only in good fortune and surely not in disaster? He said to himself: I will ask help of the Lady, who loves me (But how can he be so sure? the envious Roberto wondered,
after he invented that self-confidence).
Biscarat had left him writing materials, in the possibility that the night would bring counsel and persuade him to send a confession to the Cardinal. So on one side of the paper Ferrante wrote the address of the Lady, adding that whoever delivered the message would receive a reward. On the other side he wrote where he lay (he had heard a name spoken by his warders), victim of an infamous plot of the Cardinal, and he begged to be rescued. Then he rolled up the paper and tied it to the leg of the bird, urging it to fly off.
To tell the truth, he then forgot, or almost forgot, this action. How could he think that the azure dove would actually fly to Lilia? Such things happened only in fairy tales, and Ferrante was not a man to trust in tales. Probably the dove was shot by a hunter, to plunge among a tree's boughs, losing the message....
Ferrante did not know that the bird instead was caught in the snare of a peasant, who thought to profit from what, judging by appearances, was a signal sent to someone, perhaps to the commander of an army.
Now this peasant took the message to be examined by the one person in his village who knew how to read, namely, the curate, who then organized everything properly. Having identified the Lady, he sent a friend to her to negotiate the delivery, deriving from it a generous offering for his church and a reward for the peasant. Lilia read, wept, sought out trusted friends for advice. Try to touch the Cardinal's heart? Nothing easier for a beautiful woman of the court, but this woman frequented the salon of Arthénice, whom Mazarin distrusted. Satirical verses about the new minister were already circulating, and some said they came from those rooms. A précieuse who went to the Cardinal to implore mercy for a friend would be sentencing that friend to sterner punishment.