There is something very primitive about these men. They remind me really of Agamemnon's soldiers clustered oil the seashore, men, all men, a living, vigorous, physical host of men. But there is a pressure on these Italian soldiers, as if they were men caryatides, with a great weight on their heads, making their brain hard, asleep, stunned. They all look is if their real brain were stunned, as if there were another centre of physical consciousness from which they lived.
Separate from them all is Pietro, the young man who lounges on the wharf to carry things from the steamer. He starts up from sleep like a wild-cat as somebody claps him on the shoulder. It is the start of a man who has many enemies. He is almost an outlaw. Will he ever find himself in prison? He is the _gamin_ of the village, well detested.
He is twenty-four years old, thin, dark, handsome, with a cat-like lightness and grace, and a certain repulsive, _gamin_ evil in his face. Where everybody is so clean and tidy, he is almost ragged. His week's beard shows very black in his slightly hollow cheeks. He hates the man who has waked him by clapping him on the shoulder.
Pietro is already married, yet he behaves as if he were not. He has been carrying on with a loose woman, the wife of the citron-coloured barber, the Siciliano. Then he seats himself on the women's side of the theatre, behind a young person from Bogliaco, who also has no reputation, and makes her talk to him. He leans forward, resting his arms on the seat before him, stretching his slender, cat-like, flexible loins. The padrona of the hotel hates him--'_ein frecher Kerl_,' she says with contempt, and she looks away. Her eyes hate to see him.
In the village there is the clerical party, which is the majority; there is the anti-clerical party, and there are the ne'er-do-wells. The clerical people are dark and pious and cold; there is a curious stone-cold, ponderous darkness over them, moral and gloomy. Then the anti-clerical party, with the Syndaco at the head, is bourgeois and respectable as far as the middle-aged people are concerned, banal, respectable, shut off as by a wall from the clerical people. The young anti-clericals are the young bloods of the place, the men who gather every night in the more expensive and less-respectable cafe. These young men are all free-thinkers, great dancers, singers, players of the guitar. They are immoral and slightly cynical. Their leader is the young shopkeeper, who has lived in Vienna, who is a bit of a bounder, with a veneer of sneering irony on an original good nature. He is well-to-do, and gives dances to which only the looser women go, with these reckless young men. He also gets up parties of pleasure, and is chiefly responsible for the coming of the players to the theatre this carnival. These young men are disliked, but they belong to the important class, they are well-to-do, and they have the life of the village in their hands. The clerical peasants are priest-ridden and good, because they are poor and afraid and superstitious. There is, lastly, a sprinkling of loose women, one who keeps the inn where the soldiers drink. These women are a definite set. They know what they are, they pretend nothing else. They are not prostitutes, but just loose women. They keep to their own clique, among men and women, never wanting to compromise anybody else.