The Marble Faun, vol 1 by Nathaniel Hawthorne (sci fi books to read .TXT) đź“•
And the sculptor directed the attention of the party to the ears of thebeautiful statue which they were contemplating.
But we must do more than merely refer to this exquisite work of art; itmust be described, however inadequate may be the effort to express itsmagic peculiarity in words.
The Faun is the marble image of a young man, leaning his right arm on thetrunk or stump of a tree; one hand hangs carelessly by his side; in theother he holds the fragment of a pipe, or some such sylvan instrument ofmusic. His only garment--a lion's skin, with the claws upon hisshoulder--falls halfway down his back, leaving the limbs and entire frontof the figure nude. The form, thus displayed, is marvellously graceful,but has a fuller and more rounded outline, more flesh, and
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The cemetery is beneath the church, but entirely above ground, and lighted by a row of iron-grated windows without glass. A corridor runs along beside these windows, and gives access to three or four vaulted recesses, or chapels, of considerable breadth and height, the floor of which consists of the consecrated earth of Jerusalem. It is smoothed decorously over the deceased brethren of the convent, and is kept quite free from grass or weeds, such as would grow even in these gloomy recesses, if pains were not bestowed to root them up. But, as the cemetery is small, and it is a precious privilege to sleep in holy ground, the brotherhood are immemorially accustomed, when one of their number dies, to take the longest buried skeleton out of the oldest grave, and lay the new slumberer there instead. Thus, each of the good friars, in his turn, enjoys the luxury of a consecrated bed, attended with the slight drawback of being forced to get up long before daybreak, as it were, and make room for another lodger.
The arrangement of the unearthed skeletons is what makes the special interest of the cemetery. The arched and vaulted walls of the burial recesses are supported by massive pillars and pilasters made of thigh-bones and skulls; the whole material of the structure appears to be of a similar kind; and the knobs and embossed ornaments of this strange architecture are represented by the joints of the spine, and the more delicate tracery by the Smaller bones of the human frame. The summits of the arches are adorned with entire skeletons, looking as if they were wrought most skilfully in bas-relief. There is no possibility of describing how ugly and grotesque is the effect, combined with a certain artistic merit, nor how much perverted ingenuity has been shown in this queer way, nor what a multitude of dead monks, through how many hundred years, must have contributed their bony framework to build up these great arches of mortality. On some of the skulls there are inscriptions, purporting that such a monk, who formerly made use of that particular headpiece, died on such a day and year; but vastly the greater number are piled up indistinguishably into the architectural design, like the many deaths that make up the one glory of a victory.
In the side walls of the vaults are niches where skeleton monks sit or stand, clad in the brown habits that they wore in life, and labelled with their names and the dates of their decease. Their skulls (some quite bare, and others still covered with yellow skin, and hair that has known the earth-damps) look out from beneath their hoods, grinning hideously repulsive. One reverend father has his mouth wide open, as if he had died in the midst of a howl of terror and remorse, which perhaps is even now screeching through eternity. As a general thing, however, these frocked and hooded skeletons seem to take a more cheerful view of their position, and try with ghastly smiles to turn it into a jest. But the cemetery of the Capuchins is no place to nourish celestial hopes: the soul sinks forlorn and wretched under all this burden of dusty death; the holy earth from Jerusalem, so imbued is it with mortality, has grown as barren of the flowers of Paradise as it is of earthly weeds and grass. Thank Heaven for its blue sky; it needs a long, upward gaze to give us back our faith. Not here can we feel ourselves immortal, where the very altars in these chapels of horrible consecration are heaps of human bones.
Yet let us give the cemetery the praise that it deserves. There is no disagreeable scent, such as might have been expected from the decay of so many holy persons, in whatever odor of sanctity they may have taken their departure. The same number of living monks would not smell half so unexceptionably.
Miriam went gloomily along the corridor, from one vaulted Golgotha to another, until in the farthest recess she beheld an open grave.
“Is that for him who lies yonder in the nave?” she asked.
“Yes, signorina, this is to be the resting-place of Brother Antonio, who came to his death last night,” answered the sacristan; “and in yonder niche, you see, sits a brother who was buried thirty years ago, and has risen to give him place.”
“It is not a satisfactory idea,” observed Miriam, “that you poor friars cannot call even your graves permanently your own. You must lie down in them, methinks, with a nervous anticipation of being disturbed, like weary men who know that they shall be summoned out of bed at midnight. Is it not possible (if money were to be paid for the privilege) to leave Brother Antonio—if that be his name—in the occupancy of that narrow grave till the last trumpet sounds?”
“By no means, signorina; neither is it needful or desirable,” answered the sacristan. “A quarter of a century’s sleep in the sweet earth of Jerusalem is better than a thousand years in any other soil. Our brethren find good rest there. No ghost was ever known to steal out of this blessed cemetery.”
“That is well,” responded Miriam; “may he whom you now lay to sleep prove no exception to the rule!”
As they left the cemetery she put money into the sacristan’s hand to an amount that made his eyes open wide and glisten, and requested that it might be expended in masses for the repose of Father Antonio’s soul.
CHAPTER XXII
THE MEDICI GARDENS
“Donatello,” said Miriam anxiously, as they came through the Piazza Barberini, “what can I do for you, my beloved friend? You are shaking as with the cold fit of the Roman fever.” “Yes,” said Donatello; “my heart shivers.” As soon as she could collect her thoughts, Miriam led the young man to the gardens of the Villa Medici, hoping that the quiet shade and sunshine of that delightful retreat would a little revive his spirits. The grounds are there laid out in the old fashion of straight paths, with borders of box, which form hedges of great height and density, and are shorn and trimmed to the evenness of a wall of stone, at the top and sides. There are green alleys, with long vistas overshadowed by ilex-trees; and at each intersection of the paths, the visitor finds seats of lichen-covered stone to repose upon, and marble statues that look forlornly at him, regretful of their lost noses. In the more open portions of the garden, before the sculptured front of the villa, you see fountains and flower-beds, and in their season a profusion of roses, from which the genial sun of Italy distils a fragrance, to be scattered abroad by the no less genial breeze.
But Donatello drew no delight from these things. He walked onward in silent apathy, and looked at Miriam with strangely half-awakened and bewildered eyes, when she sought to bring his mind into sympathy with hers, and so relieve his heart of the burden that lay lumpishly upon it.
She made him sit down on a stone bench, where two embowered alleys crossed each other; so that they could discern the approach of any casual intruder a long way down the path.
“My sweet friend,” she said, taking one of his passive hands in both of hers, “what can I say to comfort you?”
“Nothing!” replied Donatello, with sombre reserve. “Nothing will ever comfort me.”
“I accept my own misery,” continued Miriam, “my own guilt, if guilt it be; and, whether guilt or misery, I shall know how to deal with it. But you, dearest friend, that were the rarest creature in all this world, and seemed a being to whom sorrow could not cling,—you, whom I half fancied to belong to a race that had vanished forever, you only surviving, to show mankind how genial and how joyous life used to be, in some long-gone age,—what had you to do with grief or crime?”
“They came to me as to other men,” said Donatello broodingly. “Doubtless I was born to them.”
“No, no; they came with me,” replied Miriam. “Mine is the responsibility! Alas! wherefore was I born? Why did we ever meet? Why did I not drive you from me, knowing for my heart foreboded it—that the cloud in which I walked would likewise envelop you!”
Donatello stirred uneasily, with the irritable impatience that is often combined With a mood of leaden despondency. A brown lizard with two tails—a monster often engendered by the Roman sunshine—ran across his foot, and made him start. Then he sat silent awhile, and so did Miriam, trying to dissolve her whole heart into sympathy, and lavish it all upon him, were it only for a moment’s cordial.
The young man lifted his hand to his breast, and, unintentionally, as Miriam’s hand was within his, he lifted that along with it. “I have a great weight here!” said he. The fancy struck Miriam (but she drove it resolutely down) that Donatello almost imperceptibly shuddered, while, in pressing his own hand against his heart, he pressed hers there too.
“Rest your heart on me, dearest one!” she resumed. “Let me bear all its weight; I am well able to bear it; for I am a woman, and I love you! I love you, Donatello! Is there no comfort for you in this avowal? Look at me! Heretofore you have found me pleasant to your sight. Gaze into my eyes! Gaze into my soul! Search as deeply as you may, you can never see half the tenderness and devotion that I henceforth cherish for you. All that I ask is your acceptance of the utter self-sacrifice (but it shall be no sacrifice, to my great love) with which I seek to remedy the evil you have incurred for my sake!”
All this fervor on Miriam’s part; on Donatello’s, a heavy silence.
“O, speak to me!” she exclaimed. “Only promise me to be, by and by, a little happy!”
“Happy?” murmured Donatello. “Ah, never again! never again!”
“Never? Ah, that is a terrible word to say to me!” answered Miriam. “A terrible word to let fall upon a woman’s heart, when she loves you, and is conscious of having caused your misery! If you love me, Donatello, speak it not again. And surely you did love me?”
“I did,” replied Donatello gloomily and absently.
Miriam released the young man’s hand, but suffered one of her own to lie close to his, and waited a moment to see whether he would make any effort to retain it. There was much depending upon that simple experiment.
With a deep sigh—as when, sometimes, a slumberer turns over in a troubled dream Donatello changed his position, and clasped both his hands over his forehead. The genial warmth of a Roman April kindling into May was in the atmosphere around them; but when Miriam saw that involuntary movement and heard that sigh of relief (for so she interpreted it), a shiver ran through her frame, as if the iciest wind of the Apennines were blowing over her.
“He has done himself a greater wrong than I dreamed of,” thought she, with unutterable compassion. “Alas! it was a sad mistake! He might have had a kind of bliss in the consequences of this deed, had he been impelled to it by a love vital enough to survive the frenzy of that terrible moment, mighty enough to make its own law, and justify itself against the natural remorse. But to have perpetrated a dreadful murder (and such was his crime, unless love, annihilating moral distinctions, made it otherwise) on no better warrant than a boy’s idle fantasy! I pity him from the very depths of my soul! As for myself, I am past my own or other’s pity.”
She arose from the young man’s side, and stood before him with a sad, commiserating aspect;
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