The Count of Monte Cristo, The Man in the Iron Mask & The Three Musketeers (3 Books in One Edition). Alexandre DumasЧитать онлайн книгу.
Peppino — what has become of him?”
“Peppino is a lad of sense, who, unlike most men, who are happy in proportion as they are noticed, was delighted to see that the general attention was directed towards his companion. He profited by this distraction to slip away among the crowd, without even thanking the worthy priests who accompanied him. Decidedly man is an ungrateful and egotistical animal. But dress yourself; see, M. de Morcerf sets you the example.” Albert was drawing on the satin pantaloon over his black trousers and varnished boots. “Well, Albert,” said Franz, “do you feel much inclined to join the revels? Come, answer frankly.”
“Ma foi, no,” returned Albert. “But I am really glad to have seen such a sight; and I understand what the count said — that when you have once habituated yourself to a similar spectacle, it is the only one that causes you any emotion.”
“Without reflecting that this is the only moment in which you can study character,” said the count; “on the steps of the scaffold death tears off the mask that has been worn through life, and the real visage is disclosed. It must be allowed that Andrea was not very handsome, the hideous scoundrel! Come, dress yourselves, gentlemen, dress yourselves.” Franz felt it would be ridiculous not to follow his two companions’ example. He assumed his costume, and fastened on the mask that scarcely equalled the pallor of his own face. Their toilet finished, they descended; the carriage awaited them at the door, filled with sweetmeats and bouquets. They fell into the line of carriages. It is difficult to form an idea of the perfect change that had taken place. Instead of the spectacle of gloomy and silent death, the Piazza del Popolo presented a spectacle of gay and noisy mirth and revelry. A crowd of masks flowed in from all sides, emerging from the doors, descending from the windows. From every street and every corner drove carriages filled with clowns, harlequins, dominoes, mummers, pantomimists, Transteverins, knights, and peasants, screaming, fighting, gesticulating, throwing eggs filled with flour, confetti, nosegays, attacking, with their sarcasms and their missiles, friends and foes, companions and strangers, indiscriminately, and no one took offence, or did anything but laugh. Franz and Albert were like men who, to drive away a violent sorrow, have recourse to wine, and who, as they drink and become intoxicated, feel a thick veil drawn between the past and the present. They saw, or rather continued to see, the image of what they had witnessed; but little by little the general vertigo seized them, and they felt themselves obliged to take part in the noise and confusion. A handful of confetti that came from a neighboring carriage, and which, while it covered Morcerf and his two companions with dust, pricked his neck and that portion of his face uncovered by his mask like a hundred pins, incited him to join in the general combat, in which all the masks around him were engaged. He rose in his turn, and seizing handfuls of confetti and sweetmeats, with which the carriage was filled, cast them with all the force and skill he was master of.
The strife had fairly begun, and the recollection of what they had seen half an hour before was gradually effaced from the young men’s minds, so much were they occupied by the gay and glittering procession they now beheld. As for the Count of Monte Cristo, he had never for an instant shown any appearance of having been moved. Imagine the large and splendid Corso, bordered from one end to the other with lofty palaces, with their balconies hung with carpets, and their windows with flags. At these balconies are three hundred thousand spectators — Romans, Italians, strangers from all parts of the world, the united aristocracy of birth, wealth, and genius. Lovely women, yielding to the influence of the scene, bend over their balconies, or lean from their windows, and shower down confetti, which are returned by bouquets; the air seems darkened with the falling confetti and flying flowers. In the streets the lively crowd is dressed in the most fantastic costumes — gigantic cabbages walk gravely about, buffaloes’ heads below from men’s shoulders, dogs walk on their hind legs; in the midst of all this a mask is lifted, and, as in Callot’s Temptation of St. Anthony, a lovely face is exhibited, which we would fain follow, but from which we are separated by troops of fiends. This will give a faint idea of the Carnival at Rome. At the second turn the Count stopped the carriage, and requested permission to withdraw, leaving the vehicle at their disposal. Franz looked up — they were opposite the Rospoli Palace. At the centre window, the one hung with white damask with a red cross, was a blue domino, beneath which Franz’s imagination easily pictured the beautiful Greek of the Argentina. “Gentlemen,” said the count, springing out, “when you are tired of being actors, and wish to become spectators of this scene, you know you have places at my windows. In the meantime, dispose of my coachman, my carriage, and my servants.” We have forgotten to mention, that the count’s coachman was attired in a bear-skin, exactly resembling Odry’s in “The Bear and the Pasha;” and the two footmen behind were dressed up as green monkeys, with spring masks, with which they made grimaces at every one who passed. Franz thanked the count for his attention. As for Albert, he was busily occupied throwing bouquets at a carriage full of Roman peasants that was passing near him. Unfortunately for him, the line of carriages moved on again, and while he descended the Piazza del Popolo, the other ascended towards the Palazzo di Venezia. “Ah, my dear fellow,” said he to Franz; “you did not see?”
“What?”
“There, — that calash filled with Roman peasants.”
“No.”
“Well, I am convinced they are all charming women.”
“How unfortunate that you were masked, Albert,” said Franz; “here was an opportunity of making up for past disappointments.”
“Oh,” replied he, half laughing, half serious; “I hope the Carnival will not pass without some amends in one shape or the other.”
But, in spite of Albert’s hope, the day passed unmarked by any incident, excepting two or three encounters with the carriage full of Roman peasants. At one of these encounters, accidentally or purposely, Albert’s mask fell off. He instantly rose and cast the remainder of the bouquets into the carriage. Doubtless one of the charming females Albert had detected beneath their coquettish disguise was touched by his gallantry; for, as the carriage of the two friends passed her, she threw a bunch of violets. Albert seized it, and as Franz had no reason to suppose it was meant for him, he suffered Albert to retain it. Albert placed it in his button-hole, and the carriage went triumphantly on.
“Well,” said Franz to him; “there is the beginning of an adventure.”
“Laugh if you please — I really think so. So I will not abandon this bouquet.”
“Pardieu,” returned Franz, laughing, “in token of your ingratitude.” The jest, however, soon appeared to become earnest; for when Albert and Franz again encountered the carriage with the contadini, the one who had thrown the violets to Albert, clapped her hands when she beheld them in his button-hole. “Bravo, bravo,” said Franz; “things go wonderfully. Shall I leave you? Perhaps you would prefer being alone?”
“No,” replied he; “I will not be caught like a fool at a first disclosure by a rendezvous under the clock, as they say at the opera-balls. If the fair peasant wishes to carry matters any further, we shall find her, or rather, she will find us tomorrow; then she will give me some sign or other, and I shall know what I have to do.”
“On my word,” said Franz, “you are wise as Nestor and prudent as Ulysses, and your fair Circe must be very skilful or very powerful if she succeed in changing you into a beast of any kind.” Albert was right; the fair unknown had resolved, doubtless, to carry the intrigue no farther; for although the young men made several more turns, they did not again see the calash, which had turned up one of the neighboring streets. Then they returned to the Rospoli Palace; but the count and the blue domino had also disappeared; the two windows, hung with yellow damask, were still occupied by the persons whom the count had invited. At this moment the same bell that had proclaimed the beginning of the mascherata sounded the retreat. The file on the Corso broke the line, and in a second all the carriages had disappeared. Franz and Albert were opposite the Via delle Maratte; the coachman, without saying a word, drove up it, passed along the Piazza di Spagni and the Rospoli Palace and stopped at the door of the hotel. Signor Pastrini came to the door to receive his guests. Franz hastened to inquire after the count, and to express regret that he had not returned in sufficient time; but Pastrini