A Capillary Crime, and Other StoriesMillet, Francis Davis
Philosophy
A Capillary Crime, and Other Stories
Millet, Francis Davis
Artists -- Fiction; Manners and customs -- Fiction; Short stories, American
When she reached the island, Tedesco had long since disappeared, and,
although there were no absolute proofs, he was thought to be dead. For
months after he had learned of the faithlessness of both sweetheart and
friend he had been seen very little outside his studio. What he did
there was not known, for he invited nobody to enter. Even the neighbor’s
wife who had done the housekeeping for the two young men did not see the
interior of the studio after Rubina ran away. She gossiped of the
sculptor to the women down the street, and they all shook their heads,
touched their foreheads significantly with index-fingers, and sadly
repeated, “_Un po’ matto, un po’ matto_”--“A little mad.” Several weeks
passed after the flight of the young couple, and then the sculptor was
observed nearly every morning to walk over one of the hills in the
direction of a high cliff. Sometimes he was absent but a few hours, but
on other days he did not return until night. At length, towards the end
of winter, he gave up his studio and apartment without a word of his
plans to any one. When he had departed, carrying the few articles of
clothing which were kept in the outer room, the housekeeper entered the
studio and found, to her astonishment, that, with the sculptor, all
traces of his work had disappeared.
After a while it was discovered that he had taken up his abode in a
certain cave near the water’s edge, at the foot of the cliff, along the
top of which he had been frequently seen walking. This cave had always
been considered approachable only from the water side; but some men who
were fishing for cuttlefish near the shore had seen the mad sculptor
clamber down the precipice and enter the mouth of the cave, which was
half closed by accumulated rubble and sand. The fishermen, of course,
exaggerated their story, and the simple islanders, who always regard a
demented person with awe, came to believe that the sculptor possessed
superhuman strength and agility; and, although their curiosity
concerning his mode of life and occupation was much excited, their
superstitious fears prevented them from interfering with him or
attempting to investigate his actions. At long intervals the hermit
would appear in the piazza, receive his letters, buy a few articles of
food, and disappear again, not to be seen for weeks.
Public-domain text, read in full here on John Shaqi.
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