Читать книгу Alas! A Novel - Broughton Rhoda - Страница 15

"Four precious souls, and all agog

To dash thro' thick and thin."

Not, indeed, that there is much dash about the Florentine cab-horses—saddest among God's many sad creatures—with not a sound leg among them, with staring coats and starting ribs, and poor broken knees; and with their sadness emphasized by the feathers stuck in their tired heads, as if to mock their wretchedness by a sort of melancholy smartness! Sad as they are, it must be owned that they are the only sad things in the cheerful Florentine streets, where no one seems over-busy, where, out of the deep-eaved, green-shuttered houses, people lean, talking to acquaintances on the shadowed pavement below. All the narrow thorough-fares are full of bustling life; but there is no haggard squalor apparently, no dreadful gin-palace gaiety. It does not follow here that a man must be drunk because he sings. And down the strait, colourful streets one looks—down a vista of houses diversely tall, each with its cream-yellow face and its green shutters, varied here and there by the towering bulk of some giant-blocked mountain-palace, through whose grim, barred windows a woman peeps, or a little dog shows his pointed nose—looks to where, in dwindling perspective, the view is closed by a narrow picture of lucent purple hill, Fiesole or Bellosguardo—names to which the tongue cleaves lovingly. Through the gay streets, over bridge and blue Arno, our travellers go; their driver cracking a prodigious whip, and with a tiny red dog, absurdly shaven, and with nothing but a small woolly head and tail left of the original design, seated gravely beside him. Away they go, pleasuring; but pleasure and pleasuring are not always identical.

Burgoyne sits opposite Amelia; and as for Cecilia, it is to be supposed that her heartache is for the moment dulled, since the same carriage-rug covers her knees and those of Byng. Burgoyne does not look at Amelia; nor, though his eyes are fixed upon the passing objects, does he at first see aught of them. His vision is turned inwards, and to his own soul he is mechanically repeating in dismal recitative, "A double-barrelled, central fire, breech-loading gun, by Lancaster; made strong enough at the breech to shoot a spherical bullet."

As for Amelia, her features are not of a build to express any emotion with much brilliancy; but over them lies a deep and brooding content. Amelia has not had much undiluted happiness in her life, but she is exceedingly happy to-day. She is even strangely free from the carking fear which usually assails her, of praising mistakenly, of being enthusiastic in the wrong places, and passing over the right ones unnoticed. If she keep to a vague generality of handsome adjectives, she will surely do well enough, and, on this high holiday that her heart is holding, he cannot be cross to her.

As to Byng, he is emphatically of the school of divinity taught by Tommy Moore, nor was he ever known, when lacking "the lips that he loved," to fail to make love to "the lips that are near." His taste is too good for him to have chosen Cecilia as a companion; but, since fate has allotted her to him for the afternoon, he finds no difficulty in making the best of her. Nor, to do her justice, is she destitute of charms of a certain kind, though her face has the inevitable air of commonness incident upon a very short nose and a very long upper lip. But she has a good deal of bloom, and of crisp, showy-coloured hair, and a very considerable eye-power. Byng's attachment to the fair sex being of far too stout a quality to be blunted by such trifles as an inch too much or too little of nose or lip, he also, like Amelia, is thoroughly prepared to enjoy himself.

Up the turning Via Galileo they climb, to the Basilica at the top—stock-drive of all tourists—hackneyed as only Yankeedom and Cockneydom, rushing hand in hand through all earth's sacredness, can hackney. But even hackneying is powerless to take off the freshness to the eye that sees it for the first time, of that view when he beholds the Lily City lying close at his feet, so close that it seems he could throw a stone into her Arno.

They have left their fiacre, and, as naturally happens in a partie carrée—more especially when one couple are betrothed lovers—have broken into pairs. Burgoyne leans pensively on the terrace parapet, and his sombre eyes rest on the band of sister hills, joining hands in perpetual watch round valley and town; hills over which, in this late spring, there is more a promise than a performance of that green and many-coloured wealth of verdure and blossom that one associates with Firenze's fair name. But it is a promise that is plainly on the verge of a bounteous fulfilment. Then his look drops slowly to the city herself. In what a little space comparatively does the Florence that is immortal lie! The Duomo, the lily Campanile "made up of dew and sunshine," the Baptistery, Santa Croce, the Palazzo Vecchio; he could compass them in a ten minutes' walk. And around this small nucleus of the undying dead and their work, what a nation of gleaming villas of the polyglot living—a nation of every tongue, and people, and language! All over the hills is the sheen of white walls, the verdure of tended gardens; they stretch away almost to where the Apennines raise their cold white fronts against the sky.

He rouses himself to remember that Amelia is beside him, and that he ought to say something to her. So he makes a rather banal observation upon the smallness of the enceinte that encloses so much loveliness.

"Yes, is not it tiny?" replies she, with the eager pleasure of having a remark made to her which she cannot go wrong in answering. "Think of London! Why, the whole thing is not as big as South Kensington or Bayswater!"

He shudders. Must the accursed suburb pursue him even here?

"Let us go into the church," he says, in a tone that a little dulls his companion's buoyancy.

She follows him crestfallenly, asking herself whether she has answered amiss here also. She does not trust herself to any comment upon the interior.

Byng and Cecilia are standing before the high altar, from over which a mosaic Madonna stiffly beams upon them; and as the other couple approach them, Burgoyne hears the words "drawing-room grate" issue from his future sister-in-law's lips.

"Bravo, Cis!" he says in a dry aside; "you are getting on nicely! I did not think that you would have reached the drawing-room grate till to-morrow."

To avoid intruding further on her delicate confidences, and also to escape from two Americans, who are nasally twanging Hare and Horner at each other, varied by trips into Baedeker, he passes into a side chapel made famous by one of the loveliest tombs that ever feigned to simulate in marble death's ugliness. The Yankee voices are high and shrill, but they had need to be higher and shriller still before they could break the slumber of him whose resting-place Jim has invaded in his flight from Cecilia and New York. Was ever rest so beautiful as this of the young sleeper? A priest he was, nay cardinal, and youthful and lovely and chaste! and now in how divine a slumber is he lapt! But how should that four hundred years' slumber not be divine, watched by such a gentle Mary-mother as is watching his; smiling as if to tell him that he does well to sleep, that sleep is better than waking, that death is better than life! There is a sunken look about his fair eyelids, as if he had gone through suffering to his rest; and his reposeful hands are thin; but below him, as he lies in his spotless marble tranquillity, upon his sarcophagus, the rose garlands wave in lovely frieze, and the riotous horses rear and plunge in fulness of life.

Burgoyne has not perceived that Amelia did not follow him. She has, in point of fact, remained in the body of the church, immersed in her guide-book, steadily working through the marble screen and pulpit, and still five good minutes off the side chapel, in which her lover stands in so deeply brown a study, that he is not aware of the intrusion upon his solitude of two women, until he is roused with a leap by the voice of one of them addressing—not him, of whose presence she is obviously as unaware as was he of hers, until this moment—but her companion.

"Oh, mother! am I not a fool, at my age, too? but I cannot help it, it makes me cry so!"

Burgoyne does not need the evidence of his eyes. His ears and his startled heart have enough assured him whose are the tears called forth by that indeed most touching effigy at which he himself has been so pensively staring.

The mother's answer is inaudible; and then again comes the voice of Elizabeth Le Marchant, tearful and vibrating.

"You know I have seen so few beautiful things in my life, I shall get used to them presently; it is only sheer happiness that makes me——"

She stops abruptly, having evidently discovered for herself, or been made aware by her mother of his vicinity; and even if she had not done so, he feels that he must lose no time in announcing himself.

"Florence is a place that does make one often choky," he says, eagerly taking the hand which she hesitatingly, and with some confusion, offers him.

It is not quite true; Florence has never made him feel choky; and, if he is experiencing that sensation now, it is certainly not the dead cardinal of Portugal who is giving it to him.

"I am a fool, a perfect fool!" replies Elizabeth, hastily and shamefacedly wiping away her tears.

To give her time to recover herself, and also because he has not yet greeted the girl's mother, Jim turns to her.

"Did not I tell you that we should meet here?"

There is such undisguised joy and triumph in his tone, that perhaps Mrs. Le Marchant has not the heart to dash his elation; at all events, he is conscious in her tone of a less resolute determination to keep him at arm's-length, than on their two last meetings.

"I do not think that I contradicted you," she answers, smiling.

He may steal another look at Elizabeth now. She is not crying any longer. Indeed, despite the real moisture on her cheeks, she strikes him as looking happier than at their last meeting; and though the interval between now and then is too short for any such alteration to have taken place in reality, yet he cannot help imagining that the hollows in those very cheeks are less deep than when they stood together before the great Vandyke in the Brignoli Sala Palace.

"And the entresol? is it all your fancy painted it?" he asks quickly, feeling a sort of panic fear, that if he stops putting questions for one minute they will slip out of his grasp again, as they did in the Genoese Palace.

Elizabeth's face breaks into a soft bright smile. She has a dimple in one cheek and not in the other. She must have had it ten years ago; how comes he to have forgotten so sweet and strange a peculiarity?

"It is delightful—perfectly delightful!"

"Large enough to receive your friends in, after all?"

But the moment that the words are out of his mouth, he perceives that he has made a false step, and is somehow treading dangerous ground. Elizabeth's smile goes out, like a light blown into nothingness by a sudden wind.

"We have not many friends," she murmurs; "we—we are not going out at all."

He hastens to change his cue.

"Byng and I are at the Minerva," he says, beginning to talk very fast; "I wonder if, by any chance, you are in our neighbourhood; have I forgotten, or did you never tell me where the entresol lies? Where is it, by-the-bye?"

Ensnared by the wily and brazen suddenness of this demand, Miss Le Marchant has evidently no evasion ready, and, after an almost imperceptible pause of hesitation, answers:

"We are at 12 bis, Piazza d'Azeglio."

She is looking doubtfully and half uneasily in his face, as she gives this answer, but he has scarcely time for a flash of self-congratulation at having obtained the information, which he had never realized the eagerness of his desire for until this moment, before he becomes aware that his interlocutor's eyes are no longer meeting his, but have wandered to some object over his shoulder. What that object is he is not long left in doubt. Whether it is a genuine accident, or one of those spurious ones, of which those who profit by them are the artificers, Jim does not know; and, as he is at the time, and will be when he thinks of the circumstance to the end of his life, too angry to question Byng on the subject, it is pretty certain that he never will know; but so it is that at this moment the voice of his protégé breaks upon his ear:

"You are not going to give us the slip like this, old chap—oh! I beg your pardon!"

But begging pardon ever so sweetly does not alter the fact that he has rushed, like a bull in a china shop, into the middle of the dialogue. All four look at each other for a second; then, since there is no help for it, Jim presents his disciple, and the next moment the latter has slid into talk with Elizabeth, and she is responding with an ease and freedom from embarrassment such as had never marked her sparse and hardly won utterances to the elder man.

Byng has the advantage of him, as he somewhat bitterly thinks. Byng has no connection with "old times;" those poor old times which she and her mother have so unaccountably taken en grippe. He seems suddenly relegated, as by some natural affinity, to the mother. On their two last meetings the eagerness to converse has been all on his side; yet now he has nothing to say to her. It is she who addresses him.

"I hope that you found your young lady flourishing," she says civilly.

He gives a slight inward start, though—as he is thankful to feel—his body is quiet. "His young lady!" Yes, of course he has a young lady! Has there been any danger during the last five minutes of his forgetting that fact? and has Mrs. Le Marchant done him an unnecessary service in recalling it?

"Oh, yes, thanks, she is all right!"

"Is she still in Florence?"

"Yes, she is here; by-the-bye"—looking round with a sudden sense that he ought to have missed her—"what has become of her? Oh, here she is!"

For even while the words are on his lips, Amelia and Cecilia come into sight. Amelia with a shut Baedeker, and the serene look of an easy conscience and a thoroughly performed duty on her amiable face; Cecilia with a something of search and disquiet in her large rolling eye, which would have made him laugh at another time.

A sudden instinct, with which his will has nothing to do, makes him flash a look back at Mrs. Le Marchant, as if to gauge the effect produced upon her by his betrothed; and, following her glance, he finds that it is resting on Cecilia. She thinks that he is engaged to Cecilia. The mistake is intolerable to him, and yet a second's reflection tells him that it is a natural one. In a second he sees his Amelia as she presents herself to a strange eye. Miss Wilson is only thirty-one, but upon her has already come that set solid look of middle age, which overtakes some women before they are well over the borders of youth, and which other women manage to stave off till they are within near hail of forty. Yes; the mistake is quite a natural one. Most people would suppose that the showy Cecilia, still fairly youthful, and with so many obvious and well-produced "points," must be his choice; and yet, as I have said, the idea that anyone should credit him with her ownership is intolerable to him.

"Here she is!" he cries precipitately. "The one to the right side, the other is her sister; may I—may I present them to you?"

Perhaps it is his irritated fancy that dictates the idea, but it seems to him as if he detected a sort of surprise in Mrs. Le Marchant's face, when he effects the introduction he has proposed, and to which she accedes courteously, after a pause of hesitation about as long as had followed his inquiry of Elizabeth as to their address.

Five minutes later they have all sauntered out again on the terrace, and Burgoyne is again leaning on the wall; but this time he has no fear of hearing of Bayswater, for it is Elizabeth who is beside him. Since last he looked at it half an hour ago, a sort of glorification has passed over the divine view. Down where the river twists through the plain country, there is a light, dainty mist, but the mountains have put on their fullest glory. They are not green, or brown, or purple, or blue; but clad in that ineffable raiment woven by the sun, that defies our weak vocabulary to provide it with a name. A little snow-chain lies on the sun-warmed neck of Morello, and along the tops of the further Apennines, right against the acute blue of the heavens, lies a line of snow, that looks like a fleece-soft cloud resting from its journeyings on their crests; but it is no cloud, nor is there any speck upon the gigantic complete arch that over-vaults town and valley and radiant mountains. In the folds of these last, the shadows slumber; but over all the city is the great gold glory of spring. The one thing in Florence that frowns among so many smiles is the scowling Pitti, and that, from here, is invisible. Nearer to him, against the azure, stand the solemn flame-shaped cypresses arow, and beside them—as unlike as life to death—a band of quivering poplars, a sort of transparent gold-green in their young spring livery. The air is so clear that one can go nigh to counting the marbles on the Duomo walls. In a more transparent amber light, fuller of joy and gaiety, cannot the saved be dancing around, as in Fra Angelico's divine picture? cannot they be walking in the New Jerusalem of St. John's great dream? Only in the New Jerusalem there are no galled and trembling-kneed fiacre horses.

Elizabeth is sitting on the wall, her light figure—is it possible that it has been in the world only four years less than Amelia's solid one?—half-supported by one small gray hand outspread on the stone; her little fine features all tremulous with emotion, and half a tear gathered again in each sweet eye. As Jim looks at her, a sort of cold covetous gripe pinches his heart.

"What a woman with whom to look at all earth's loveliness—with whom to converse without speech!"

Even as he so thinks, she turns her head towards him, and, drawing in her breath with a long low sigh, says:

"Oh, how glad I am I did not die before to-day!"

Her eyes are turned towards him, and yet, as once before, he realizes that it is not to him that either her look or her thoughts are directed. Both are aimed at an object over his shoulder, and, as before, that object is Byng. Byng, too, has been gazing at the view. There are tears in Byng's eyes also. Stevenson says that some women like a man who cries. Byng cries easily and genuinely, and enjoys it; and, as he is a remarkably fine young man, there is something piquant in the contrast between his wet blue orbs and his shoulders.

As Burgoyne rolls home that afternoon in his fiacre, as before, placed opposite Amelia, his mental vision is no longer fixed upon a "double-barrelled, central fire, breech-loading gun;" it is fixed with a teasing tenacity upon the figure of a smallish woman, perennially looking, through brilliant tears, over his shoulder at somebody else.