The Essential Wilkie Collins Collection. Уилки КоллинзЧитать онлайн книгу.
mentioned in the preceding chapter. The clear and brilliant moonlight of Italy now pervades every district of the glorious city, and bathes in its pure effulgence the groves and palaces on the Pincian Mount. From the garden of Numerian the irregular buildings of the great suburbs of Rome, the rich undulating country beyond, and the long ranges of mountains in the distance, are now all visible in the soft and luxurious light. Near the spot which commands this view, not a living creature is to be seen on a first examination; but on a more industrious and patient observation, you are subsequently able to detect at one of the windows of Numerian's house, half hidden by a curtain, the figure of a young girl.
Soon this solitary form approaches nearer to the eye. The moonbeams, that have hitherto shone only upon the window, now illuminate other objects. First they display a small, white arm; then a light, simple robe; then a fair, graceful neck; and finally a bright, youthful, innocent face, directed steadfastly towards the wide moon-brightened prospect of the distant mountains.
For some time the girl remains in contemplation at her window. Then she leaves her post, and almost immediately reappears at a door leading into the garden. Her figure, as she advances towards the lawn before her, is light and small--a natural grace and propriety appear in her movements--she holds pressed to her bosom and half concealed by her robe, a gilt lute. When she reaches a turf bank commanding the same view as the window, she arranges her instrument upon her knees, and with something of restraint in her manner gently touches the chords. Then, as if alarmed at the sound she has produced, she glances anxiously around her, apparently fearful of being overheard. Her large, dark, lustrous eyes have in them an expression of apprehension; her delicate lips are half parted; a sudden flush rises in her soft, olive complexion as she examines every corner of the garden. Having completed her survey without discovering any cause for the suspicions she seems to entertain, she again employs herself over her instrument. Once more she strikes the chords, and now with a bolder hand. The notes she produces resolve themselves into a wild, plaintive, irregular melody, alternately rising and sinking, as if swayed by the fickle influence of a summer wind. These sounds are soon harmoniously augmented by the young minstrel's voice, which is calm, still, and mellow, and adapts itself with exquisite ingenuity to every arbitrary variation in the tone of the accompaniment. The song that she has chosen is one of the fanciful odes of the day. Its chief merit to her lies in its alliance to the strange Eastern air which she heard at her first interview with the senator who presented her with the lute. Paraphrased in English, the words of the composition would run thus:--
THE ORIGIN OF MUSIC
I.
Spirit, whose dominion reigns Over Music's thrilling strains, Whence may be thy distant birth? Say what tempted thee to earth?
Mortal, listen: I was born In Creation's early years, Singing, 'mid the stars of morn, To the music of the spheres.
Once as, within the realms of space, I view'd this mortal planet roll, A yearning towards they hapless race, Unbidden, filled my seraph soul!
Angels, who had watched my birth, Heard me sigh to sing to earth; 'Twas transgression ne'er forgiv'n To forget my native Heav'n; So they sternly bade me go-- Banish'd to the world below.
II.
Exil'd here, I knew no fears; For, though darkness round me clung, Though none heard me in the spheres, Earth had listeners while I sung.
Young spirits of the Spring sweet breeze Came thronging round me, soft and coy, Light wood-nymphs sported in the trees, And laughing Echo leapt for joy!
Brooding Woe and writhing Pain Soften'd at my gentle strain; Bounding Joy, with footstep fleet, Ran to nestle at my feet; While, aroused, delighted Love Softly kiss'd me from above!
III.
Since those years of early time, Faithful still to earth I've sung; Flying through each distant clime, Ever welcome, ever young!
Still pleas'd, my solace I impart Where brightest hopes are scattered dead; 'Tis mine--sweet gift!--to charm the heart, Though all its other joys have fled!
Time, that withers all beside, Harmless past me loves to glide; Change, that mortals must obey, Ne'er shall shake my gentle sway; Still 'tis mine all hearts to move In eternity of love.
As the last sounds of her voice and her lute died softly away upon the still night air, an indescribable elevation appeared in the girl's countenance. She looked up rapturously into the far, star-bright sky; her lip quivered, her dark eyes filled with tears, and her bosom heaved with the excess of the emotions that the music and the scene inspired. Then she gazed slowly around her, dwelling tenderly upon the fragrant flower-beds that were the work of her own hands, and looking forth with an expression half reverential, half ecstatic over the long, smooth, shining plains, and the still, glorious mountains, that had so long been the inspiration of her most cherished thoughts, and that now glowed before her eyes, soft and beautiful as her dreams on her virgin couch. Then, overpowered by the artless thoughts and innocent recollections which on the magic wings of Nature and Night came wafted over her mind, she bent down her head upon her lute, pressed her round, dimpled cheek against its smooth frame, and drawing her fingers mechanically over its strings, abandoned herself unreservedly to the reveries of maidenhood and youth.
Such was the being devoted by her father's fatal ambition to a lifelong banishment from all that is attractive in human art and beautiful in human intellect! Such was the daughter whose existence was to be one long acquaintance with mortal woe, one unvaried refusal of mortal pleasure, whose thoughts were to be only of sermons and fasts, whose action were to be confined to the binding up of strangers' wounds and the drying of strangers' tears; whose life, in brief, was doomed to be the embodiment of her father's austere ideal of the austere virgins of the ancient Church!
Deprived of her mother, exiled from the companionship of others of her age, permitted no familiarity with any living being, no sympathies with any other heart, commanded but never indulged, rebuked but never applauded, she must have sunk beneath the severities imposed on her by her father, but for the venial disobedience committed in the pursuit of the solitary pleasure procured for her by her lute. Vainly, in her hours of study, did she read the fierce anathemas against love, liberty, and pleasure, poetry, painting, and music, gold, silver, and precious stones, which the ancient fathers had composed for the benefit of the submissive congregations of former days; vainly did she imagine, during those long hours of theological instruction, that her heart's forbidden longings were banished and destroyed--that her patient and childlike disposition was bowed in complete subserviency to the most rigorous of her father's commands. No sooner were her interviews with Numerian concluded than the promptings of that nature within us, which artifice may warp but can never destroy, lured her into a forgetfulness of all that she had heard and a longing for much that was forbidden. We live, in this existence, but by the companionship of some sympathy, aspiration, or pursuit, which serves us as our habitual refuge from the tribulations we inherit from the outer world. The same feeling which led Antonina in her childhood to beg for a flower-garden, in her girlhood induced her to gain possession of a lute.
The passion for music which prompted her visit to Vetranio, which alone saved her affections from pining in the solitude imposed on them, and which occupied her leisure hours in the manner we have already described, was an inheritance of her birth.
Her Spanish mother had sung to her, hour after hour, in her cradle, for the short time during which she was permitted to watch over her child. The impression thus made on the dawning faculties of the infant, nothing ever effaced. Though her earliest perception were greeted only by the sight of her father's misery; though the form which his despairing penitence soon assumed doomed her to a life of seclusion and an education of admonition, the passionate attachment to the melody of sound, inspired by her mother's voice--almost imbibed at her mother's breast--lived through all neglect, and survived all opposition. It found its nourishment in childish recollections, in snatches of street minstrelsy heard through her window, in the passage of the night winds of winter through the groves on the Pincian Mount, and received its rapturous gratification in the first audible sounds from the Roman senator's lute. How her