Umberto Eco - The Mysterious Flame Of Queen Loana

The day will come: I know that this my ardent blood will of a sudden slow , and that my pen , not dry , will clatter down on wood… it’s then that I will die.

I am dying, no longer because life is evil, but because in its madness it is banal, monotonously repeating its rituals of death. A secular penitent, a logorrheic mystic, I convince myself that the most beautiful island is the one that has not been found, that sometimes appears, but only in the distance, between Tenerife and La Palma:

Their vessels sail along that blessed shore: the dense green sacred forest scents the air; over the nameless flowers , huge palms soar; cardamom weeps , the rubber trees perspire…

The unfound isle , announced by fragrances , like courtesans … But like vain semblances , when pilots sail too near it vanishes , turning that shade of blue that distance is.

Faith in the ungraspable allows me to close my penitential parenthesis. Life as a provident young man had promised me, as a reward, she who was lovely as the sun and pale as the light of the moon. But a single impure thought could snatch her away from me forever. The Unfound Isle, however, since it is unattainable, remains forever mine.

I am educating myself for my encounter with Lila.

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Lila too was born from a book. I was entering my third year of high school, on the verge of turning sixteen, when I began reading, in my grandfather’s shop, Cyrano de Bergerac , by Rostand. Why I did not find it in Solara, in the attic or in the chapel, I do not know. Perhaps I had read and reread it so many times that it finally fell apart. I could recite it now from memory.

Everyone knows the story, indeed if someone even after my incident had asked me about Cyrano , I think I could have said what it was about, that it was a melodrama of exaggerated Romanticism that touring companies still put on every so often. I could have said what everyone knows. But not the rest, which, as I am rediscovering only now, is linked to my growing up, to my first amorous tremors.

Cyrano is a marvelous swordsman and an ingenious poet, but he is ugly, oppressed by that monstrous nose ( Of which much could be said , it is so ample , / By varying one’s tone. Thus , for example: / Aggressive: " Why , if I had such a beak , / I’d amputate the eyesore as we speak! " / friendly: " When drinking wine , you must quite hate it; / Perhaps a punch bowl could accommodate it? " / Descriptive: " It’s a crag , a cliff , a cape! / A cape? No , more peninsular in shape! ") .

Cyrano loves his cousin Roxane, a précieuse of divine beauty ( I love - who else? - the fairest of them all! ) . She may well admire him for his bravura wit, but he, because of his ugliness, would never dare declare himself. Only once, when she asks to meet him, does he entertain hopes that something might develop, but his disappointment is cruel: she confesses that she loves the beautiful Baron Christian, who has just joined the Gascony Cadets, and she begs her cousin to protect him.

Cyrano makes the ultimate sacrifice and decides to woo Roxane by speaking to her through Christian’s lips. He supplies Christian, who is handsome and passionate but uneducated, with the sweetest declarations of love, writes enflamed letters for him, and one night takes his place beneath Roxane’s balcony to whisper his celebrated encomium to the kiss-but it is Christian who then climbs up to reap the reward of that bravura. Then climb up here to pluck this peerless flower… this taste of a heart… this hum of a bee… this instant of infinity… "Climb, you brute," says Cyrano, prodding his rival, and as the couple kisses he weeps in the shadows, savoring his feeble victory: For on those lips to which she’s been misled / Roxane is kissing the words that I just said.

When Cyrano and Christian go off to war, Roxane comes after them, more in love than ever, won over by the letters Cyrano has sent her each day, and she confides to her cousin her realization that she loves, in Christian, not his physical beauty but rather his passionate heart and exquisite spirit. She would love him even if he were ugly. Cyrano then understands it is he whom she loves, but just as he is about to tell all, he learns that Christian has been shot. As Roxane kneels weeping over the poor man’s corpse, Cyrano understands that he can never tell.

Years pass, Roxane has withdrawn into a convent, thinking always of her lost love and rereading each day his last letter, stained with his blood. Cyrano, her faithful friend and cousin, visits her every Saturday. But this Saturday he has been attacked, by political enemies or envious literati, and has a bloody bandage on his head, which he conceals from Roxane beneath his hat. Roxane shows him, for the first time, Christian’s last letter, which Cyrano reads aloud, but Roxane realizes that darkness has fallen, and wonders how he can decipher those faded words when, in a flash, it all becomes clear: he is reciting, from memory, his last letter. She had loved, in Christian, Cyrano. And so for fourteen years he played his role: the old friend bringing cheer by being droll! No, Cyrano says, trying to deny it, it is not true: No , no , my dear beloved - I never loved you!

But by now our hero is reeling, and his faithful friends, arriving to reproach him for leaving his bed, reveal to Roxane that he is on the point of death. Cyrano, leaning against a tree, acts out his final duel against the shadows of his enemies, then falls. After he says that the one thing he will take, unsullied, up to heaven is his panache (and this is the last word of the play), Roxane leans over him and kisses him on the brow.

This kiss is barely mentioned in the stage directions, no character refers to it, an insensitive director might even overlook it, but to my sixteen-year-old mind it became the central scene, and not only did I see Roxane leaning over him, but I also, with Cyrano, savored for the first time (her face so close) the perfume of her breath. This kiss in articulo mortis repaid Cyrano for that other kiss, the stolen one, which so moves everyone in the audience. This final kiss was beautiful because Cyrano received it just as he was dying, and Roxane was thus escaping him once more, but that is precisely what I, now one with the protagonist, was so proud of. I was expiring happily, without having touched my beloved, leaving her in her heavenly state of uncontam-inated dream.

With Roxane’s name in my heart, all I needed was a face to go with it. The face was Lila Saba’s.

As Gianni had told me, I saw her coming down the stairs one day at our high school, and Lila became mine forever.

Papini wrote about his fear of blindness and his greedy myopia: "I see everything blurred, as if in a fog that, for now, is very light, yet general and continuous. At a distance, in the evening, figures blur: a man in a cape might look to me like a woman; a small still flame, like a long line of red light; a boat going downriver, like a black patch on the current. Faces are patches of light; windows, dark patches on houses; trees, dense, dim patches rising from the shadows; and three or four first-magnitude stars, at most, shine in the sky for me." That is what is happening to me now, in this hyperalert sleep of mine. Since reawakening into memory’s favor (a few seconds ago? a thousand years?), I have seen my parents in vivid detail, and Gragnola and Dr. Osimo and Maestro Monaldi and Bruno, seen every feature of their faces, smelled them, heard their voices. Everything around me is clear except for Lila’s face. As in those photos where the face is pixellated, to protect the identity of the underage defendant, or of the axe murderer’s innocent wife. I can make out Lila’s slim outline in her black smock, her smooth stride as I follow her like a spy, can see the back of her hair lilt with each step, but I have yet to see her countenance.