massimilla doni-第12章

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march；　expressive　of　the　joy　of　deliverance　and　of　faith　in　God；　who
allows　His　people　to　rush　off　gleefully　to　wander　in　the　Desert！　What
lungs　but　would　be　refreshed　by　the　aspirations　of　a　whole　nation
freed　from　slavery。

〃Oh；　beloved　and　living　melodies！　Glory　to　the　great　genius　who　has
known　how　to　give　utterance　to　such　feelings！　There　is　something
essentially　warlike　in　that　march；　proclaiming　that　the　God　of　armies
is　on　the　side　of　these　people。　How　full　of　feeling　are　these　strains
of　thanksgiving！　The　imagery　of　the　Bible　rises　up　in　our　mind；　this
glorious　musical　/scena/　enables　us　to　realize　one　of　the　grandest
dramas　of　that　ancient　and　solemn　world。　The　religious　form　given　to
some　of　the　voice　parts；　and　the　way　in　which　they　come　in；　one　by
one；　to　group　with　the　others；　express　all　we　have　ever　imagined　of
the　sacred　marvels　of　that　early　age　of　humanity。

〃And　yet　this　fine　concerted　piece　is　no　more　than　a　development　of
the　theme　of　the　march　into　all　its　musical　outcome。　That　theme　is　the
inspiring　element　alike　for　the　orchestra　and　the　voices；　for　the　air；
and　for　the　brilliant　instrumentation　that　supports　it。

〃Elcia　now　comes　to　join　the　crowd；　and　to　give　shade　to　the　rejoicing
spirit　of　this　number；　Rossini　has　made　her　utter　her　regrets。　Listen
to　her　/duettino/　with　Amenofi。　Did　blighted　love　ever　express　itself
in　lovelier　song？　It　is　full　of　the　grace　of　a　/notturno/；　of　the
secret　grief　of　hopeless　love。　How　sad！　how　sad！　The　Desert　will
indeed　be　a　desert　to　her！

〃After　this　comes　the　fierce　conflict　of　the　Egyptians　and　the
Hebrews。　All　their　joy　is　spoiled；　their　march　stopped　by　the　arrival
of　the　Egyptians。　Pharaoh's　edict　is　proclaimed　in　a　musical　phrase；
hollow　and　dread；　which　is　the　leading　/motif/　of　the　/finale/；　we
could　fancy　that　we　hear　the　tramp　of　the　great　Egyptian　army；
surrounding　the　sacred　phalanx　of　the　true　God；　curling　round　it；　like
a　long　African　serpent　enveloping　its　prey。　But　how　beautiful　is　the
lament　of　the　duped　and　disappointed　Hebrews！　Though；　in　truth；　it　is
more　Italian　than　Hebrew。　What　a　superb　passage　introduces　Pharaoh's
arrival；　when　his　presence　brings　the　two　leaders　face　to　face；　and
all　the　moving　passions　of　the　drama。　The　conflict　of　sentiments　in
that　sublime　/ottetto/；　where　the　wrath　of　Moses　meets　that　of　the　two
Pharaohs；　is　admirable。　What　a　medley　of　voices　and　of　unchained
furies！

〃No　grander　subject　was　ever　wrought　out　by　a　composer。　The　famous
/finale/　of　/Don　Giovanni/；　after　all；　only　shows　us　a　libertine　at
odds　with　his　victims；　who　invoke　the　vengeance　of　Heaven；　while　here
earth　and　its　dominions　try　to　defeat　God。　Two　nations　are　here　face
to　face。　And　Rossini；　having　every　means　at　his　command；　has　made
wonderful　use　of　them。　He　has　succeeded　in　expressing　the　turmoil　of　a
tremendous　storm　as　a　background　to　the　most　terrible　imprecations；
without　making　it　ridiculous。　He　has　achieved　it　by　the　use　of　chords
repeated　in　triple　timea　monotonous　rhythm　of　gloomy　musical
emphasisand　so　persistent　as　to　be　quite　overpowering。　The　horror　of
the　Egyptians　at　the　torrent　of　fire；　the　cries　of　vengeance　from　the
Hebrews；　needed　a　delicate　balance　of　masses；　so　note　how　he　has　made
the　development　of　the　orchestral　parts　follow　that　of　the　chorus。　The
/allegro　assai/　in　C　minor　is　terrible　in　the　midst　of　that　deluge　of
fire。

〃Confess　now；〃　said　Massimilla；　at　the　moment　when　Moses；　lifting　his
rod；　brings　down　the　rain　of　fire；　and　when　the　composer　puts　forth
all　his　powers　in　the　orchestra　and　on　the　stage；　〃that　no　music　ever
more　perfectly　expressed　the　idea　of　distress　and　confusion。〃

〃They　have　spread　to　the　pit；〃　remarked　the　Frenchman。

〃What　is　it　now？　The　pit　is　certainly　in　great　excitement；〃　said　the
Duchess。

In　the　/finale/；　Genovese；　his　eyes　fixed　on　la　Tinti；　had　launched
into　such　preposterous　flourishes；　that　the　pit；　indignant　at　this
interference　with　their　enjoyment；　were　at　a　height　of　uproar。　Nothing
could　be　more　exasperating　to　Italian　ears　than　this　contrast　of　good
and　bad　singing。　The　manager　went　so　far　as　to　appear　on　the　stage；　to
say　that　in　reply　to　his　remarks　to　his　leading　singer；　Signor
Genovese　had　replied　that　he　knew　not　how　or　by　what　offence　he　had
lost　the　countenance　of　the　public；　at　the　very　moment　when　he　was
endeavoring　to　achieve　perfection　in　his　art。

〃Let　him　be　as　bad　as　he　was　yesterdaythat　was　good　enough　for　us！〃
roared　Capraja；　in　a　rage。

This　suggestion　put　the　house　into　a　good　humor　again。

Contrary　to　Italian　custom；　the　ballet　was　not　much　attended　to。　In
every　box　the　only　subject　of　conversation　was　Genovese's　strange
behavior；　and　the　luckless　manager's　speech。　Those　who　were　admitted
behind　the　scenes　went　off　at　once　to　inquire　into　the　mystery　of　this
performance；　and　it　was　presently　rumored　that　la　Tinti　had　treated
her　colleague　Genovese　to　a　dreadful　scene；　in　which　she　had　accused
the　tenor　of　being　jealous　of　her　success；　of　having　hindered　it　by
his　ridiculous　behavior；　and　even　of　trying　to　spoil　her　performance
by　acting　passionate　devotion。　The　lady　was　shedding　bitter　tears　over
this　catastrophe。　She　had　been　hoping；　she　said；　to　charm　her　lover；
who　was　somewhere　in　the　house；　though　she　had　failed　to　discover　him。

Without　knowing　the　peaceful　course　of　daily　life　in　Venice　at　the
present　day；　so　devoid　of　incident　that　a　slight　altercation　between
two　lovers；　or　the　transient　huskiness　of　a　singer's　voice　becomes　a
subject　of　discussion；　regarded　of　as　much　importance　as　politics　in
England；　it　is　impossible　to　conceive　of　the　excitement　in　the　theatre
and　at　the　Cafe　Florian。　La　Tinti　was　in　love；　la　Tinti　had　been
hindered　in　her　performance；　Genovese　was　mad　or　purposely　malignant；
inspired　by　the　artist's　jealousy　so　familiar　to　Italians！　What　a　mine
of　matter　for　eager　discussion！

The　whole　pit　was　talking　as　men　talk　at　the　Bourse；　and　the　result
was　such　a　clamor　as　could　not　fail　to　amaze　a　Frenchman　accustomed　to
the　quiet　of　the　Paris　theatres。　The　boxes　were　in　a　ferment　like　the
stir　of　swarming　bees。

One　man　alone　remained　passive　in　the　turmoil。　Emilio　Memmi；　with　his
back　to　the　stage　and　his　eyes　fixed　on　Massimilla　with　a　melancholy
expression；　seemed　to　live　in　her　gaze；　he　had　not　once　looked　round
at　the　prima　donna。

〃I　need　not　ask　you；　/caro　carino/；　what　was　the　result　of　my
negotiation；〃　said　Vendramin　to　Emilio。　〃Your　pure　and　pious
Massimilla　has　been　supremely　kindin　short；　she　has　been　la　Tinti？〃

The　Prince's　reply　was　a　shake　of　his　head；　full　of　the　deepest
melancholy。

〃Your　love　has　not　descended　from　the　ethereal　spaces　where　you　soar；〃
said　Vendramin；　excited　by　opium。　〃It　is　not　yet　materialized。　This
morning；　as　every　day　for　six　monthsyou　felt　flowers　opening　their
scented　cups　under　the　dome　of　your　skull　that　had　expanded　to　vast
proportions。　All　your　blood　moved　to　your　swelling　heart　that　rose　to
choke　your　throat。　There；　in　there；〃and　he　laid　his　hand　on　Emilio's
breast；〃you　felt　rapturous　emotions。　Massimilla's　voice　fell　on　your
soul　in　waves　of　light；　her　touch　released　a　thousand　imprisoned　joys
which　emerged　from　the　convolutions　of　your　brain　to　gather　about　you
in　clouds；　to　waft　your　etherealized　body　through　the　blue　air　to　a
purple　glow　far　above　the　snowy　heights；　to　where　the　pure　love　of
angels　dwells。　The　smile；　the　kisses　of　her　lips　wrapped　you　in　a
poisoned　robe　which　burnt　up　the　last　vestiges　of　your　earthly　nature。
Her　eyes　were　twin　stars　that　turned　you　into　shadowless　light。　You
knelt　together　on　the　palm…branches　of　heaven；　waiting　for　the　gates
of　Paradise　to　be　opened；　but　they　turned　heavily　on　their　hinges；　and
in　your　impatience　you　struck　at　them；　but　could　not　reach　them。　Your
hand　touched　nothing　but　clouds　more　nimble　than　your　desires。　Your
radiant　companion；　crowned　with　white　roses　like　a　bride　of　Heaven；
wept　at　your　anguish。　Perhaps　she　was　murmuring　melodious　litanies　to
the　Virgin；　while　the　demoniacal　cravings　of　the　flesh　were　haunting
you　with　their　shameless　clamor；　and　you　disdained　the　divine　fruits
of　that　ecstasy　in　which　I　live；　though　shortening　my　life。〃

〃Your　exaltation；　my　dear　Vendramin；〃　replied　Emilio；　calmly；　〃is
still　beneath　reality。　Who　can　describe　that　purely　physical
exhaustion　in　which　we　are　left　by　the　abuse　of　a　dream　of　pleasure；
leaving　the　soul　still　eternally　craving；　and　the　spirit　in　clear
possession　of　its　faculties？

〃But　I　am　weary　of　this　torment；　which　is　that　of　Tantalus。　This　is　my
last　night　on　earth。　After　one　final　effort；　our　Mother　shall　have　her
child　againthe　Adriatic　will　silence　my　last　sigh〃

〃Are　you　idiotic？〃　cried　Vendramin。　〃No；　you　are　mad；　for　madness；　the
crisis　we　despise；　is　the　memory　of　an　antecedent　condition　acting　on
our　present　state　of　being。　The　genius　of　my　dreams　has　taught　me
that；　and　much　else！　You　want　to　make　one　of　the　Duchess　and　la　Tinti；
nay；　dear　Emilio；　take　them　separately；　it　will　be　far　wiser。　Raphael
alone　ever　united　form　and　idea。　You　want　to　be　the　Raphael　of　love；
but　chance　cannot　be　commanded。　Raphael　was　a　'fluke'　of　God's
creation；　for　He　foreordained　that　form　and　idea　should　be
antagonistic；　otherwise　nothing　could　live。　When　the　first　cause　is
more　potent　than　the　outcome；　nothing　comes　of　it。　We　must　live　either
on　earth　or　in　the　skies。　Remain　in　the　skies；　it　is　always　too　soon
to　come　down　to　earth。〃

〃I　will　take　the　Duchess　home；〃　said　the　Prince；　〃and　make　a　last
attemptafterwards？〃

〃Afterwards；〃　cried　Vendramin；　anxiously；　〃promise　to　call　for　me　at
Florian's。〃

〃I　will。〃

This　dialogue；　in　modern　Greek；　with　which　Vendramin　and　Emilio　were
familiar；　as　many　Venetians　are；　was　unintelligible　to　the　Duchess　and
to　the　Frenchman。　Although　he　was　quite　outside　the　little　circle　that
held　the　Duchess；　Emilio　and　Vendramin　togetherfor　these　three
understood　each　other　by　means　of　Italian　glances；　by　turns　arch　and
keen；　or　veiled　and　sidelongthe　physician　at　last　discerned　part　of
the　truth。　An　earnest　entreaty　from　the　Duchess　had　prompted
Vendramin's　suggestion　to　Emilio；　for　Massimilla　had　begun　to　suspect
the　misery　endured　by　her　lover　in　that　cold　empyrean　where　he　was
wandering；　though　she　had　no　suspicions　of　la　Tinti。

〃These　two　young　men　are　mad！〃　said　the　doctor。

〃As　to　the　Prince；〃　said　the　Duchess；　〃trust　me　to　cure　him。　As　to
Vendramin；　if　he　cannot　understand　this　sublime　music；　he　is　perhaps
incurable。〃

〃If　you　would　but　tell　me　the　cause　of　their　madness；　I　could　cure
them；〃　said　the　Frenchman。

〃And　since　when　have　great　physicians　ceased　to　read　men's　minds？〃
said　she；　jestingly。

The　ballet　was　long　since　ended；　the　second　act　of　/Mose/　was
beginning。　The　pit　was　perfectly　attentive。　A　rumor　had　got　abroad
that　Duke　Cataneo　had　lectured　Genovese；　representing　to　him　what
injury　he　was　doing　to　Clarina；　the　/diva/　of　the　day。　The　second　act
would　certainly　be　magnificent。

〃The　Egyptian　Prince　and　his　father　are　on　the　stage；〃　said　the
Duchess。　〃They　have　yielded　once　more；　though　insulting　the　Hebrews；
but　they　are　trembling　with　rage。　The　father　congrat