Читать книгу The Veiled Lady, and Other Men and Women - Francis Hopkinson Smith - Страница 6

So far there has been introduced into this story the bad man, Francesco, with crab-like tendencies, who has just lost his wife; the ravishingly beautiful Loretta; the girl's mother, of whom all sorts of stories were told—none to her credit; big tender-hearted Luigi Zanaletto, prince of gondoliers, and last, and this time least, a staid old painter who works in a gondola up a crooked canal which is smothered in trees, choked by patched-up boats and flanked by tattered rookeries so shaky that the slightest earth quiver would tumble them into kindling wood.

There enters now another and much more important character—one infinitely more interesting to my beautiful Lady of the Shipyards than any grandfather gondolier or staid old painter who ever lived. This young gentleman is twenty-one; has a head like the Hermes, a body like the fauns, and winsome, languishing eyes with a light in their depths which have set the heart of every girl along his native Giudecca pitapatting morning, noon, and night. He enjoys the distinguished name of Vittorio Borodini, and is the descendant of a family of gondoliers—of the guild of the Castellani—who can trace their ancestral calling back some two hundred years (so can Luigi; but then Luigi never speaks of it, and the Borodinis always do). Being aristocrats, the Zanalettos and Borodinis naturally fraternize, and as they live in the same quarter—away up on the Giudecca—two miles from my canal—the fathers of Vittorio and Luigi have become intimate friends. Anything, therefore, touching the welfare of any one of the descendants of so honorable a guild is more or less vital to the members of both families.

At the moment something HAD touched a Borodino—and in the most vital of spots. This was nothing less than the heart of young Vittorio, the pride and hope of his father. He had seen the "Rose of the Shipyards," as she was now called, pass the traghetto of the Molo, off which lay his gondola awaiting custom—it was on one of the days when the two-soldi boy acted as chaperon—and his end had come.

It had only been a flash from out the lower corner of the left eye of Loretta as she floated along past the big columns of the Palazzo of the Doges, but it had gone through the young gondolier and out on the other side, leaving a wound that nothing would heal. She had not intended to hurt him, or even to attract him;—he only happened to be in the way when her search-light illumined his path.

Vittorio knew at a glance that she came from the rookeries and that he, the scion of a noble family, should look higher for his mate, but that made no difference. She was built for him and he was built for her, and that was the end of it: not for an intrigue—he was not constructed along those lines—but with a ring and a priest and all the rest of it. The main difficulty was to find some one who knew her. He would not—could not, confront her; nor would he follow her home; but something must be done, and at once: a conclusion, it will be admitted, than an incalculable number of young Vittorios have reached, sooner or later, the world over.

When, therefore, a rumor came to his ears that Luigi the Primo was protecting her—the kind of protection that could never be misunderstood in Luigi's case—a piece of news which his informer was convinced would end the projected intrigue of the young gondolier, then and there and for all time, Vittorio laughed so loud and so long, and so merrily, that he lost, in consequence, two fares to San Giorgio, and came near being reprimanded by the Gastaldo for his carelessness.

That was why late one afternoon (I was painting the sunset glow) just as Loretta reached the edge of the quay on her way home, a young fellow, in white duck with a sash of dark red silk binding and hanging from his waist and a rakish straw hat tipped over his handsome face, shot his gondola alongside mine and leaned over to whisper something in Luigi's ear. And that was why the girl in her long black shawl stopped, and why Luigi immediately changed gondolas and made for the quay, and why they all talked together for a moment, the girl flashing and the boy beaming, and that was why, too, they all three disappeared a moment later in the direction of the high rookery where lived the baffled, love-sick Francesco, his anxious father, the much-talked-about mother, and the Rose of the Shipyards.

In a garden where the soil is so rich that a seedling of five—a mere slip—blooms into flower before a foolish old painter can exhaust the subjects along the canal, it is not surprising that a love affair reaches its full growth between two suns. Not since the day she had tumbled into the canal had she gone so headover-heels—both of them. Nor did Luigi pull them out. He helped in the drowning, really.

He was talking to himself when he came back—a soft light in his eyes, a smile lingering around the corners of his up-turned, grizzled mustache.

"It is good to be young, Signore, is it not?" was all he said, and at once began bundling up my traps.

Before the week was out—nay, before the setting of two suns—every gossip along the Riva—and they about covered the population—had become convinced that Loretta was lost to the Quarter. Unless a wedding ring was to end it all Vittorio would never be so bold in his attentions to Loretta, as to walk home with her nights and wait for her mornings.

Luigi shook his head, but he did not help the gossips solve the problem. He had had trouble enough already with Vittorio's father.

"A common wench from the yards, I hear, Luigi!" he had blazed out—"and you, I understand, brought them together—you—who have been my friend for—"

"Stop, Borodini! Not another word! You are angry, and when you are angry you are stupid. I carried that girl in my arms when she was a baby! I have watched over her ever since. A wench! Not one of your own daughters has a heart so white. If Vittorio is so great a coward as to listen to their talk I'll keep her for his betters."

All this snapped out of Luigi's eyes and rolled from under his crisp mustache as he repeated the outbreak to me. What the end might be neither the Giudecca nor San Giuseppe could decide. The Borodinis were proud; Vittorio's father was one of the gondoliers belonging to the palace and always rowed the good Queen Margherita when she came incognito to Venice—a post which greatly enhanced his social station. Vittorio was the only son, and already a member of the traghetto, young as he was. But then, were there any girls better than Loretta, or as good? She helped her mother; she paid her share of the rent to Francesco's father; she gave to the poor box. That she was the sunshine of the Quarter every one knew who heard her sweet, cheery voice. As to her family, it was true that her mother was a Sicilian who boiled over sometimes in a tempest of rage, like Vesuvius—but her father had been one of them. And then again, was she not the chosen friend of Luigi, the Primo, and of the crazy painter who haunted the canal? The boy and his father might be glad, etc., etc.

The only persons who were oblivious to the talk were the two lovers. Their minds were made up. Father Garola had promised, and they knew exactly what to do, and when and where to do it. In the meantime the Riva was a pathway of rose-tinted clouds constructed for the especial use of two angels, one of whom wore a straw hat with a red ribbon canted over his sunburnt face, and the other a black shawl with silken fringe, whose every movement suggested a caress.

The one disgruntled person was Francesco.

He had supposed at first that, like the others, Vittorio would find out his mistake;—certainly when he looked closely into the pure eyes of the girl, and that then, like the others, he would give up the chase;—he not being the first gay Lothario who had been taught just such a lesson.

Loretta's answer to the schemer, given with a toss of her head and a curl of her lips, closed Francesco's mouth and set his brain in a whirl. In his astonishment he had long talks with his father, the two seated in their boat against the Garden wall so no one could overhear.

Once he approached Luigi and began a tale, first about Vittorio and his escapades and then about Loretta and her coquetry, which Luigi strangled with a look, and which he did not discuss or repeat to me, except to remark—"They have started in to bite, Signore," the meaning of which I could but guess at. At another time he and his associates concocted a scheme by which Vittorio's foot was to slip as he was leaving Loretta at the door, and he be fished out of the canal with his pretty clothes begrimed with mud;—a scheme which was checked when they began to examine the young gondolier the closer, and which was entirely abandoned when they learned that his father was often employed about the palace of the king. In these projected attacks, strange to say, the girl's mother took part. Her hope in keeping her home was in Loretta's marrying Francesco.

Then, dog as he was, he tried the other plan—all this I got from Luigi, he sitting beside me, sharpening charcoal points, handing me a fresh brush, squeezing out a tube of color on my palette: nothing like a romance to a staid old painter; and then, were not both of us in the conspiracy as abettors, and up to our eyes in the plot?

This other plan was to traduce the girl. So the gondoliers on the traghetto began to talk—behind their hands, at first: She had lived in Francesco's house; she had had a dozen young fishermen trapesing after her; her mother, too, was none too good. Then again, you could never trust these Neapolitans—the kitten might be like the cat, etc., etc.

Still the lovers floated up and down the Riva, their feet on clouds, their heads in the heavens. Never a day did he miss, and always with a wave of her hand to me as they passed: down to Malamocco on Sundays with another girl as chaperon, or over to Mestre by boat for the festa, coming home in the moonlight, the tip of his cigarette alone lighting her face.

One morning—the lovers had only been waiting for their month's pay—Luigi came sailing down the canal to my lodgings, his gondola in gala attire—bunches of flowers tied at each corner of the tenda; a mass of blossoms in the lamp socket; he himself in his best white suit, a new red sash around his waist—his own colors—and off we went to San Rosario up the Giudecca. And the Borodinis turned out in great force, and so did all the other 'inis, and 'olas, and 'ninos—dozens of them—and in came Loretta, so beautiful that everybody held his breath; and we all gathered about the altar, and good Father Garola stepped down and took their hands; and two candles were lighted and a little bell rang; and then somebody signed a book—somebody with the bearing of a prince—Borodini, I think—and then Luigi, his rich, sunburned face and throat in contrast with his white shirt, moved up and affixed his name to the register; and then a door opened on the side and they all went out into the sunlight.

I followed and watched the gay procession on its way to the waiting boats. As I neared the corner of the church a heavily-built young fellow ran past me, crouched to the pavement, and hid himself behind one of the tall columns. Something in his dress and movement made me stop. Not being sure, I edged nearer and waited until he turned his head. It was Francesco.