Lucretia — Volume 03. Эдвард Бульвер-ЛиттонЧитать онлайн книгу.
of such a letter could hardly add to the profounder grief which preyed in the innermost core of Lucretia's heart; but in repelling the effort she had made to distract that grief by ambition, it blackened the sullen despondency with which she regarded the future. As the insect in the hollow snare of the ant-lion, she felt that there was no footing up the sides of the cave into which she had fallen; the sand gave way to the step. But despondency in her brought no meekness; the cloud did not descend in rain; resting over the horizon, its darkness was tinged with the fires which it fed. The heart, already so embittered, was stung and mortified into intolerable shame and wrath. From the home that should have been hers, in which, as acknowledged heiress, she had smiled down on the ruined Vernon, she was banished by him who had supplanted her, as one worthless and polluted. Though, from motives of obvious delicacy, Vernon had not said expressly that he had seen the letter to Mainwaring, the unfamiliar and formal tone which he assumed indirectly declared it, and betrayed the impression it had made, in spite of his reserve. A living man then was in possession of a secret which justified his disdain, and that man was master of Laughton! The suppressed rage which embraced the lost lover extended darkly over this witness to that baffled and miserable love. But what availed rage against either? Abandoned and despoiled, she was powerless to avenge. It was at this time, when her prospects seemed most dark, her pride was most crushed, and her despair of the future at its height, that she turned to Dalibard as the only friend left to her under the sun. Even the vices she perceived in him became merits, for they forbade him to despise her. And now, this man rose suddenly into another and higher aspect of character. Of late, though equally deferential to her, there had been something more lofty in his mien, more assured on his brow; gleams of a secret satisfaction, even of a joy, that he appeared anxious to suppress, as ill in harmony with her causes for dejection, broke out in his looks and words. At length, one day, after some preparatory hesitation, he informed her that he was free to return to France; that even without the peace between England and France, which (known under the name of the Peace of Amiens) had been just concluded, he should have crossed the Channel. The advocacy and interest of friends whom he had left at Paris had already brought him under the special notice of the wonderful man who then governed France, and who sought to unite in its service every description and variety of intellect. He should return to France, and then—why, then, the ladder was on the walls of Fortune and the foot planted on the step! As he spoke, confidently and sanguinely, with the verve and assurance of an able man who sees clear the path to his goal, as he sketched with rapid precision the nature of his prospects and his hopes, all that subtle wisdom which had before often seemed but vague and general, took practical shape and interest, thus applied to the actual circumstances of men; the spirit of intrigue, which seemed mean when employed on mean things, swelled into statesmanship and masterly genius to the listener when she saw it linked with the large objects of masculine ambition. Insensibly, therefore, her attention became earnest, her mind aroused. The vision of a field, afar from the scenes of her humiliation and despair,—a field for energy, stratagem, and contest,—invited her restless intelligence. As Dalibard had profoundly calculated, there was no new channel for her affections,—the source was dried up, and the parched sands heaped over it; but while the heart lay dormant, the mind rose sleepless, chafed, and perturbed. Through the mind, he indirectly addressed and subtly wooed her.
"Such," he said, as he rose to take leave, "such is the career to which I could depart with joy if I did not depart alone!"
"Alone!" that word, more than once that day, Lucretia repeated to herself—"alone!" And what career was left to her?—she, too, alone!
In certain stages of great grief our natures yearn for excitement. This has made some men gamblers; it has made even women drunkards,—it had effect over the serene calm and would-be divinity of the poet-sage. When his son dies, Goethe does not mourn, he plunges into the absorption of a study uncultivated before. But in the great contest of life, in the whirlpool of actual affairs, the stricken heart finds all,—the gambling, the inebriation, and the study.
We pause here. We have pursued long enough that patient analysis, with all the food for reflection that it possibly affords, to which we were insensibly led on by an interest, dark and fascinating, that grew more and more upon us as we proceeded in our research into the early history of a person fated to pervert no ordinary powers into no commonplace guilt.
The charm is concluded, the circle closed round; the self-guided seeker after knowledge has gained the fiend for the familiar.
CHAPTER X
We pass over an interval of some months.
A painter stood at work at the easel, his human model before him. He was employed on a nymph,—the Nymph Galatea. The subject had been taken before by Salvator, whose genius found all its elements in the wild rocks, gnarled, fantastic trees, and gushing waterfalls of the landscape; in the huge ugliness of Polyphemus the lover; in the grace and suavity and unconscious abandonment of the nymph, sleeking her tresses dripping from the bath. The painter, on a larger canvas (for Salvator's picture, at least the one we have seen, is among the small sketches of the great artistic creator of the romantic and grotesque), had transferred the subject of the master; but he had left subordinate the landscape and the giant, to concentrate all his art on the person of the nymph. Middle- aged was the painter, in truth; but he looked old. His hair, though long, was gray and thin; his face was bloated by intemperance; and his hand trembled much, though, from habit, no trace of the tremor was visible in his work.
A boy, near at hand, was also employed on the same subject, with a rough chalk and a bold freedom of touch. He was sketching his design of a Galatea and Polyphemus on the wall; for the wall was only whitewashed, and covered already with the multiform vagaries whether of master or pupils,—caricatures and demigods, hands and feet, torsos and monsters, and Venuses. The rude creations, all mutilated, jarring, and mingled, gave a cynical, mocking, devil-may-care kind of aspect to the sanctum of art. It was like the dissection-room of the anatomist. The boy's sketch was more in harmony with the walls of the studio than the canvas of the master. His nymph, accurately drawn, from the undressed proportions of the model, down to the waist, terminated in the scales of a fish. The forked branches of the trees stretched weird and imp-like as the hands of skeletons. Polyphemus, peering over the rocks, had the leer of a demon; and in his gross features there was a certain distorted, hideous likeness of the grave and symmetrical lineaments of Olivier Dalibard.
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