Читать книгу Edith Wharton: Complete Works - Edith Wharton - Страница 48

Odo, who, like all neglected children, was quick to note in the demeanor of his elders any hint of a change in his own condition, had been keenly conscious of the effect produced at Donnaz by the news of the Duchess of Pianura’s deliverance. Guided perhaps by his mother’s exclamation, he noticed an added zeal in Don Gervaso’s teachings, and an unction in the manner of his aunts and grandmother, who embraced him as though they were handling a relic; while the old Marquess, though he took his grandson seldomer on his rides, would sit staring at him with a frowning tenderness that once found vent in the growl—“Morbleu, but he’s too good for the tonsure!” All this made it clear to Odo that he was indeed meant for the Church, and he learned without surprise that the following spring he was to be sent to the seminary at Asti.

With a view to prepare him for this change the canonesses suggested his attending them that year on their annual pilgrimage to the sanctuary of Oropa. Thither, for every feast of the Assumption, these pious ladies travelled in their litter; and Odo had heard from them many tales of the miraculous Black Virgin who drew thousands to her shrine among the mountains. They set forth in August, two days before the feast, ascending through chestnut groves to the region of bare rocks; thence downward across torrents hung with white acacia, and along park-like grassy levels deep in shade. The lively air, the murmur of verdure, the perfume of mown grass in the meadows, and the sweet call of cuckoos from every thicket, made an enchantment of the way; but Odo’s pleasure redoubled when, gaining the high-road to Oropa, they mingled with the long train of devotees ascending from the plain. Here were pilgrims of every condition, from the noble lady of Turin or Asti (for it was the favorite pilgrimage of the Sardinian court), attended by her physician and her cicisbeo, to the half-naked goat-herd of Val Sesia or Salluzzo; the cheerful farmers of the Milanese, with their wives, in silver necklaces and hairpins, riding pillion on plump white asses; sick persons travelling in closed litters or carried on hand-stretchers; crippled beggars obtruding their deformities; confraternities of hooded penitents, Franciscans, Capuchins and Poor Clares in dusty companies; jugglers, pedlars, Egyptians and sellers of drugs and amulets. From among these, as the canonesses’ litter jogged along, an odd figure advanced toward Odo, who had obtained leave to do the last mile of the journey on foot. This was a plump abate in tattered ecclesiastical dress, his shoes white as a miller’s and the perspiration streaking his face as he labored along in the dust. He accosted Odo in a soft shrill voice, begging leave to walk beside the young cavaliere, whom he had more than once had the honor of seeing at Pianura; and, in reply to the boy’s surprised glance, added, with a swelling of the chest and an absurd gesture of self-introduction, “But perhaps the cavaliere is not too young to have heard of the illustrious Cantapresto, late primo soprano of the ducal theatre of Pianura?”

Odo being obliged to avow his ignorance, the fat creature mopped his brow and continued with a gasp—“Ah, your excellency, what is fame? From glory to obscurity is no farther than from one mile-stone to another! Not eight years ago, cavaliere, I was followed through the streets of Pianura by a greater crowd than the Duke ever drew after him! But what then? The voice goes—it lasts no longer than the bloom of a flower—and with it goes everything: fortune, credit, consideration, friends and parasites! Not eight years ago, sir—would you believe me?—I was supping nightly in private with the Bishop, who had nearly quarrelled with his late Highness for carrying me off by force one evening to his casino; I was heaped with dignities and favors; all the poets in the town composed sonnets in my honor; the Marquess of Trescorre fought a duel about me with the Bishop’s nephew, Don Serafino; I attended his lordship to Rome; I spent the villeggiatura at his villa, where I sat at play with the highest nobles in the land; yet when my voice went, cavaliere, it was on my knees I had to beg of my heartless patron the paltry favor of the minor orders!” Tears were running down the abate’s cheeks, and he paused to wipe them with a corner of his tattered bands.

Though Odo had been bred in an abhorrence of the theatre the strange creature’s aspect so pricked his compassion that he asked him what he was now engaged in; at which Cantapresto piteously cried, “Alas, what am I not engaged in, if the occasion offers? For whatever a man’s habit, he will not wear it long if it cover an empty belly; and he that respects his calling must find food enough to continue in it. But as for me, sir, I have put a hand to every trade, from composing scenarios for the ducal company of Pianura to writing satirical sonnets for noblemen that desire to pass for wits. I’ve a pretty taste, too, in compiling almanacks, and when nothing else served I have played the public scrivener at the street corner; nay, sir, necessity has even driven me to hold the candle in one or two transactions I would not more actively have mixed in; and it was to efface the remembrance of one of these—for my conscience is still over-nice for my condition—that I set out on this laborious pilgrimage.”

Much of this was unintelligible to Odo; but he was moved by any mention of Pianura, and in the abate’s first pause he risked the question—“Do you know the humpbacked boy Brutus?”

His companion stared and pursed his soft lips. “Brutus—?” says he. “Brutus? Is he about the Duke’s person?”

“He lives in the palace,” said Odo doubtfully.

The fat ecclesiastic clapped a hand to his thigh. “Can it be your excellency has in mind the foundling boy Carlo Gamba? Does the jackanapes call himself Brutus now? He was always full of his classical allusions! Why, sir, I think I know him very well; he is even rumored to be a brother of Don Lelio Trescorre’s, and I believe the Duke has lately given him to the Marquess of Cerveno, for I saw him not long since in the Marquess’s livery at Pontesordo.”

“Pontesordo?” cried Odo. “It was there I lived.”

“Did you indeed, cavaliere? But I think you will have been at the Duke’s manor of that name; and it was the hunting-lodge on the edge of the chase that I had in mind. The Marquess uses it, I believe, as a kind of casino; though not without risk of a distemper. Indeed, there is much wonder at his frequenting it, and ‘tis said he does so against the Duke’s wishes.”

The name of Pontesordo had set Odo’s memories humming like a hive of bees, and without heeding his companion’s allusions he asked—“And did you see the Momola?”

The other looked his perplexity.

“She’s an Innocent too,” Odo hastened to explain. “She is Filomena’s servant at the farm.”

The abate at this, standing still in the road, screwed up his eyelids and protruded a relishing lip. “Eh, eh,” said he, “the girl from the farm, you say?” And he gave a chuckle. “You’ve an eye, cavaliere, you’ve an eye,” he cried, his soft body shaking with enjoyment; but before Odo could make a guess at his meaning their conversation was interrupted by a sharp call from the litter. The abate at once disappeared in the crowd, and a moment later the litter had debouched on the grassy quadrangle before the outer gates of the monastery. This space was set in beech-woods, amid which gleamed the white-pillared chapels of the Way of the Cross; and the devouter pilgrims, dispersed beneath the trees, were ascending from one chapel to another, preparatory to entering the church. The quadrangle itself was crowded with people, and the sellers of votive offerings, in their booths roofed with acacia-boughs, were driving a noisy trade in scapulars and Agnus Deis, images of the Black Virgin of Oropa, silver hearts and crosses, and phials of Jordan water warranted to effect the immediate conversion of Jews and heretics. In one corner a Carmelite missionary had set up his portable pulpit and, crucifix in hand, was exhorting the crowd; in another, an improvisatore intoned canticles to the miraculous Virgin; a barefoot friar sat selling indulgences at the monastery gate, and pedlars with trays of rosaries and religious prints pushed their way among the pilgrims. Young women of less pious aspect solicited the attention of the better-dressed travellers, and jugglers, mountebanks and quacks of every description hung on the outskirts of the square. The sight speedily turned Odo’s thoughts from his late companion, and the litter coming to a halt he was leaning forward to observe the antics of a tumbler who had spread his carpet beneath the trees, when the abate’s face suddenly rose to the surface of the throng and his hand thrust a crumpled paper between the curtains of the litter. Odo was quick-witted enough to capture this missive without attracting the notice of his grand-aunts, and stealing a glance at it he read—“Cavaliere, I starve. When the illustrious ladies descend, for Christ’s sake beg a scudo of them for the unhappy Cantapresto.”

By this the litter had disengaged itself and was moving toward the outer gates. Odo, aware of the disfavor with which the theatre was viewed at Donnaz, and unable to guess how far the soprano’s present habit would be held to palliate the scandal of his former connection, was perplexed how to communicate his petition to the canonesses. A moment later, however, the question solved itself; for as the aunts descended at the door of the Rector’s lodging the porter, running to meet them, stumbled on a black mass under the arcade, and raised the cry that here was a man dropped dead. A crowd gathering, some one called out that it was an ecclesiastic had fallen; whereat the great-aunts were hurrying forward when Odo whispered the eldest, Donna Livia, that the sick man was indeed an abate from Pianura. Donna Livia immediately bid her servants lift him into the porter’s lodge, where, with the administering of spirits, the poor soprano presently revived and cast a drowning glance about the chamber.

“Eight years ago, illustrious ladies,” he gurgled, “I had nearly died one night of a surfeit of ortolans; and now it is of a surfeit of emptiness that I am perishing.”

The ladies at this, with exclamations of pity, called on the lay-brothers for broth and cordials, and bidding the porter inquire more particularly into the history of the unhappy ecclesiastic, hastened away with Odo to the Rector’s parlor.

Next morning betimes all were afoot for the procession, which the canonesses were to witness from the monastery windows. The apothecary had brought word that the abate, whose seizure was indeed the result of hunger, was still too weak to rise; and Donna Livia, eager to open her devotions with an act of pity, pressed a sequin in the man’s hand and bid him spare no care for the sufferer’s comfort.

This sent Odo in a cheerful mood to the red-hung windows, whence, peering between the folds of his aunts’ gala habits, he admired the great court enclosed in nobly-ordered cloisters and strewn with fresh herbs and flowers. Thence one of the Rector’s chaplains conducted them to the church, placing them, in company with the monastery’s other noble guests, in a tribune constructed above the choir. It was Odo’s first sight of a great religious ceremony, and as he looked down on the church glimmering with votive offerings and gold-fringed draperies, and seen through rolling incense in which the altar-candles swam like stars reflected in a river, he felt an almost sensual thrill of pleasure at the thought that his life was to be passed amid scenes of such mystic beauty. The sweet singing of the choir raised his spirit to a higher view of the scene; and the sight of the huddled misery on the floor of the church revived in him the old longing for the Franciscan cowl.

From these raptures he was speedily diverted by the sight awaiting him at the conclusion of the mass. Hardly had the spectators returned to the Rector’s windows when, the doors of the church swinging open, a procession headed by the Rector himself descended the steps and began to make the circuit of the court. Odo’s eyes swam with the splendor of this burst of banners, images and jewelled reliquaries, surmounting the long train of tonsured heads and bathed in a light almost blinding after the mild penumbra of the church. As the monks advanced, the pilgrims, pouring after them, filled the court with a dark undulating mass through which the procession wound like a ray of sunlight down the brown bosom of a torrent. Branches of oleander swung in air, devout cries hailed the approach of the Black Madonna’s canopy, and hoarse voices swelled to a roar the measured litanies of the friars.

The ceremonies over, Odo, with the canonesses, set out to visit the chapels studding the beech-knoll above the monastic buildings. Passing out of Juvara’s great portico they stood a moment above the grassy common, which presented a scene in curious contrast to that they had just quitted. Here refreshment-booths had been set up, musicians were fiddling, jugglers unrolling their carpets, dentists shouting out the merits of their panaceas, and light women drinking with the liveried servants of the nobility. The very cripples who had groaned the loudest in church now rollicked with the mountebanks and dancers; and no trace remained of the celebration just concluded but the medals and relics strung about the necks of those engaged in these gross diversions.

It was strange to pass from this scene to the solitude of the grove where, in a twilight rustling with streams, the chapels lifted their white porches. Peering through the grated door of each little edifice, Odo beheld within a group of terra-cotta figures representing some scene of the Passion—here a Last Supper, with a tigerish Judas and a Saint John resting his yellow curls on his Master’s bosom, there an Entombment or a group of stricken Maries. These figures, though rudely modelled and daubed with bright colors, yet, by a vivacity of attitude and gesture which the mystery of their setting enhanced, conveyed a thrilling impression of the sacred scenes set forth; and Odo was yet at an age when the distinction between flesh-and-blood and its plastic counterfeits is not clearly defined, or when at least the sculptured image is still a mysterious half-sentient thing, denizen of some strange borderland between art and life. It seemed to him, as he gazed through the chapel-gratings, that those long-distant episodes of the divine tragedy had been here preserved in some miraculous state of suspended animation, and as he climbed from one shrine to another he had the sense of treading the actual stones of Gethsemane and Calvary.

As was usual with him the impressions of the moment had effaced those preceding it, and it was almost with surprise that, at the Rector’s door, he beheld the primo soprano of Pianura totter forth to the litter and offer his knee as a step for the canonesses. The charitable ladies cried out on him for this imprudence, and his pallor still giving evidence of distress, he was bidden to wait on them after supper with his story. He presented himself promptly in the parlor, and being questioned as to his condition at once rashly proclaimed his former connection with the ducal theatre of Pianura. No avowal could have been more disastrous to his cause. The canonesses crossed themselves with horror, and the abate, seeing his mistake, hastened to repair it by exclaiming—“What! ladies, would you punish me for following a vocation to which my frivolous parents condemned me when I was too young to resist their purpose? And have not my subsequent sufferings, my penances and pilgrimages, and the state to which they have reduced me, sufficiently effaced the record of an involuntary error?”

Seeing the effect of this appeal the abate made haste to follow up his advantage. “Ah, illustrious ladies,” he cried, “am I not a living example of the fate of those who leave all to follow righteousness? For while I remained on the stage, among the most dissolute surroundings, fortune showered me with every benefit she heaps on her favorites. I had my seat at every table in Pianura; the Duke’s chair to carry me to the theatre; and more money than I could devise how to spend; while now that I have resigned my calling to embrace the religious life, you see me reduced to begging a crust from the very mendicants I formerly nourished. For,” said he, moved to tears by his own recital, “my superfluity was always spent in buying the prayers of the unfortunate; and to judge how I was esteemed by those acquainted with my private behavior, you need only learn that, on my renouncing the stage, ‘t was the Bishop of Pianura who himself accorded me the tonsure.”

This discourse, which Odo admired for its adroitness, visibly excited the commiseration of the ladies; but at mention of the Bishop Donna Livia exchanged a glance with her sister, who inquired, with a quaint air of astuteness, “But how comes it, abate, that with so powerful a protector you have been exposed to such incredible reverses?”

Cantapresto rolled a meaning eye. “Alas, Madam, it was through my protector that misfortune attacked me; for his lordship having appointed me secretary to his favorite nephew, Don Serafino, that imprudent nobleman required of me services so incompatible with my cloth that disobedience became a duty; whereupon, not satisfied with dismissing me in disgrace, he punished me by blackening my character to his uncle. To defend myself was to traduce Don Serafino; and rather than reveal his courses to the Bishop I sank to the state in which you see me; a state,” he added with emotion, “that I have travelled this long way to commend to the adorable pity of Her whose Son had not where to lay his head.”

This stroke visibly touched the canonesses, still soft from the macerations of the morning; and Donna Livia compassionately asked how he had subsisted since his rupture with the Bishop.

“Madam, by the sale of my talents in any service not at odds with my calling: as the compiling of pious almanacks, the inditing of rhymed litanies and canticles, and even the construction of theatrical pieces—” the ladies lifted hands of reprobation—“of theatrical pieces,” Cantapresto impressively repeated,“for the use of the Carmelite nuns of Pianura. But,” said he with a deprecating smile, “the wages of virtue are less liberal than those of sin, and spite of a versatility I think I may honestly claim, I have often had to subsist on the gifts of the pious, and sometimes, Madam, to starve on their compassion.”

This ready discourse, and the soprano’s evident distress, so worked on the canonesses that, having little money at their disposal, it was fixed, after some private consultation, that he should attend them to Donnaz, where Don Gervaso, in consideration of his edifying conduct in renouncing the stage, might be interested in helping him to a situation; and when the little party set forth from Oropa the abate Cantapresto closed the procession on one of the baggage-mules, with Odo riding pillion at his back. Good fortune loosened the poor soprano’s tongue, and as soon as the canonesses’ litter was a safe distance ahead he began to beguile the way with fragments of reminiscence and adventure. Though few of his allusions were clear to Odo, the glimpse they gave of the motley theatrical life of the north Italian cities—the quarrels between Goldoni and the supporters of the expiring commedia dell’ arte, the rivalries of the prime donne and the arrogance of the popular comedians—all these peeps into a tinsel world of mirth, cabal and folly, enlivened by the recurring names of the Four Masks, those lingering gods of the older dispensation, so lured the boy’s fancy and set free his vagrant wonder, that he was almost sorry to see the keep of Donnaz reddening in the second evening’s sunset. Such regrets, however, their arrival at the castle soon effaced; for in the doorway stood the old Marquess, a letter in hand, who springing forward caught his grandson by the shoulders, and cried with his great boar-hunting shout, “Cavaliere, you are heir-presumptive of Pianura!”

—————