Massimilla Doni by Honoré de Balzac (ebook reader with highlighter TXT) 📕

again--and beloved!"

"But you are mistaken, _caro_ Capraja," said the Duke. "There is in music an effect yet more magical than that of the _cadenza_."

"What is that?" asked Capraja.

"The unison of two voices, or of a voice and a violin,--the instrument which has tones most nearly resembling those of the human voice," replied Cataneo. "This perfect concord bears us on to the very heart of life, on the tide of elements which can resuscitate rapture and carry man up to the centre of the luminous sphere where his mind can command the whole universe. You still need a _thema_, Capraja, but the pure element is enough for me. You need that the current should flow through the myriad canals of the machine to fall in dazzling cascades, while I am content with the pure tranquil pool. My eye gazes across a lake without a ripple. I can embrace the infinite."

"Speak no more, Cataneo," said Capraja, haughtily. "What! Do you fail to see the fairy, who, in her swift rush through the sparkling atmosphere, collects and binds with the golden thread of harmony, the gems of melody she smilingly sheds on us? Have you ever felt the touch of her wand, as she says to Curiosity, 'Awake!' The divinity rises up radiant from the depths of the brain; she flies to her store of wonders and fingers them lightly as an organist touches the keys. Suddenly, up starts Memory, bringing us the roses of the past, divinely preserved and still fresh. The mistress of our youth revives, and strokes the young man's hair. Our heart, too full, overflows; we see the flowery banks of the torrent of love. Every burning bush we ever knew blazes afresh, and repeats the heavenly words we once heard and understood. The voice rolls on; it embraces in its rapid turns those fugitive horizons, and they shrink away; they vanish, eclipsed by newer and deeper joys--those of an unrevealed future, to which the fairy points as she returns to the blue heaven."

"And you," retorted Cataneo, "have you never seen the direct ray of a star opening the vistas above; have you never mounted on that beam which guides you to the sky, to the heart of the first causes which move the worlds?"

To their hearers, the Duke and Capraja were playing a game of which the premises were unknown.

"Genovese's voice thrills through every fibre," said Capraja.

"And la Tinti's fires the blood," replied the Duke.

"What a paraphrase of happy love is that _cavatina_!" Capraja went on. "Ah! Rossini was young when he wrote that interpretation of effervescent ecstasy. My heart filled with renewed blood, a thousand cravings tingled in my veins. Never have sounds more angelic delivered me more completely from my earthly bonds! Never did the fairy wave more beautiful arms, smile more invitingly, lift her tunic more cunningly to display an ankle, raising the curtain that hides my other life!"

"To-morrow, my old friend," replied Cataneo, "you shall ride on the back of a dazzling, white swan, who will show you the loveliest land there is; you shall see the spring-time as children see it. Your heart shall open to the radiance of a new sun; you shall sleep on crimson silk, under the gaze of a Madonna; you shall feel like a happy lover gently kissed by a nymph whose bare feet you still may see, but who is about to vanish. That swan will be the voice of Genovese, if he can unite it to its Leda, the voice of Clarina. To-morrow night we are to hear _Mose_, the grandest opera produced by Italy's greatest genius."

All present left the conversation to the Duke and Capraja, not wishing to be the victims of mystification. Only Vendramin and the French doctor listened to them for a few minutes. The opium-smoker understood these poetic flights; he had the key of the palace where those two sensuous imaginations were wandering. The doctor, too, tried to understand, and he understood, for he was one of the Pleiades of genius belonging to the Paris school of medicine, from which a true physician comes out as much a metaphysician as an accomplished analyst.

"Do you understand them?" said Emilio to Vendramin as they left the cafe at two in the morning.

"Yes, my dear boy," said Vendramin, taking Emilio home with him. "Those two men are of the legion of unearthly spirits to whom it is given here below to escape from the wrappings of the flesh, who can fly on the shoulders of the queen of witchcraft up to the blue empyrean where the sublime marvels are wrought of the intellectual life; they, by the power of art, can soar whither your immense love carries you, whither opium transports me. Then none can understand them but those who are like them.

"I, who can inspire my soul by such base means, who can pack a hundred years of life into a single night, I can understand those lofty spirits when they talk of that glorious land, deemed a realm of chimeras by some who think themselves wise; but the realm of reality to us whom they think mad. Well, the Duke and Capraja, who were acquainted at Naples,--where Cataneo was born,--are mad about music."

"But what is that strange system that Capraja was eager to explain to the Duke? Did you understand?"

"Yes," replied Vendramin. "Capraja's great friend is a musician from Cremona, lodging in the Capello palace, who has a theory that sounds meet with an element in man, analogous to that which produces ideas. According to him, man has within him keys acted on by sound, and corresponding to his nerve-centres, where ideas and sensations take their rise. Capraja, who regards the arts as an assemblage of means by which he can harmonize, in himself, all external nature with another mysterious nature that he calls the inner life, shares all ideas of this instrument-maker, who at this moment is composing an opera.

"Conceive of a sublime creation, wherein the marvels of the visible universe are reproduced with immeasurable grandeur, lightness, swiftness, and extension; wherein sensation is infinite, and whither certain privileged natures, possessed of divine powers, are able to penetrate, and you will have some notion of the ecstatic joys of which Cataneo and Capraja were speaking; both poets, each for himself alone. Only, in matters of the intellect, as soon as a man can rise above the sphere where plastic art is produced by a process of imitation, and enter into that transcendental sphere of abstractions where everything is understood as an elementary principle, and seen in the omnipotence of results, that man is no longer intelligible to ordinary minds."

"You have thus explained my love for Massimilla," said Emilio. "There is in me, my friend, a force which awakes under the fire of her look, at her lightest touch, and wafts me to a world of light where effects are produced of which I dare not speak. It has seemed to me often that the delicate tissue of her skin has stamped flowers on mine as her hand lies on my hand. Her words play on those inner keys in me, of which you spoke. Desire excites my brain, stirring that invisible world, instead of exciting my passive flesh; the air seems red and sparkling, unknown perfumes of indescribable strength relax my sinews, roses wreathe my temples, and I feel as though my blood were escaping through opened arteries, so complete is my inanition."

"That is the effect on me of smoking opium," replied Vendramin.

"Then do you wish to die?" cried Emilio, in alarm.

"With Venice!" said Vendramin, waving his hand in the direction of San Marco. "Can you see a single pinnacle or spire that stands straight? Do you not perceive that the sea is claiming its prey?"

The Prince bent his head; he dared no more speak to his friend of love.

To know what a free country means, you must have traveled in a conquered land.

When they reached the Palazzo Vendramin, they saw a gondola moored at the water-gate. The Prince put his arm round Vendramin and clasped him affectionately, saying:

"Good-night to you, my dear fellow!"

"What! a woman? for me, whose only love is Venice?" exclaimed Marco.

At this instant the gondolier, who was leaning against a column, recognizing the man he was to look out for, murmured in Emilio's ear:

"The Duchess, monseigneur."

Emilio sprang into the gondola, where he was seized in a pair of soft arms--an embrace of iron--and dragged down on to the cushions, where he felt the heaving bosom of an ardent woman. And then he was no more Emilio, but Clarina's lover; for his ideas and feelings were so bewildering that he yielded as if stupefied by her first kiss.

"Forgive this trick, my beloved," said the Sicilian. "I shall die if you do not come with me."

And the gondola flew over the secret water.


At half-past seven on the following evening, the spectators were again in their places in the theatre, excepting that those in the pit always took their chances of where they might sit. Old Capraja was in Cataneo's box.

Before the overture the Duke paid a call on the Duchess; he made a point of standing behind her and leaving the front seat to Emilio next the Duchess. He made a few trivial remarks, without sarcasm or bitterness, and with as polite a manner as if he were visiting a stranger.

But in spite of his efforts to seem amiable and natural, the Prince could not control his expression, which was deeply anxious. Bystanders would have ascribed such a change in his usually placid features to jealousy. The Duchess no doubt shared Emilio's feelings; she looked gloomy and was evidently depressed. The Duke, uncomfortable enough between two sulky people, took advantage of the French doctor's entrance to slip away.

"Monsieur," said Cataneo to his physician before dropping the curtain over the entrance to the box, "you will hear to-night a grand musical poem, not easy of comprehension at a first hearing. But in leaving you with the Duchess I know that you can have no more competent interpreter, for she is my pupil."

The doctor, like the Duke, was struck by the expression stamped on the faces of the lovers, a look of pining despair.

"Then does an Italian opera need a guide to it?" he asked Massimilla, with a smile.

Recalled by this question to her duties as mistress of the box, the Duchess tried to chase away the clouds that darkened her brow, and replied, with eager haste, to open a conversation in which she might vent her irritation:--

"This is not so much an opera, monsieur," said she, "as an oratorio--a work which is in fact not unlike a most magnificent edifice, and I shall with pleasure be your guide. Believe me, it will not be too much to give all your mind to our great Rossini, for you need to be at once a poet and a musician to appreciate the whole bearing of such a work.

"You belong to a race whose language and genius are too practical for it to enter into music without an effort; but France is too intellectual not to learn to love it and cultivate it, and to succeed in that as in everything else. Also, it must be acknowledged that music, as created by Lulli, Rameau, Haydn, Mozart, Beethoven, Cimarosa, Paisiello, and Rossini, and as it will be carried on by the great geniuses of the future, is a new art, unknown to former generations; they had indeed no such variety of instruments on which the