Zanoni (Historical Novel). Эдвард Бульвер-ЛиттонЧитать онлайн книгу.
seemed familiar to him. He was reserved only if allusion were ever ventured to his birth or history.
The more general opinion of his origin certainly seemed the more plausible. His riches, his familiarity with the languages of the East, his residence in India, a certain gravity which never deserted his most cheerful and familiar hours, the lustrous darkness of his eyes and hair, and even the peculiarities of his shape, in the delicate smallness of the hands, and the Arab-like turn of the stately head, appeared to fix him as belonging to one at least of the Oriental races. And a dabbler in the Eastern tongues even sought to reduce the simple name of Zanoni, which a century before had been borne by an inoffensive naturalist of Bologna (The author of two works on botany and rare plants.), to the radicals of the extinct language. Zan was unquestionably the Chaldean appellation for the sun. Even the Greeks, who mutilated every Oriental name, had retained the right one in this case, as the Cretan inscription on the tomb of Zeus (Ode megas keitai Zan.—“Cyril contra Julian.” (Here lies great Jove.)) significantly showed. As to the rest, the Zan, or Zaun, was, with the Sidonians, no uncommon prefix to On. Adonis was but another name for Zanonas, whose worship in Sidon Hesychius records. To this profound and unanswerable derivation Mervale listened with great attention, and observed that he now ventured to announce an erudite discovery he himself had long since made—namely, that the numerous family of Smiths in England were undoubtedly the ancient priests of the Phrygian Apollo. “For,” said he, “was not Apollo’s surname, in Phrygia, Smintheus? How clear all the ensuing corruptions of the august name—Smintheus, Smitheus, Smithe, Smith! And even now, I may remark that the more ancient branches of that illustrious family, unconsciously anxious to approximate at least by a letter nearer to the true title, take a pious pleasure in writing their names Smithe!”
The philologist was much struck with this discovery, and begged Mervale’s permission to note it down as an illustration suitable to a work he was about to publish on the origin of languages, to be called “Babel,” and published in three quartos by subscription.
CHAPTER 2.VII.
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,