Vittoria — Complete by George Meredith (e novels for free .TXT) 📕

Vittoria sent this last phrase ringing out forcefully. From the inveterate contralto of the interview, she rose to pure soprano in describing her own action. 'And I drank,' was given on a descent of the voice: the last note was in the minor key—it held the ear as if more must follow: like a wail after a triumph of resolve. It was a masterpiece of audacious dramatic musical genius addressed with sagacious cunning and courage to the sympathizing audience present. The supposed incompleteness kept them listening; the intentness sent that last falling (as it were, broken) note travelling awakeningly through their minds. It is the effect of the minor key to stir the hearts of men with this particular suggestiveness. The house rose, Italians—and Germans together. Genius, music, and enthusiasm break the line of nationalities. A rain of nosegays fell about Vittoria; evvivas, bravas, shouts—all the outcries of delirious men surrounded her. Men and women, even among the hardened chorus, shook together and sobbed. 'Agostino!' and 'Rocco!' were called; 'Vittoria!' 'Vittoria!' above all, with increasing thunder, like a storm rushing down a valley, striking in broad volume from rock to rock, humming remote, and bursting up again in the face of the vale. Her name was sung over and over—'Vittoria! Vittoria!' as if the mouths were enamoured of it.

'Evviva la Vittoria a d' Italia!' was sung out from the body of the house.

An echo replied—'"Italia a il premio della VITTORIA!”' a well-known saying gloriously adapted, gloriously rescued from disgrace.

But the object and source of the tremendous frenzy stood like one frozen by the revelation of the magic the secret of which she has studiously mastered. A nosegay, the last of the tributary shower, discharged from a distance, fell at her feet. She gave it unconsciously preference over the rest, and picked it up. A little paper was fixed in the centre. She opened it with a mechanical hand, thinking there might be patriotic orders enclosed for her. It was a cheque for one thousand guineas, drawn upon an English banker by the hand of Antonio-Pericles Agriolopoulos; freshly drawn; the ink was only half dried, showing signs of the dictates of a furious impulse. This dash of solid prose, and its convincing proof that her Art had been successful, restored Vittoria's composure, though not her early statuesque simplicity. Rocco gave an inquiring look to see if she would repeat the song. She shook her head resolutely. Her opening of the paper in the bouquet had quieted the general ebullition, and the expression of her wish being seen, the chorus was permitted to usurp her place. Agostino paced up and down the lobby, fearful that he had been guilty of leading her to anticlimax.

He met Antonio-Pericles, and told him so; adding (for now the mask had been seen through, and was useless any further) that he had not had the heart to put back that vision of Camilla's mother to a later scene, lest an interruption should come which would altogether preclude its being heard. Pericles affected disdain of any success which Vittoria had yet achieved. 'Wait for Act the Third,' he said; but his irritable anxiousness to hold intercourse with every one, patriot or critic, German, English, or Italian, betrayed what agitation of exultation coursed in his veins. 'Aha!' was his commencement of a greeting; 'was Antonio-Pericles wrong when he told you that he had a prima donna for you to amaze all Christendom, and whose notes were safe and firm as the footing of the angels up and down Jacob's ladder, my friends? Aha!'

'Do you see that your uncle is signalling to you?' Countess Lena said to Wilfrid. He answered like a man in a mist, and looked neither at her nor at the General, who, in default of his obedience to gestures, came good-humouredly to the box, bringing Captain Weisspriess with him.

'We 're assisting at a pretty show,' he said.

'I am in love with her voice,' said Countess Anna.

'Ay; if it were only a matter of voices, countess.'

'I think that these good people require a trouncing,' said Captain Weisspriess.

'Lieutenant Pierson is not of your opinion,' Countess Anna remarked. Hearing his own name, Wilfrid turned to them with a weariness well acted, but insufficiently to a jealous observation, for his eyes were quick under the carelessly-dropped eyelids, and ranged keenly over the stage while they were affecting to assist his fluent tongue.

Countess Lena levelled her opera-glass at Carlo Ammiani, and then placed the glass in her sister's hand. Wilfrid drank deep of bitterness. 'That is Vittoria's lover,' he thought; 'the lover of the Emilia who once loved me!'

General Pierson may have noticed this by-play: he said to his nephew in the brief military tone: 'Go out; see that the whole regiment is handy about the house; station a dozen men, with a serjeant, at each of the backdoors, and remain below. I very much mistake, or we shall have to make a capture of this little woman to-night.'

'How on earth,' he resumed, while Wilfrid rose savagely and went out with his stiffest bow, 'this opera was permitted to appear, I can't guess! A child could see through it. The stupidity of our civil authorities passes my understanding—it's a miracle! We have stringent orders not to take any initiative, or I would stop the Fraulein Camilla from uttering another note.'

'If you did that, I should be angry with you, General,' said Countess Anna.

'And I also think the Government cannot do wrong,' Countess Lena joined in.

The General contented himself by saying: 'Well, we shall see.'

Countess Lena talked to Captain Weisspriess in an undertone, referring to what she called his dispute with Carlo Ammiani. The captain was extremely playful in rejoinders.

'You iron man!' she exclaimed.

'Man of steel would be the better phrase,' her sister whispered.

'It will be an assassination, if it happens.'

'No officer can bear with an open insult, Lena.'

'I shall not sit and see harm done to my old playmate, Anna.'

'Beware of betraying yourself for one who detests you.'

A grand duo between Montini and Vittoria silenced all converse. Camilla tells Camillo of her dream. He pledges his oath to discover her mother, if alive; if dead, to avenge her. Camilla says she believes her mother is in the dungeons of Count Orso's castle. The duo tasked Vittoria's execution of florid passages; it gave evidence of her sound artistic powers.

'I was a fool,' thought Antonio-Pericles; 'I flung my bouquet with the herd. I was a fool! I lost my head!'

He tapped angrily at the little ink-flask in his coat-pocket. The first act, after scenes between false Camillo and Michiella, ends with the marriage of Camillo and Camilla;—a quatuor composed of Montini, Vittoria, Irma, and Lebruno. Michiella is in despair; Count Orso is profoundly sonorous with paternity and devotion to the law. He has restored to Camilla a portion of her mother's sequestrated estates. A portion of the remainder will be handed over to her when he has had experience of her husband's good behaviour. The rest he considers legally his own by right of (Treaties), and by right of possession and documents his sword. Yonder castle he must keep. It is the key of all his other territories. Without it, his position will be insecure. (Allusion to the