Samson then propounded his riddle: "Out of the eater came forth meat, and out of the strong came forth sweetness."

The golden Highlander winked his eyes, put his fist up to his forehead and meditated anxiously for some time. Then he said--

"Sono confuso."

He wanted to give it up, but the lady would not allow this, and King Pharaoh, taking in the situation, ruled that he must have time; so they all went away except the knight and the lady. Then the poor paladin made the best use of his time and gave his whole attention to the riddle; sometimes he winked his eyes, and sometimes he put his fist up to his head and meditated as hard as ever he could, turning first one way and then the other. But nothing came of it; he only repeated--

"Sono confuso."

The lady continued her encouragement, saying that riddles were seldom easy to guess, that he must not worry too much and the true answer would come into his head, probably while he was thinking of something else; but he only turned away and said again--

"Sono confuso."

The lady did not mind how stupid he was, for she was really in love with him; but she began to perceive that, unless something were done, she might have to marry a man who, though very strong and clever enough to compose a riddle, was unable to wink his eyes, so she undertook to see Samson alone and try to inveigle the answer out of him. The knight, having had some experience of her powers of persuasion, was comforted, discontinued his meditations, dropped his fist, said "Addio," embraced her and left the stage.

Samson now came on and the first thing he did was to put his arm round the lady's neck. She was quite ready for him and put her arm round his.

Thus they stood indulging in a little preliminary fondling till she asked him point-blank to tell her "il mistero dell' oscuro problema." He instantly removed his arm and stood off, exclaiming with great firmness--

"No, no, no, non posso!"

Thereupon she began to go away as though all was over between them. It was a simple ruse, but it deceived the framer of the riddle; he drew her towards him in repentance, put his arm round her neck again and whispered into her ear. She took a moment to consider, and then laughed. It was not the spontaneous laugh of a person overwhelmed by the irresistible humour of a good joke, it could not well have been that, a.s.suming that he had told her the true answer; nor was it the perfunctory laugh of a person pretending to be amused. It was a laugh of heartless mockery.

"Ha, ha, ha!" laughed the lady.

Samson smelt mischief and brought the curtain down with a fine speech, threatening her with his wrath if she should betray him.

The next act pa.s.sed in the same hall of audience; soldiers entered and stood as guards, and then came Pharaoh. He was followed by two obviously comic men, who might have been costermongers or knockabout brothers from a music hall, and one comic woman. The men wore modern shirts and trousers and long-tailed coats, or rather dressing-gowns, that had once been as good as those worn by Pharaoh and his prime minister. Turiddu told me they were Pasquino and Onofrio, and the woman, who seemed to be just an ordinary woman out of the market with an ap.r.o.n, was Colombina.

But the people give Pasquino the pet name of Peppinino and call the woman Rosina. These are the masks of Palermo, whose origin, like that of other Italian masks, is of great antiquity. They grew up to supply a want just as in our own day we have seen Ally Sloper growing up to supply a want of the people of London.

There was a dispute as to which of the two men Rosina was to marry, and the question had been referred to King Pharaoh who decided that it was a case for trial by riddle, and, accordingly, Rosina propounded a riddle which was in four questions; after each question Onofrio turned away his head to meditate, while Rosina, un.o.bserved, whispered the answer into the ear of Pasquino who presently announced it in a loud voice and then danced with Rosina in triumph.

The four questions and answers were--

Q. A man that was no man--A. An eunuch--

Q. Threw a stone that was no stone--A. A pumice-stone--

Q. At a bird that was no bird--A. A bat--

Q. Sitting on a tree that was no tree--A. An elder-tree.

This being a riddle and in dialect and, moreover, dialect spoken in the presence of a king, certainly was, or rather was intended to be, humorous. Nevertheless, King Pharaoh was as little amused as our own Queen Victoria would have been if Ally Sloper and his companions had been taken to Windsor to perform in c.o.c.kney slang before her. Pharaoh had to sit it out because he was there to see fair play, but he was so bored that he failed to observe how shamelessly Rosina was cheating; so she won her cause and danced off with Pasquino.

Turiddu explained to me that elder-trees are in the habit of drying up and falling down dead, a thing not done by properly conducted trees. I asked him what all this had to do with the play. He had just bought a handful of melon seeds from a man who was pushing his way about among the audience, and was munching them contentedly, not in the least put out by the course the story had taken. He said we had been witnessing a comic interlude intentionally introduced to amuse the boys by burlesquing the situation in the princ.i.p.al story the extreme seriousness of which might otherwise have depressed them unduly. I had read of such things being done in mediaeval mystery plays, and here was an instance in my presence and not as an imitation or resuscitation of a dead archaism but as a vital growth.

The interlude being over, the original story was resumed. The paladin and the lady entered, followed by Pharaoh and his prime minister, who had gone off to make room for the final dance, and lastly, by Samson. The golden paladin took the stage, winking excessively, and, in a triumphant, overbearing manner, said--

"What is sweeter than honey? and what is stronger than a lion?"

Samson glared at the lady who ostentatiously shook her head.

"Ha, ha, ha!" jeered the paladin, and Samson covered his face for shame.

The lady continued to shake her head, but, like the lady in another play, she did protest too much and Samson's suspicions were confirmed. He exercised great self-control and appealed to Pharaoh, pointing out that it was absurd to suppose his riddle could have been guessed by an una.s.sisted Scotchman, no matter how bright his armour, and concluded his speech by openly accusing the lady of having betrayed him. This was too much for the paladin; he drew his sword and approached Samson to pay him out for his rudeness and for not admitting that he had been fairly beaten. Before he could finish the speech that usually precedes a stage duel, Samson, who was unarmed, knocked him down in self-defence with one blow of his fist. He fell back upon Pharaoh who happened to be standing behind him; Pharaoh fell back upon his prime minister who happened to be standing behind him; the prime minister fell back upon the lady who happened to be shaking her head in protest behind him, and all four came to the ground together. Trumpets sounded, the piano struck up, the operators stamped with their clogged feet, the audience applauded and there were calls for "Sansone," but it was not a moment for responding to calls. Soldiers came on one by one and Samson knocked them down; they came two by two and he knocked them down; they came three by three and he knocked them down. Between his feats of strength he frequently put his long hair back with his hand, so that it should fall behind and not hinder his movements or obstruct his sight. When he had done, the curtain fell on about thirty soldiers, heaps upon heaps, writhing in their death agonies.

The next act was in a wood and there was the Highland paladin who had not been killed when Samson knocked him down; he had, however, been a good deal hurt and was winking more than ever. There were also a few soldiers who had either recovered or had not been knocked down in the previous scene; in these cases, as with earthquakes, one has to wait to find out who is killed and who survives. Turiddu said that Samson was being arrested and presently some more soldiers entered with a prisoner, but it was the wrong man; it was, in fact, Samson's father. He was led away in chains. Then they brought on Samson with several yards of iron chain coiled round and hanging down from his joined hands.

"Andiamo, andiamo," said the soldiers, but the jubilant paladin could not resist the temptation to stop the soldiers and make a taunting speech which amounted to--

"Here is the end of all your rage, O Sansone!"

Samson listened with great forbearance and, when it was his turn, replied in a speech full of dignity, containing a great deal about gloria and vendetta and the weight of his chains and il cuore di Sansone, and he threatened them over and over again, and struggled and shook himself and made great efforts to get free, so that the soldiers shrank back.

Suddenly he broke his chains, and the soldiers all ran away and Samson after them, leaving the paladin alone. A soldier soon returned and announced that Samson was committing deeds of violence behind. This frightened the paladin; he winked nervously and hurried away, exclaiming--

"Arrest him, arrest him; I'm off," amid the derisive laughter of the audience.

Then Samson came on in his fury, armed with the jawbone of an a.s.s; Turiddu said it was of a horse, but I knew better, at least, I knew what it ought to have been. The soldiers did their best, but he knocked them all down again as before amid immense cheering.

The next scene was outside a castle in the country. Samson came on alone with his jawbone, and stood silent, very terrible, and waiting for an opportunity to break out.

The silence was prolonged. Nothing happened. It was a pause of expectation.

Then we heard a voice, a solemn, cavernous voice with a vibrato like a cinematograph, calling loud and slow--

"Sansone, Sansone, Sansone!"

"Whose voice is that?" exclaimed Samson, looking round and seeing no one.

The voice repeated its call two or three times and at last Samson recognized it.

"E la voce del mio genitore."

"Sansone, Sansone, Sansone! In questa torre sono incarcerato."

Then Samson understood that Manoah had been arrested and imprisoned and must be delivered. He approached the castle and knocked.

"Chi e?" said the porter.

"Son io, Sansone."

We heard a movement of consternation within the castle and then Samson called out--

"Aprite."

There was more consternation and the voice of Pasquino or Onofrio was heard speaking in dialect which made the audience laugh. The castle sent a messenger who came on and asked what Samson wanted.

"Open the door and give me my father," said Samson with suppressed rage.

Throughout Samson behaved with extreme moderation. But the messenger, instead of doing as he was told, approached Samson in a hostile manner.

Samson took him in his arms and, with his great strength, threw him up and out of sight. We heard his body fall inside the castle walls.