A Romance of Two Worlds Part 2

"I do indeed," he replied, "since it is a certain proof that the world does not understand you. To achieve something that is above human comprehension, THAT is greatness. To have the serene sublimity of the G.o.d-man Christ, and consent to be crucified by a gibing world that was fated to be afterwards civilized and dominated by His teachings, what can be more glorious? To have the magnificent versatility of a Shakespeare, who was scarcely recognized in his own day, but whose gifts were so vast and various that the silly mult.i.tudes wrangle over his very ident.i.ty and the authenticity of his plays to this hour--what can be more triumphant? To know that one's own soul can, if strengthened and encouraged by the force of will, rise to a supreme alt.i.tude of power--is not that sufficient to compensate for the little whining cries of the common herd of men and women who have forgotten whether they ever had a spiritual spark in them, and who, straining up to see the light of genius that burns too fiercely for their earth-dimmed eyes, exclaim: 'WE see nothing, therefore there CAN be nothing.' Ah, mademoiselle, the knowledge of one's own inner Self-Existence is a knowledge surpa.s.sing all the marvels of art and science!"

Cellini spoke with enthusiasm, and his countenance seemed illumined by the eloquence that warmed his speech. I listened with a sort of dreamy satisfaction; the visual sensation of utter rest that I always experienced in this man's presence was upon me, and I watched him with interest as he drew with quick and facile touch the outline of my features on his canvas.

Gradually he became more and more absorbed in his work; he glanced at me from time to time, but did not speak, and his pencil worked rapidly.

I turned over the "Letters of a Dead Musician" with some curiosity.

Several pa.s.sages struck me as being remarkable for their originality and depth of thought; but what particularly impressed me as I read on, was the tone of absolute joy and contentment that seemed to light up every page. There were no wailings over disappointed ambition, no regrets for the past, no complaints, no criticism, no word for or against the brothers of his art; everything was treated from a lofty standpoint of splendid equality, save when the writer spoke of himself, and then he became the humblest of the humble, yet never abject, and always happy.

"O Music!" he wrote, "Music, thou Sweetest Spirit of all that serve G.o.d, what have I done that thou shouldst so often visit me? It is not well, O thou Lofty and Divine One, that thou shouldst stoop so low as to console him who is the unworthiest of all thy servants. For I am too feeble to tell the world how soft is the sound of thy rustling pinions, how tender is the sighing breath of thy lips, how beyond all things glorious is the vibration of thy lightest whisper! Remain aloft, thou Choicest Essence of the Creator's Voice, remain in that pure and cloudless ether, where alone thou art fitted to dwell. My touch must desecrate thee, my voice affright thee. Suffice it to thy servant, O Beloved, to dream of thee and die!"

Meeting Cellini's glance as I finished reading these lines, I asked:

"Did you know the author of this book, signor?"

"I knew him well," he replied; "he was one of the gentlest souls that ever dwelt in human clay. As ethereal in his music as John Keats in his poetry, he was one of those creatures born of dreams and rapture that rarely visit this planet. Happy fellow! What a death was his!"

"How did he die?" I inquired.

"He was playing the organ in one of the great churches of Rome on the day of the Feast of the Virgin. A choir of finely trained voices sang to his accompaniment his own glorious setting of the "Regina Coeli."

The music was wonderful, startling, triumphant--ever rising in power and majesty to a magnificent finale, when suddenly a slight crash was heard; the organ ceased abruptly, the singers broke off. The musician was dead. He had fallen forward on the keys of the instrument, and when they raised him, his face was fairer than the face of any sculptured angel, so serene was its expression, so rapt was its smile. No one could tell exactly the cause of his death--he had always been remarkably strong and healthy. Everyone said it was heart-disease--it is the usual reason a.s.signed by medical savants for these sudden departures out of the world. His loss was regretted by all, save myself and one other who loved him. We rejoiced, and still do rejoice, at his release."

I speculated vaguely on the meaning of these last words, but I felt disinclined to ask any more questions, and Cellini, probably seeing this, worked on at his sketch without further converse. My eyes were growing heavy, and the printed words in the "Dead Musician's Letters"

danced before my sight like active little black demons with thin waving arms and legs. A curious yet not unpleasant drowsiness stole over me, in which I heard the humming of the bees at the open window, the singing of the birds, and the voices of people in the hotel gardens, all united in one continuous murmur that seemed a long way off. I saw the sunshine and the shadow--I saw the majestic Leo stretched full length near the easel, and the slight supple form of Raffaello Cellini standing out in bold outline against the light; yet all seemed shifting and mingling strangely into a sort of wide radiance in which there was nothing but varying tints of colour. And could it have been my fancy, or did I actually SEE the curtain fall gradually away from my favourite picture, just enough for the face of the "Angel of Life" to be seen smiling down upon me? I rubbed my eyes violently, and started to my feet at the sound of the artist's voice.

"I have tried your patience enough for to-day," he said, and his words sounded m.u.f.fled, as though they were being spoken through, a thick wall. "You can leave me now if you like."

I stood before him mechanically, still holding the book he had lent me clasped in my hand. Irresolutely I raised my eyes towards the "Lords of our Life and Death." It was closely veiled. I had then experienced an optical illusion. I forced myself to speak--to smile--to put back the novel sensations that were overwhelming me.

"I think," I said, and I heard myself speak as though I were somebody else at a great distance off--"I think, Signor Cellini, your Eastern wine has been too potent for me. My head is quite heavy, and I feel dazed."

"It is mere fatigue and the heat of the day," he replied quietly. "I am sure you are not too DAZED, as you call it, to see your favourite picture, are you?"

I trembled. Was not that picture veiled? I looked--there was no curtain at all, and the faces of the two Angels shone out of the canvas with intense brilliancy! Strange to say, I felt no surprise at this circ.u.mstance, which, had it occurred a moment previously, would have unquestionably astonished and perhaps alarmed me. The mistiness of my brain suddenly cleared; I saw everything plainly; I heard distinctly; and when I spoke, the tone of my voice sounded as full and ringing as it had previously seemed low and m.u.f.fled. I gazed steadfastly at the painting, and replied, half smiling:

"I should be indeed 'far gone,' as the saying is, if I could not see that, signor! It is truly your masterpiece. Why have you never exhibited it?"

"Can YOU ask that?" he said with impressive emphasis, at the same time drawing nearer and fixing upon me the penetrating glance of his dark fathomless eyes. It then seemed to me that some great inner force compelled me to answer this half-inquiry, in words of which I had taken no previous thought, and which, as I uttered them, conveyed no special meaning to my own ears.

"Of course," I said slowly, as if I were repeating a lesson, "you would not so betray the high trust committed to your charge."

"Well said!" replied Cellini; "you are fatigued, mademoiselle. Au revoir! Till to-morrow!" And, throwing open the door of his studio, he stood aside for me to pa.s.s out. I looked at him inquiringly.

"Must I come at the same time to-morrow?" I asked.

"If you please."

I pa.s.sed my hand across my forehead perplexedly, I felt I had something else to say before I left him. He waited patiently, holding back with one hand the curtains of the portiere.

"I think I had a parting word to give you," I said at last, meeting his gaze frankly; "but I seem to have forgotten what it was." Cellini smiled gravely.

"Do not trouble to think about it, mademoiselle. I am unworthy the effort on your part."

A flash of vivid light crossed my eyes for a second, and I exclaimed eagerly:

"I remember now! It was 'Dieu vous garde' signor!"

He bent his head reverentially.

"Merci mille fois, mademoiselle! Dieu vous garde--vous aussi. Au revoir."

And clasping my hand with a light yet friendly pressure, he closed the door of his room behind me. Once alone in the pa.s.sage, the sense of high elation and contentment that had just possessed me began gradually to decrease. I had not become actually dispirited, but a languid feeling of weariness oppressed me, and my limbs ached as though I had walked incessantly for many miles. I went straight to my own room. I consulted my watch; it was half-past one, the hour at which the hotel luncheon was usually served. Mrs. Everard had evidently not returned from her drive. I did not care to attend the table d'hote alone; besides, I had no inclination to eat. I drew down the window-blinds to shut out the brilliancy of the beautiful Southern sunlight, and throwing myself on my bed I determined to rest quietly till Amy came back. I had brought the "Letters of a Dead Musician" away with me from Cellini's studio, and I began to read, intending to keep myself awake by this means. But I found I could not fix my attention on the page, nor could I think at all connectedly. Little by little my eyelids closed; the book dropped from my nerveless hand; and in a few minutes I was in a deep and tranquil slumber.

CHAPTER III.

THREE VISIONS.

Roses, roses! An interminable chain of these royal blossoms, red and white, wreathed by the radiant fingers of small rainbow-winged creatures as airy as moonlight mist, as delicate as thistledown! They cl.u.s.ter round me with smiling faces and eager eyes; they place the end of their rose-garland in my hand, and whisper, "FOLLOW!" Gladly I obey, and hasten onward. Guiding myself by the fragrant chain I hold, I pa.s.s through a labyrinth of trees, whose luxuriant branches quiver with the flight and song of birds. Then comes a sound of waters; the riotous rushing of a torrent unchecked, that leaps sheer down from rocks a thousand feet high, thundering forth the praise of its own beauty as it tosses in the air triumphant crowns of silver spray. How the living diamonds within it shift, and change, and sparkle! Fain would I linger to watch this magnificence; but the coil of roses still unwinds before me, and the fairy voices still cry, "FOLLOW!" I press on. The trees grow thicker; the songs of the birds cease; the light around me grows pale and subdued. In the far distance I see a golden crescent that seems suspended by some invisible thread in the air. Is it the young moon? No; for as I gaze it breaks apart into a thousand points of vivid light like wandering stars. These meet; they blaze into letters of fire. I strain my dazzled eyes to spell out their meaning. They form one word--HELIOBAS. I read it. I utter it aloud. The rose-chain breaks at my feet, and disappears. The fairy voices die away on my ear. There is utter silence, utter darkness,--save where that one NAME writes itself in burning gold on the blackness of the heavens.

The interior of a vast cathedral is opened before my gaze. The lofty white marble columns support a vaulted roof painted in fresco, from which are suspended a thousand lamps that emit a mild and steady effulgence. The great altar is illuminated; the priests, in glittering raiment, pace slowly to and fro. The large voice of the organ, murmuring to itself awhile, breaks forth in a shout of melody; and a boy's clear, sonorous treble tones pierce the incense-laden air.

"Credo!"--and the silver, trumpet-like notes fall from the immense height of the building like a bell ringing in a pure atmosphere--"Credo in unum Deum; Patrem omni-potentum, factorem coeli et terrae, visibilium omnium et invisibilium."

The cathedral echoes with answering voices; and, involuntarily kneeling, I follow the words of the grand chant. I hear the music slacken; the notes of rejoicing change to a sobbing and remorseful wail; the organ shudders like a forest of pines in a tempest, "Crucifixus etiam pro n.o.bis; pa.s.sus et sepultus est." A darkness grows up around me; my senses swim. The music altogether ceases; but a brilliant radiance streams through a side-door of the church, and twenty maidens, clad in white and crowned with myrtle, pacing two by two, approach me. They gaze at me with joyous eyes. "Art thou also one of us?" they murmur; then they pa.s.s onward to the altar, where again the lights are glimmering. I watch them with eager interest; I hear them uplift their fresh young voices in prayer and praise. One of them, whose deep blue eyes are full of l.u.s.trous tenderness, leaves her companions, and softly approaches me. She holds a pencil and tablet in her hand.

"Write!" she says, in a thrilling whisper; "and write quickly! for whatsoever thou shalt now inscribe is the clue to thy destiny."

I obey her mechanically, impelled not by my own will, but by some unknown powerful force acting within and around me. I trace upon the tablet one word only; it is a name that startles me even while I myself write it down--HELIOBAS. Scarcely have I written it when a thick white cloud veils the cathedral from my sight; the fair maiden vanishes, and all is again still.

I am listening to the accents of a grave melodious voice, which, from its slow and measured tones, would seem to be in the action of reading or reciting aloud. I see a small room sparely furnished, and at a table covered with books and ma.n.u.scripts is seated a man of n.o.ble features and commanding presence. He is in the full prime of life; his dark hair has no thread of silver to mar its luxuriance; his face is unwrinkled; his forehead unfurrowed by care; his eyes, deeply sunk beneath his shelving brows, are of a singularly clear and penetrating blue, with an absorbed and watchful look in them, like the eyes of one accustomed to gaze far out at sea. His hand rests on the open pages of a ma.s.sive volume; he is reading, and his expression is intent and earnest--as if he were littering his own thoughts aloud, with the conviction and force of an orator who knows the truth of which he speaks:

"The Universe is upheld solely by the Law of Love. A majestic invisible Protectorate governs the winds, the tides, the incoming and outgoing of the seasons, the birth of the flowers, the growth of forests, the outpourings of the sunlight, the silent glittering of the stars. A wide illimitable Beneficence embraces all creation. A vast Eternal Pity exists for all sorrow, all sin. He who first swung the planets in the air, and bade them revolve till Time shall be no more--He, the Fountain-Head of Absolute Perfection, is no deaf, blind, capricious, or remorseless Being. To Him the death of the smallest singing-bird is as great or as little as the death of a world's emperor. For Him the timeless withering of an innocent flower is as pitiful as the decay of a mighty nation. An infant's first prayer to Him is heard with as tender a patience as the united pet.i.tions of thousands of worshippers.

For in everything and around everything, from the sun to a grain of sand, He hath a portion, small or great, of His own most Perfect Existence. Should He hate His Creation, He must perforce hate Himself; and that Love should hate Love is an impossibility. Therefore He loves all His work; and as Love, to be perfect, must contain Pity, Forgiveness, and Forbearance, so doth He pity, forgive, and forbear.

Shall a mere man deny himself for the sake of his child or friend? and shall the Infinite Love refuse to sacrifice itself--yea, even to as immense a humility as its greatness is immeasurable? Shall we deny those merciful attributes to G.o.d which we acknowledge in His creature, Man? O my Soul, rejoice that thou hast pierced the veil of the Beyond; that thou hast seen and known the Truth! that to thee is made clear the Reason of Life, and the Recompense of Death: yet while rejoicing, grieve that thou art not fated to draw more than a few souls to the comfort thou hast thyself attained!"

Fascinated by the speaker's voice and countenance, I listen, straining my ears to catch every word that falls from his lips. He rises; he stands erect; he stretches out his hands as though in solemn entreaty.

"Azul!" he exclaims. "Messenger of my fate; thou who art a guiding spirit of the elements, thou who ridest the storm-cloud and sittest throned on the edge of the lightning! By that electric spark within me, of which thou art the Twin Flame, I ask of thee to send me this one more poor human soul; let me change its unrestfulness into repose, its hesitation to certainty, its weakness to strength, its weary imprisonment to the light of liberty! Azul!"

His voice ceases, his extended hands fall slowly, and gradually, gradually he turns his whole figure towards ME. He faces me--his intense eyes burn through me--his strange yet tender smile absorbs me.

Yet I am full of unreasoning terror; I tremble--I strive to turn away from that searching and magnetic gaze. His deep, melodious tones again ring softly on the silence. He addresses me.

"Fearest thou me, my child? Am I not thy friend? Knowest thou not the name of HELIOBAS?"