Credi poems on Hello Poetry

Nigel Morgan Oct 2013

They sat like two birds roosting in a tall tree. Only the tall tree was a room where a fire had been made up, but was not yet alight. It was early autumn and a mild evening. She had not drawn the curtains because there was a still a little light left in the sky. She enjoyed watching the darkness gather before she would light the lamp to sew, to stitch. He had lit a candle on the small table by his chair in preparation for an evening’s reading. He was looking at her slight shape in the candlelight, looking at her small hands folded in her lap, then stroking the cat beside her, then touching her hair lightly; finally she opened her sewing basket.

He rose deliberately, shaking off the stiffness felt in his limbs from a day on their small-holding, and went to the bookshelf behind his chair. As the lamp was as yet unlit the rows of books slept in darkness. He felt their spines, many he knew, and many knew his touch, and as he moved his forefinger nail from book to book there was momentarily an irregularity, a surface he did not recognize. He pulled out the book and took it into the light: Inferno Dante Alighieri.

He thought he knew all his books, most he had read many times over. They were his dear friends, their dear friends because her books were there too. Their library made up a world of thought and imagination. He did not know Dante’s Inferno. He knew of it. He had read many an inscription from it. He had even learned a terzetto from the Paradiso, once, many years ago, in a different life than he led now:

Tu non se' in terra, sì come tu credi;
ma folgore, fuggendo il proprio sito,
non corse come tu ch'ad esso riedi".

You are not on the earth as you believe;
but lightning, flying from its own abode,
is less swift than you are, returning home."

Holding Inferno in his hands he realised the woman had now drained from her gaze the last dregs of the evening light, and seemed suddenly changed. She was wearing something other than he had thought she had worn previously. Her dress was silk, and long and cream and gold, and securing her hair, a thin golden band. Her shoes were slippers . . . but she rose from her chair and their colour and texture were lost in the dark shadows that covered the floor. And he, he was changed too: a long green cloak, a toga-like cloak, some kind of cap on his head, his hair, his hair long and grey, and sandals on bare feet.

She lit the lamp and immediately they both saw the painting above the empty fireplace had changed, had been transformed, replaced by Henry Holiday’s masterpiece Dante and Beatrice. The painting shows the couple at the bridge of Santa Trinità in Florence. Beatrice deep in conversation with her friend Monna Vanna ignores Dante’s impassioned stare and stance.

The woman held the lamp to the painting. She knows this painting and remembers in an instant standing before it in the Walker Art Gallery in Liverpool. That day, that lunchtime, she was in love, and her lover stood next to her. She was so in love, and her lover, she knew, adored her. She recognized Dante’s stance and stare because she had seen her lover stand and stare so. Many times. It had been a lunchtime assignation and she had worn all black with almost-pink shoes. And here, and now, they stood again, still lovers, but also the dearest friends, and for the rest of their lives they had so sworn.

He still held the Inferno in his hands, and it was as if commanded by a voice that wasn’t any recognizable voice but a silent message from beyond and afar. ‘Whatever you read will come to pass.’

And so opening the book at random he read, ‘We drew now closer . . .’

He turned to her and said these words aloud. He placed the book on his small table and brought his body in its unusual costume to stand facing this finely dressed woman who wore her fine clothes with the scent of roses mixed with some eastern aloed fragrance. He brought his hand to her pale cheek and noticed the gold ring on his finger and the finely manicured nails, hands that had not laboured today in the 12-acre pasture.

She opened her lips to speak and, rather breathlessly said:

"Le cose tutte quante
hanno ordine tra loro, e questo è forma
che l'universo a Dio fa simigliante.

"All things, among themselves,
possess an order; and this order is
the form that makes the universe like God.

She knew no Italian, a little German from singing Schubert lieder to his tentative fumblings on the parlor piano, but certainly no Italian.

She picked up the Inferno from his small table, and just as he had, opened a page at random and read:

‘We drew aside and found a space . . .’

And so they did, draw aside, and she, with the Inferno in her hand, led him out of their sitting room along the stone-flagged passage to their front door, and lifting the latch opened the door . . . onto daylight, a Florentine street. They were close to the Ponte Santa Trinità, but also to the church that bares its name, with its celebrated Sassetti Chapel brim-full with sumptuous frescos telling stories from the life of St Francis and considered Domenico Ghirlandaio's masterwork.

*To be continued . . .

— The End —