"Such is my life," ended the old Satyr. "It flows on pleasantly, gentle and unobtrusive, down all the ages of the world. If a touch of sadness mingles with the joy of it, 'tis because the gods have willed it so. Oh! my son, let us praise the gods, masters of the universe!"
Fra Mino stood thinking a while. Then he said:
"I understand now the meaning of what I saw, during that evil night, in the Chapel of San Michele. Still one point remains dark to my mind. Tell me why, old man, the Nymphs who, dwell with you, and couple with the fauns, changed into old women of squalid ugliness when they came nigh me."
"Alas! my son," answered the Saint, "time spares neither men nor gods. These last are immortal only in the imagination of the short-lived race of men. In reality they suffer the penalties of age, and verge, as the centuries go by, towards irreparable decay. Nymphs grow old as well as women. No rose but turns into an arid hip at last; no Nymph but ends as an ugly Witchwife. Watching as you did the frolic of my little household, you saw how the memory of their bygone youth yet beautifies the Nymphs and Fauns in the moment of their loves, and how their ardour, reanimated an instant, can reanimate their charms. But the ruin of centuries shows again directly after. Alas! alas! the race of the Nymphs is old, very old and decrepit."
Fra Mino asked yet another question:
"Old man! if what you say is true, and you have won to blessedness by mysterious ways, if it is true—however absurd—that you are a Saint, how comes it you house in your tomb with these phantoms which know not to praise God, and which pollute with their indecencies the temple of the Lord? Answer me, old man!"
But the goat-footed Saint, without a word of answer, vanished softly away into thin air.
Seated on a mossy stone beside the spring, Fra Mino pondered the discourse he had just listened to, and found it contained, along with some passages impenetrably obscure, others that were full of clearness and enlightenment.
"This Satyr Saint," he reflected, "maybe likened to the Sibyl, who in the pantheon of the false gods, proclaimed the coming Redeemer to the Nations. The mire of old-world falsehoods yet clings about the hoofs of his feet, but his forehead is uplifted to the light, and his lips confess the truth."
As the shadow of the beeches was lengthening along the grassy hill-side, the Monk rose up from his stone and began to descend the narrow path that led to the House of the Sons of St. Francis. But he dared not let his eyes rest on the flowers sleeping on the surface of the pools, for he saw in them the likeness of the wanton nymphs. He got back to his cell at the moment when the bells were sounding the Ave Maria. It was a small, white chamber, furnished simply with a bed, a stool, and one of the high desks writers use. On the wall a mendicant friar had painted years ago, in the manner of Giotto, a representation of the holy Marys at the foot of the Cross. Below this painting, a shelf of wood, as black and polished as the beams of an ancient oil-press, was covered with books. Of these, some were sacred, others profane, for Fra Mino was a student of the classic poets, to the end he might praise God in all the works of men, and blessed the good Virgil for having prophesied the birth of the Saviour, when the bard of Mantua declares to the Nations: Jam redit et Virgo.2
On the window-sill a tall lily stood in a vase of coarse earthenware, for Fra Mino loved to trace the name of the Blessed Virgin inscribed in the gold dust of the flower's calyx. The window itself, which opened very high up in the wall, was small, but the sky could be seen from it, blue above the purple hills.
Ensconced in this pleasant tomb of his life and longings, Mino sat down before the narrow desk, with its two shelves at top, where he was accustomed to devote himself to his studies. Then, dipping his reed in the inkhorn fastened to the side of the little coffer that held his sheets of parchment, his brushes, and his colours and gold dust, he besought the flies, in the name of the Lord, not to annoy him, and began to write the account of all he had seen and heard in the Chapel of San Michele, during his night of torment, as well as on the day just done, in the woods by the stream side. And first of all, he traced these lines on the parchment:
"A true record of those things which Fra Mino, of the Order of Friars Minors, saw and heard, and which he doth here relate for the instruction of the Faithful. To the praise of Jesus Christ and the glory of the blessed and humble poor man of Christ, St. Francis. Amen."
Then he set down in order in writing, without omitting aught, all he had noted of the nymphs that turned into witches and the old man with horns on his brow, whose voice quavered in the woods like a last sigh of the Classic flute and a first prelude of the Christian harp. While he wrote, the birds sang; and night closed in slowly, blotting out the bright colours of the day. The Monk lighted his lamp, and went on with his writing. As he recounted each several marvel he had made acquaintance with, he carefully expounded its literal, and its spiritual, signification, all according to the rules of rhetoric and theology. And just as men fence about cities with walls and towers to make them strong, so he supported all his arguments with texts of Scripture. He concluded from the singular revelations he had received: firstly, that Jesus Christ is Lord of all creatures, and is God of the Satyrs and the Pans, as well as of men. This is why St. Jerome saw in the Desert Centaurs that confessed Jesus Christ; secondly, that God had communicated to the Pagans certain glimmerings of light, to the end they might be saved. Likewise the Sibyls, for instance the Cumæan, the Egyptian and the Delphic, did these not foreshadow, amid the darkness of the Gentiles, the Holy Cradle, the Rods, the Reed, the Crown of Thorns and the Cross itself? For which reason St. Augustine admitted the Erythræan Sibyl into the City of God. Fra Mino gave thanks to God for having taught him so much learning; and a great joy flooded his heart to think Virgil was among the elect. And he wrote gleefully at the bottom of the last leaf:
"Here endeth the Apocalypse of Brother Mino, the poor man of Jesus Christ. I have seen the aureole of the blessed Saints crowning the horned forehead of the Satyr, in token that Jesus Christ hath redeemed from the shades of limbo the sages and poets of Antiquity."
The night was already far spent when, having finished his task, Fra Mino stretched himself upon his bed to snatch a little repose. Just as he was dropping asleep, an old woman came in at the window, riding on a moonbeam. He recognized her instantly for the ugliest of the witches he had seen in the Chapel of San Michele.
"My sweet," she said, addressing him, "what have you been doing this day? Yet we warned you, I and my pretty sisters, you must not reveal our secrets. For if you betrayed us, we told you we should kill you. And sorry I should be, for indeed I love you tenderly."
She clipped him in her arms, called him her heavenly Adonis, her darling, her little white ass, and lavished a thousand ardent caresses on him.
Anon, when he repulsed her with a spasm of disgust,
"Child, child!" she said to him, "you scorn me, because my eyes are rimmed with red, my nostrils rotted with the acrid, fetid humour they distil, and my gums adorned with a single tooth, and that black and extravagantly long. Such is your Neæra to-day, it is too true. But if you love me, I shall once more become, by you and for you, what I was in the golden days of Saturn, when my youth was in blossom amid the blossoms of the young, flower-decked world. 'Tis love, oh! my young god, that makes the beauty of things. To restore my beauty, all that is needed is a little courage. Up, Mino, be bold and show your mettle!"
At these words, which were accompanied by appropriate gestures, Fra Mino, shuddering with fear and horror, felt himself swoon away, and slipped from his bed on to the pavement of his cell. As he fell, he seemed to catch a glimpse, between his half-closed lids, of a nymph of perfect shape