Эдвард Бульвер-Литтон
Zanoni
CHAPTER 1.VIII
To know how a bad man will act when in power, reverse all the doctrines he preaches when obscure.—S. Montague.
Antipathies also form a part of magic (falsely) so-called. Man naturally has the same instinct as the animals, which warns them involuntarily against the creatures that are hostile or fatal to their existence. But HE so often neglects it, that it becomes dormant. Not so the true cultivator of the Great Science, etc.
–Trismegistus the Fourth (a Rosicrucian).
When he again saw the old man the next day, the stranger found him calm, and surprisingly recovered from the scene and sufferings of the night. He expressed his gratitude to his preserver with tearful fervour, and stated that he had already sent for a relation who would make arrangements for his future safety and mode of life. “For I have money yet left,” said the old man; “and henceforth have no motive to be a miser.” He proceeded then briefly to relate the origin and circumstances of his connection with his intended murderer.
It seems that in earlier life he had quarrelled with his relations,—from a difference in opinions of belief. Rejecting all religion as a fable, he yet cultivated feelings that inclined him—for though his intellect was weak, his dispositions were good—to that false and exaggerated sensibility which its dupes so often mistake for benevolence. He had no children; he resolved to adopt an enfant du peuple. He resolved to educate this boy according to “reason.” He selected an orphan of the lowest extraction, whose defects of person and constitution only yet the more moved his pity, and finally engrossed his affection. In this outcast he not only loved a son, he loved a theory! He brought him up most philosophically. Helvetius had proved to him that education can do all; and before he was eight years old, the little Jean’s favourite expressions were, “La lumiere et la vertu.” (Light and virtue.) The boy showed talents, especially in art.
The protector sought for a master who was as free from “superstition” as himself, and selected the painter David. That person, as hideous as his pupil, and whose dispositions were as vicious as his professional abilities were undeniable, was certainly as free from “superstition” as the protector could desire. It was reserved for Robespierre hereafter to make the sanguinary painter believe in the Etre Supreme. The boy was early sensible of his ugliness, which was almost preternatural. His benefactor found it in vain to reconcile him to the malice of Nature by his philosophical aphorisms; but when he pointed out to him that in this world money, like charity, covers a multitude of defects, the boy listened eagerly and was consoled. To save money for his protege,—for the only thing in the world he loved,—this became the patron’s passion. Verily, he had met with his reward.
“But I am thankful he has escaped,” said the old man, wiping his eyes. “Had he left me a beggar, I could never have accused him.”
“No, for you are the author of his crimes.”
“How! I, who never ceased to inculcate the beauty of virtue? Explain yourself.”
“Alas! if thy pupil did not make this clear to thee last night from his own lips, an angel might come from heaven to preach to thee in vain.”
The old man moved uneasily, and was about to reply, when the relative he had sent for—and who, a native of Nancy, happened to be at Paris at the time—entered the room. He was a man somewhat past thirty, and of a dry, saturnine, meagre countenance, restless eyes, and compressed lips. He listened, with many ejaculations of horror, to his relation’s recital, and sought earnestly, but in vain, to induce him to give information against his protege.
“Tush, tush, Rene Dumas!” said the old man, “you are a lawyer. You are bred to regard human life with contempt. Let any man break a law, and you shout, ‘Execute him!’”
“I!” cried Dumas, lifting up his hands and eyes: “venerable sage, how you misjudge me! I lament more than any one the severity of our code. I think the state never should take away life,—no, not even the life of a murderer. I agree with that young statesman,—Maximilien Robespierre,—that the executioner is the invention of the tyrant. My very attachment to our advancing revolution is, that it must sweep away this legal butchery.”
The lawyer paused, out of breath. The stranger regarded him fixedly and turned pale.
“You change countenance, sir,” said Dumas; “you do not agree with me.”
“Pardon me, I was at that moment repressing a vague fear which seemed prophetic.”
“And that—”
“Was that we should meet again, when your opinions on Death and the philosophy of Revolutions might be different.”
“Never!”
“You enchant me, Cousin Rene,” said the old man, who had listened to his relation with delight. “Ah, I see you have proper sentiments of justice and philanthropy. Why did I not seek to know you before? You admire the Revolution;—you, equally with me, detest the barbarity of kings and the fraud of priests?”
“Detest! How could I love mankind if I did not?”
“And,” said the old man, hesitatingly, “you do not think, with this noble gentleman, that I erred in the precepts I instilled into that wretched man?”
“Erred! Was Socrates to blame if Alcibiades was an adulterer and a traitor?”
“You hear him, you hear him! But Socrates had also a Plato; henceforth you shall be a Plato to me. You hear him?” exclaimed the old man, turning to the stranger.
But the latter was at the threshold. Who shall argue with the most stubborn of all bigotries,—the fanaticism of unbelief?
“Are you going?” exclaimed Dumas, “and before I have thanked you, blessed you, for the life of this dear and venerable man? Oh, if ever I can repay you,—if ever you want the heart’s blood of Rene Dumas!” Thus volubly delivering himself, he followed the stranger to the threshold of the second chamber, and there, gently detaining him, and after looking over his shoulder, to be sure that he was not heard by the owner, he whispered, “I ought to return to Nancy. One would not lose one’s time,—you don’t think, sir, that that scoundrel took away ALL the old fool’s money?”
“Was it thus Plato spoke of Socrates, Monsieur Dumas?”
“Ha, ha!—you are caustic. Well, you have a right. Sir, we shall meet again.”
“AGAIN!” muttered the stranger, and his brow darkened. He hastened to his chamber; he passed the day and the night alone, and in studies, no matter of what nature,—they served to increase his gloom.
What could ever connect his fate with Rene Dumas, or the fugitive assassin? Why did the buoyant air of Paris seem to him heavy with the steams of blood; why did an instinct urge him to fly from those sparkling circles, from that focus of the world’s awakened hopes, warning him from return?—he, whose lofty existence defied—but away these dreams and omens! He leaves France behind. Back, O Italy, to thy majestic wrecks! On the Alps his soul breathes the free air once more. Free air! Alas! let the world-healers exhaust their chemistry; man never shall be as free in the marketplace as on the mountain. But we, reader, we too escape from these scenes of false wisdom clothing godless crime. Away, once more
“In den heitern Regionen Wo die reinen Formen wohnen.”
Away, to the loftier realm where the pure dwellers are. Unpolluted by the Actual, the Ideal lives only with Art and Beauty. Sweet Viola, by the shores of the blue Parthenope, by Virgil’s tomb, and the Cimmerian cavern, we return to thee once more.
CHAPTER 1.IX
Che non vuol che ‘l destrier piu vada in alto,
Poi lo lega nel margine marino
A un verde mirto in mezzo un lauro E UN PINO.
“Orlando Furioso,” c. vi. xxiii.
(As he did not wish that his charger (the hippogriff) should take any further excursions into the higher regions for the present, he bound him at the sea-shore to a green myrtle between a laurel and a pine.)
O Musician! art thou happy now? Thou art reinstalled at thy stately desk,—thy faithful barbiton has its share in the triumph. It is thy masterpiece which fills thy ear; it is thy daughter who fills the scene,—the music, the actress, so united, that applause to one is applause to both. They make way for thee, at the orchestra,—they no longer jeer and wink, when, with a fierce fondness, thou dost caress thy Familiar, that plains, and wails, and chides, and growls, under thy remorseless hand. They understand now how irregular is ever the symmetry of real genius. The inequalities in its surface make the moon luminous to man. Giovanni Paisiello, Maestro di Capella, if thy gentle soul could know envy, thou must sicken to see thy Elfrida and thy Pirro laid aside, and all Naples turned fanatic to the Siren, at whose measures shook querulously thy gentle head! But thou, Paisiello, calm in the long prosperity of fame, knowest that the New will have its day, and comfortest thyself that the Elfrida and the Pirro will live forever. Perhaps a mistake, but it is by such mistakes that true genius conquers envy. “To be immortal,” says Schiller, “live in the whole.” To be superior to the hour, live in thy self-esteem. The audience now would give their ears for those variations and flights they were once wont to hiss. No!—Pisani has been two-thirds of a life at silent work on his masterpiece: there is nothing he can add to THAT, however he might have sought to improve on the masterpieces of others. Is not this common? The least little critic, in reviewing some work of art, will say, “pity this, and pity that;” “this should have been altered,—that omitted.” Yea, with his wiry fiddlestring will he creak out his accursed variations. But let him sit down and compose himself. He sees no improvement in variations THEN! Every man can control his fiddle when it is his own work with which its vagaries would play the devil.
And Viola is the idol, the theme of Naples. She is the spoiled sultana of the boards. To spoil her acting may be easy enough,—shall they spoil her nature? No, I think not. There, at home, she is still good and simple; and there, under the awning by the doorway,—there she still sits, divinely musing. How often, crook-trunked tree, she looks to thy green boughs; how often, like thee, in her dreams, and fancies, does she struggle for the light,—not the light of the stage-lamps. Pooh, child! be contented with the lamps, even with the rush-lights. A farthing candle is more convenient for household purposes than the stars.
Weeks passed, and the stranger did not reappear; months had passed, and his prophecy of sorrow was not yet fulfilled. One evening Pisani was taken ill. His success had brought on the long-neglected composer pressing applications for concerti and sonata, adapted to his more peculiar science on the violin. He had been employed for some weeks, day and night, on a piece in which he hoped to excel himself. He took, as usual, one of those seemingly impracticable subjects which it was his pride to subject to the expressive powers of his art,—the terrible legend connected with the transformation of Philomel. The pantomime of sound opened with the gay merriment of a feast. The monarch of Thrace is at his banquet; a sudden discord brays through the joyous notes,—the string seems to screech with horror. The king learns the murder of his son by the hands of the avenging sisters. Swift rage the chords, through the passions of fear, of horror, of fury, and dismay. The father pursues the sisters. Hark! what changes the dread—the discord—into that long, silvery, mournful music? The transformation is completed; and Philomel, now the nightingale, pours from the myrtle-bough the full, liquid, subduing notes that are to tell evermore to the world the history of her woes and wrongs. Now, it was in the midst of this complicated and difficult attempt that the health of the over-tasked musician, excited alike by past triumph and new ambition, suddenly gave way. He was taken ill at night. The next morning the doctor pronounced that his disease was a malignant and infectious fever. His wife and Viola shared in their tender watch; but soon that task was left to the last alone. The Signora Pisani caught the infection, and in a few hours was even in a state more alarming than that of her husband. The Neapolitans, in common with the inhabitants of all warm climates, are apt to become selfish and brutal in their dread of infectious disorders. Gionetta herself pretended to be ill, to avoid the sick-chamber. The whole labour of love and sorrow fell on Viola. It was a terrible trial,—I am willing to hurry over the details. The wife died first!
One day, a little before sunset, Pisani woke partially recovered from the delirium which had preyed upon him, with few intervals, since the second day of the disease; and casting about him his dizzy and feeble eyes, he recognised Viola, and smiled. He faltered her name as he rose and stretched his arms. She fell upon his breast, and strove to suppress her tears.
“Thy mother?” he said. “Does she sleep?”
“She sleeps,—ah, yes!” and the tears gushed forth.
“I thought—eh! I know not WHAT I have thought. But do not weep: I shall be well now,—quite well. She will come to me when she wakes,—will she?”
Viola could not speak; but she busied herself in pouring forth an anodyne, which she had been directed to give the sufferer as soon as the delirium should cease. The doctor had told her, too, to send for him the instant so important a change should occur.
She went to the door and called to the woman who, during Gionetta’s pretended illness, had been induced to supply her place; but the hireling answered not. She flew through the chambers to search for her in vain,—the hireling had caught Gionetta’s fears, and vanished. What was to be done? The case was urgent,—the doctor had declared not a moment should be lost in obtaining his attendance; she must leave her father,—she must go herself! She crept back into the room,—the anodyne seemed already to have taken benign effect; the patient’s eyes were closed, and he breathed regularly, as in sleep. She stole away, threw her veil over her face, and hurried from the house.
Now the anodyne had not produced the effect which it appeared to have done; instead of healthful sleep, it had brought on a kind of light-headed somnolence, in which the mind, preternaturally restless, wandered about its accustomed haunts, waking up its old familiar instincts and inclinations. It was not sleep,—it was not delirium; it was the dream-wakefulness which opium sometimes induces, when every nerve grows tremulously alive, and creates a corresponding activity in the frame, to which it gives a false and hectic vigour. Pisani missed something,—what, he scarcely knew; it was a combination of the two wants most essential to his mental life,—the voice of his wife, the touch of his Familiar. He rose,—he left his bed, he leisurely put on his old dressing-robe, in which he had been wont to compose. He smiled complacently as the associations connected with the garment came over his memory; he walked tremulously across the room, and entered the small cabinet next to his chamber, in which his wife had been accustomed more often to watch than sleep, when illness separated her from his side. The room was desolate and void. He looked round wistfully, and muttered to himself, and then proceeded regularly, and with a noiseless step, through the chambers of the silent house, one by one.
He came at last to that in which old Gionetta—faithful to her own safety, if nothing else—nursed herself, in the remotest corner of the house, from the danger of infection. As he glided in,—wan, emaciated, with an uneasy, anxious, searching look in his haggard eyes,—the old woman shrieked aloud, and fell at his feet. He bent over her, passed his thin hands along her averted face, shook his head, and said in a hollow voice,—
“I cannot find them; where are they?”
“Who, dear master? Oh, have compassion on yourself; they are not here. Blessed saints! this is terrible; he has touched me; I am dead!”
“Dead! who is dead? Is any one dead?”
“Ah! don’t talk so; you must know it well: my poor mistress,—she caught the fever from you; it is infectious enough to kill a whole city. San Gennaro protect me! My poor mistress, she is dead,—buried, too; and I, your faithful Gionetta, woe is me! Go, go—to—to bed again, dearest master,—go!”
The poor musician stood for one moment mute and unmoving, then a slight shiver ran through his frame; he turned and glided back, silent and spectre-like, as he had entered. He came into the room where he had been accustomed to compose,—where his wife, in her sweet patience, had so often sat by his side, and praised and flattered when the world had but jeered and scorned. In one corner he found the laurel-wreath she had placed on his brows that happy night of fame and triumph; and near it, half hid by her mantilla, lay in its case the neglected instrument.
Viola was not long gone: she had found the physician; she returned with him; and as they gained the threshold, they heard a strain of music from within,—a strain of piercing, heart-rending anguish. It was not like some senseless instrument, mechanical in its obedience to a human hand,—it was as some spirit calling, in wail and agony from the forlorn shades, to the angels it beheld afar beyond the Eternal Gulf. They exchanged glances of dismay. They hurried into the house; they hastened into the room. Pisani turned, and his look, full of ghastly intelligence and stern command, awed them back. The black mantilla, the faded laurel-leaf, lay there before him. Viola’s heart guessed all at a single glance; she sprung to his knees; she clasped them,—“Father, father, I am left thee still!”
The wail ceased,—the note changed; with a confused association—half of the man, half of the artist—the anguish, still a melody, was connected with sweeter sounds and thoughts. The nightingale had escaped the pursuit,—soft, airy, bird-like, thrilled the delicious notes a moment, and then died away. The instrument fell to the floor, and its chords snapped. You heard that sound through the silence. The artist looked on his kneeling child, and then on the broken chords… “Bury me by her side,” he said, in a very calm, low voice; “and THAT by mine.” And with these words his whole frame became rigid, as if turned to stone. The last change passed over his face. He fell to the ground, sudden and heavy. The chords THERE, too,—the chords of the human instrument were snapped asunder. As he fell, his robe brushed the laurel-wreath, and that fell also, near but not in reach of the dead man’s nerveless hand.
Broken instrument, broken heart, withered laurel-wreath!—the setting sun through the vine-clad lattice streamed on all! So smiles the eternal Nature on the wrecks of all that make life glorious! And not a sun that sets not somewhere on the silenced music,—on the faded laurel!
CHAPTER 1.X
Che difesa miglior ch’ usbergo e scudo,
E la santa innocenza al petto ignudo!
“Ger. Lib.,” c. viii. xli.
(Better defence than shield or breastplate is holy innocence to the naked breast.)
And they buried the musician and his barbiton together, in the same coffin. That famous Steiner—primeval Titan of the great Tyrolese race—often hast thou sought to scale the heavens, and therefore must thou, like the meaner children of men, descend to the dismal Hades! Harder fate for thee than thy mortal master. For THY soul sleeps with thee in the coffin. And the music that belongs to HIS, separate from the instrument, ascends on high, to be heard often by a daughter’s pious ears when the heaven is serene and the earth sad. For there is a sense of hearing that the vulgar know not. And the voices of the dead breathe soft and frequent to those who can unite the memory with the faith.
And now Viola is alone in the world,—alone in the home where loneliness had seemed from the cradle a thing that was not of nature. And at first the solitude and the stillness were insupportable. Have you, ye mourners, to whom these sibyl leaves, weird with many a dark enigma, shall be borne, have you not felt that when the death of some best-loved one has made the hearth desolate,—have you not felt as if the gloom of the altered home was too heavy for thought to bear?—you would leave it, though a palace, even for a cabin. And yet,—sad to say,—when you obey the impulse, when you fly from the walls, when in the strange place in which you seek your refuge nothing speaks to you of the lost, have ye not felt again a yearning for that very food to memory which was just before but bitterness and gall? Is it not almost impious and profane to abandon that dear hearth to strangers? And the desertion of the home where your parents dwelt, and blessed you, upbraids your conscience as if you had sold their tombs.
Beautiful was the Etruscan superstition that the ancestors become the household gods. Deaf is the heart to which the Lares call from the desolate floors in vain. At first Viola had, in her intolerable anguish, gratefully welcomed the refuge which the house and family of a kindly neighbour, much attached to her father, and who was one of the orchestra that Pisani shall perplex no more, had proffered to the orphan. But the company of the unfamiliar in our grief, the consolation of the stranger, how it irritates the wound! And then, to hear elsewhere the name of father, mother, child,—as if death came alone to you,—to see elsewhere the calm regularity of those lives united in love and order, keeping account of happy hours, the unbroken timepiece of home, as if nowhere else the wheels were arrested, the chain shattered, the hands motionless, the chime still! No, the grave itself does not remind us of our loss like the company of those who have no loss to mourn. Go back to thy solitude, young orphan,—go back to thy home: the sorrow that meets thee on the threshold can greet thee, even in its sadness, like the smile upon the face of the dead. And there, from thy casement, and there, from without thy door, thou seest still the tree, solitary as thyself, and springing from the clefts of the rock, but forcing its way to light,—as, through all sorrow, while the seasons yet can renew the verdure and bloom of youth, strives the instinct of the human heart! Only when the sap is dried up, only when age comes on, does the sun shine in vain for man and for the tree.
Weeks and months—months sad and many—again passed, and Naples will not longer suffer its idol to seclude itself from homage. The world ever plucks us back from ourselves with a thousand arms. And again Viola’s voice is heard upon the stage, which, mystically faithful to life, is in nought more faithful than this, that it is the appearances that fill the scene; and we pause not to ask of what realities they are the proxies. When the actor of Athens moved all hearts as he clasped the burial urn, and burst into broken sobs; how few, there, knew that it held the ashes of his son! Gold, as well as fame, was showered upon the young actress; but she still kept to her simple mode of life, to her lowly home, to the one servant whose faults, selfish as they were, Viola was too inexperienced to perceive. And it was Gionetta who had placed her when first born in her father’s arms! She was surrounded by every snare, wooed by every solicitation that could beset her unguarded beauty and her dangerous calling. But her modest virtue passed unsullied through them all. It is true that she had been taught by lips now mute the maiden duties enjoined by honour and religion. And all love that spoke not of the altar only shocked and repelled her. But besides that, as grief and solitude ripened her heart, and made her tremble at times to think how deeply it could feel, her vague and early visions shaped themselves into an ideal of love. And till the ideal is found, how the shadow that it throws before it chills us to the actual! With that ideal, ever and ever, unconsciously, and with a certain awe and shrinking, came the shape and voice of the warning stranger. Nearly two years had passed since he had appeared at Naples. Nothing had been heard of him, save that his vessel had been directed, some months after his departure, to sail for Leghorn. By the gossips of Naples, his existence, supposed so extraordinary, was wellnigh forgotten; but the heart of Viola was more faithful. Often he glided through her dreams, and when the wind sighed through that fantastic tree, associated with his remembrance, she started with a tremor and a blush, as if she had heard him speak.
But amongst the train of her suitors was one to whom she listened more gently than to the rest; partly because, perhaps, he spoke in her mother’s native tongue; partly because in his diffidence there was little to alarm and displease; partly because his rank, nearer to her own than that of lordlier wooers, prevented his admiration from appearing insult; partly because he himself, eloquent and a dreamer, often uttered thoughts that were kindred to those buried deepest in her mind. She began to like, perhaps to love him, but as a sister loves; a sort of privileged familiarity sprung up between them. If in the Englishman’s breast arose wild and unworthy hopes, he had not yet expressed them. Is there danger to thee here, lone Viola, or is the danger greater in thy unfound ideal?
And now, as the overture to some strange and wizard spectacle, closes this opening prelude. Wilt thou hear more? Come with thy faith prepared. I ask not the blinded eyes, but the awakened sense. As the enchanted Isle, remote from the homes of men,—
“Ove alcun legno Rado, o non mai va dalle nostre sponde,”—“Ger.Lib.,” cant. xiv. 69.
(Where ship seldom or never comes from our coasts.)
is the space in the weary ocean of actual life to which the Muse or Sibyl (ancient in years, but ever young in aspect), offers thee no unhallowed sail,—
“Quinci ella in cima a una montagna ascende
Disabitata, e d’ ombre oscura e bruna;
E par incanto a lei nevose rende
Le spalle e i fianchi; e sensa neve alcuna
Gli lascia il capo verdeggiante e vago;
E vi fonda un palagio appresso un lago.”
(There, she a mountain’s lofty peak ascends, Unpeopled, shady, shagg’d with forests brown, Whose sides, by power of magic, half-way down She heaps with slippery ice and frost and snow, But sunshiny and verdant leaves the crown With orange-woods and myrtles,—speaks, and lo! Rich from the bordering lake a palace rises slow. Wiffin’s “Translation.”)
