Читать книгу Zanoni & Rizzi - Эдвард Бульвер-Литтон - Страница 21

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Learn to be poor in spirit, my son, if you would penetrate that

sacred night which environs truth. Learn of the Sages to allow

to the Devils no power in Nature, since the fatal stone has shut

’em up in the depth of the abyss. Learn of the Philosophers

always to look for natural causes in all extraordinary events;

and when such natural causes are wanting, recur to God.—The

Count de Gabalis.

All these additions to his knowledge of Zanoni, picked up in the various lounging-places and resorts that he frequented, were unsatisfactory to Glyndon. That night Viola did not perform at the theatre; and the next day, still disturbed by bewildered fancies, and averse to the sober and sarcastic companionship of Mervale, Glyndon sauntered musingly into the public gardens, and paused under the very tree under which he had first heard the voice that had exercised upon his mind so singular an influence. The gardens were deserted. He threw himself on one of the seats placed beneath the shade; and again, in the midst of his reverie, the same cold shudder came over him which Zanoni had so distinctly defined, and to which he had ascribed so extraordinary a cause.

He roused himself with a sudden effort, and started to see, seated next him, a figure hideous enough to have personated one of the malignant beings of whom Zanoni had spoken. It was a small man, dressed in a fashion strikingly at variance with the elaborate costume of the day: an affectation of homeliness and poverty approaching to squalor, in the loose trousers, coarse as a ship’s sail; in the rough jacket, which appeared rent wilfully into holes; and the black, ragged, tangled locks that streamed from their confinement under a woollen cap, accorded but ill with other details which spoke of comparative wealth. The shirt, open at the throat, was fastened by a brooch of gaudy stones; and two pendent massive gold chains announced the foppery of two watches.

The man’s figure, if not absolutely deformed, was yet marvellously ill-favoured; his shoulders high and square; his chest flattened, as if crushed in; his gloveless hands were knotted at the joints, and, large, bony, and muscular, dangled from lean, emaciated wrists, as if not belonging to them. His features had the painful distortion sometimes seen in the countenance of a cripple—large, exaggerated, with the nose nearly touching the chin; the eyes small, but glowing with a cunning fire as they dwelt on Glyndon; and the mouth was twisted into a grin that displayed rows of jagged, black, broken teeth. Yet over this frightful face there still played a kind of disagreeable intelligence, an expression at once astute and bold; and as Glyndon, recovering from the first impression, looked again at his neighbour, he blushed at his own dismay, and recognised a French artist, with whom he had formed an acquaintance, and who was possessed of no inconsiderable talents in his calling.

Indeed, it was to be remarked that this creature, whose externals were so deserted by the Graces, particularly delighted in designs aspiring to majesty and grandeur. Though his colouring was hard and shallow, as was that generally of the French school at the time, his drawings were admirable for symmetry, simple elegance, and classic vigour; at the same time they unquestionably wanted ideal grace. He was fond of selecting subjects from Roman history, rather than from the copious world of Grecian beauty, or those still more sublime stories of scriptural record from which Raphael and Michael Angelo borrowed their inspirations. His grandeur was that not of gods and saints, but mortals. His delineation of beauty was that which the eye cannot blame and the soul does not acknowledge. In a word, as it was said of Dionysius, he was an Anthropographos, or Painter of Men. It was also a notable contradiction in this person, who was addicted to the most extravagant excesses in every passion, whether of hate or love, implacable in revenge, and insatiable in debauch, that he was in the habit of uttering the most beautiful sentiments of exalted purity and genial philanthropy. The world was not good enough for him; he was, to use the expressive German phrase, A world-betterer! Nevertheless, his sarcastic lip often seemed to mock the sentiments he uttered, as if it sought to insinuate that he was above even the world he would construct.

Finally, this painter was in close correspondence with the Republicans of Paris, and was held to be one of those missionaries whom, from the earliest period of the Revolution, the regenerators of mankind were pleased to despatch to the various states yet shackled, whether by actual tyranny or wholesome laws. Certainly, as the historian of Italy (Botta.) has observed, there was no city in Italy where these new doctrines would be received with greater favour than Naples, partly from the lively temper of the people, principally because the most hateful feudal privileges, however partially curtailed some years before by the great minister, Tanuccini, still presented so many daily and practical evils as to make change wear a more substantial charm than the mere and meretricious bloom on the cheek of the harlot, Novelty. This man, whom I will call Jean Nicot, was, therefore, an oracle among the younger and bolder spirits of Naples; and before Glyndon had met Zanoni, the former had not been among the least dazzled by the eloquent aspirations of the hideous philanthropist.

“It is so long since we have met, cher confrere,” said Nicot, drawing his seat nearer to Glyndon’s, “that you cannot be surprised that I see you with delight, and even take the liberty to intrude on your meditations.

“They were of no agreeable nature,” said Glyndon; “and never was intrusion more welcome.”

“You will be charmed to hear,” said Nicot, drawing several letters from his bosom, “that the good work proceeds with marvellous rapidity. Mirabeau, indeed, is no more; but, mort Diable! the French people are now a Mirabeau themselves.” With this remark, Monsieur Nicot proceeded to read and to comment upon several animated and interesting passages in his correspondence, in which the word virtue was introduced twenty-seven times, and God not once. And then, warmed by the cheering prospects thus opened to him, he began to indulge in those anticipations of the future, the outline of which we have already seen in the eloquent extravagance of Condorcet. All the old virtues were dethroned for a new Pantheon: patriotism was a narrow sentiment; philanthropy was to be its successor. No love that did not embrace all mankind, as warm for Indus and the Pole as for the hearth of home, was worthy the breast of a generous man. Opinion was to be free as air; and in order to make it so, it was necessary to exterminate all those whose opinions were not the same as Mons. Jean Nicot’s. Much of this amused, much revolted Glyndon; but when the painter turned to dwell upon a science that all should comprehend, and the results of which all should enjoy—a science that, springing from the soil of equal institutions and equal mental cultivation, should give to all the races of men wealth without labour, and a life longer than the Patriarchs’, without care—then Glyndon listened with interest and admiration, not unmixed with awe. “Observe,” said Nicot, “how much that we now cherish as a virtue will then be rejected as meanness. Our oppressors, for instance, preach to us of the excellence of gratitude. Gratitude, the confession of inferiority! What so hateful to a noble spirit as the humiliating sense of obligation? But where there is equality there can be no means for power thus to enslave merit. The benefactor and the client will alike cease, and—”

“And in the mean time,” said a low voice, at hand—“in the mean time, Jean Nicot?”

The two artists started, and Glyndon recognised Zanoni.

He gazed with a brow of unusual sternness on Nicot, who, lumped together as he sat, looked up at him askew, and with an expression of fear and dismay upon his distorted countenance.

Ho, ho! Messire Jean Nicot, thou who fearest neither God nor Devil, why fearest thou the eye of a man?

“It is not the first time I have been a witness to your opinions on the infirmity of gratitude,” said Zanoni.

Nicot suppressed an exclamation, and, after gloomily surveying Zanoni with an eye villanous and sinister, but full of hate impotent and unutterable, said, “I know you not—what would you of me?”

“Your absence. Leave us!”

Nicot sprang forward a step, with hands clenched, and showing his teeth from ear to ear, like a wild beast incensed. Zanoni stood motionless, and smiled at him in scorn. Nicot halted abruptly, as if fixed and fascinated by the look, shivered from head to foot, and sullenly, and with a visible effort, as if impelled by a power not his own, turned away.

Glyndon’s eyes followed him in surprise.

“And what know you of this man?” said Zanoni.

“I know him as one like myself—a follower of art.”

“Of art! Do not so profane that glorious word. What Nature is to God, art should be to man—a sublime, beneficent, genial, and warm creation. That wretch may be a painter, not an artist.”

“And pardon me if I ask what YOU know of one you thus disparage?”

“I know thus much, that you are beneath my care if it be necessary to warn you against him; his own lips show the hideousness of his heart. Why should I tell you of the crimes he has committed? He speaks crime!”

“You do not seem, Signor Zanoni, to be one of the admirers of the dawning Revolution. Perhaps you are prejudiced against the man because you dislike the opinions?”

“What opinions?”

Glyndon paused, somewhat puzzled to define; but at length he said, “Nay, I must wrong you; for you, of all men, I suppose, cannot discredit the doctrine that preaches the infinite improvement of the human species.”

“You are right; the few in every age improve the many; the many now may be as wise as the few were; but improvement is at a standstill, if you tell me that the many now are as wise as the few are.”

“I comprehend you; you will not allow the law of universal equality!”

“Law! If the whole world conspired to enforce the falsehood they could not make it law. Level all conditions to-day, and you only smooth away all obstacles to tyranny to-morrow. A nation that aspires to equality is unfit for freedom. Throughout all creation, from the archangel to the worm, from Olympus to the pebble, from the radiant and completed planet to the nebula that hardens through ages of mist and slime into the habitable world, the first law of Nature is inequality.”

“Harsh doctrine, if applied to states. Are the cruel disparities of life never to be removed?”

“Disparities of the physical life? Oh, let us hope so. But disparities of the intellectual and the moral, never! Universal equality of intelligence, of mind, of genius, of virtue!—no teacher left to the world! no men wiser, better than others—were it not an impossible condition, What A Hopeless Prospect For Humanity! No, while the world lasts, the sun will gild the mountain-top before it shines upon the plain. Diffuse all the knowledge the earth contains equally over all mankind to-day, and some men will be wiser than the rest to-morrow. And THIS is not a harsh, but a loving law—the real law of improvement; the wiser the few in one generation, the wiser will be the multitude the next!”

As Zanoni thus spoke, they moved on through the smiling gardens, and the beautiful bay lay sparkling in the noontide. A gentle breeze just cooled the sunbeam, and stirred the ocean; and in the inexpressible clearness of the atmosphere there was something that rejoiced the senses. The very soul seemed to grow lighter and purer in that lucid air.

“And these men, to commence their era of improvement and equality, are jealous even of the Creator. They would deny an intelligence—a God!” said Zanoni, as if involuntarily. “Are you an artist, and, looking on the world, can you listen to such a dogma? Between God and genius there is a necessary link—there is almost a correspondent language. Well said the Pythagorean (Sextus, the Pythagorean.), ‘A good intellect is the chorus of divinity.’ ”

Struck and touched with these sentiments, which he little expected to fall from one to whom he ascribed those powers which the superstitions of childhood ascribe to the darker agencies, Glyndon said: “And yet you have confessed that your life, separated from that of others, is one that man should dread to share. Is there, then, a connection between magic and religion?”

“Magic!” And what is magic! When the traveller beholds in Persia the ruins of palaces and temples, the ignorant inhabitants inform him they were the work of magicians. What is beyond their own power, the vulgar cannot comprehend to be lawfully in the power of others. But if by magic you mean a perpetual research amongst all that is more latent and obscure in Nature, I answer, I profess that magic, and that he who does so comes but nearer to the fountain of all belief. Knowest thou not that magic was taught in the schools of old? But how, and by whom? As the last and most solemn lesson, by the Priests who ministered to the Temple. (Psellus de Daemon (MS.)) And you, who would be a painter, is not there a magic also in that art you would advance? Must you not, after long study of the Beautiful that has been, seize upon new and airy combinations of a beauty that is to be? See you not that the grander art, whether of poet or of painter, ever seeking for the true, abhors the real; that you must seize Nature as her master, not lackey her as her slave?

“You demand mastery over the past, a conception of the future. Has not the art that is truly noble for its domain the future and the past? You would conjure the invisible beings to your charm; and what is painting but the fixing into substance the Invisible? Are you discontented with this world? This world was never meant for genius! To exist, it must create another. What magician can do more; nay, what science can do as much? There are two avenues from the little passions and the drear calamities of earth; both lead to heaven and away from hell—art and science. But art is more godlike than science; science discovers, art creates. You have faculties that may command art; be contented with your lot. The astronomer who catalogues the stars cannot add one atom to the universe; the poet can call a universe from the atom; the chemist may heal with his drugs the infirmities of the human form; the painter, or the sculptor, fixes into everlasting youth forms divine, which no disease can ravage, and no years impair. Renounce those wandering fancies that lead you now to myself, and now to yon orator of the human race; to us two, who are the antipodes of each other! Your pencil is your wand; your canvas may raise Utopias fairer than Condorcet dreams of. I press not yet for your decision; but what man of genius ever asked more to cheer his path to the grave than love and glory?”

“But,” said Glyndon, fixing his eyes earnestly on Zanoni, “if there be a power to baffle the grave itself—”

Zanoni’s brow darkened. “And were this so,” he said, after a pause, “would it be so sweet a lot to outlive all you loved, and to recoil from every human tie? Perhaps the fairest immortality on earth is that of a noble name.”

“You do not answer me—you equivocate. I have read of the long lives far beyond the date common experience assigns to man,” persisted Glyndon, “which some of the alchemists enjoyed. Is the golden elixir but a fable?”

“If not, and these men discovered it, they died, because they refused to live! There may be a mournful warning in your conjecture. Turn once more to the easel and the canvas!”

So saying, Zanoni waved his hand, and, with downcast eyes and a slow step, bent his way back into the city.