Pierre; or The Ambiguities Part 44

"I would go blind for thee, Pierre; here, take out these eyes, and use them for gla.s.ses." So saying, she looked with a strange momentary haughtiness and defiance at Lucy.

A general half involuntary movement was now made, as if they were about to depart.

"Ye are ready; go ye before"--said Lucy meekly; "I will follow."

"Nay, one on each arm"--said Pierre--"come!"

As they pa.s.sed through the low arched vestibule into the street, a cheek-burnt, gamesome sailor pa.s.sing, exclaimed--"Steer small, my lad; 'tis a narrow strait thou art in!"

"What says he?"--said Lucy gently. "Yes, it is a narrow strait of a street indeed."

But Pierre felt a sudden tremble transferred to him from Isabel, who whispered something inarticulate in his ear.

Gaining one of the thoroughfares, they drew near to a conspicuous placard over a door, announcing that above stairs was a gallery of paintings, recently imported from Europe, and now on free exhibition preparatory to their sale by auction. Though this encounter had been entirely unforeseen by Pierre, yet yielding to the sudden impulse, he at once proposed their visiting the pictures. The girls a.s.sented, and they ascended the stairs.

In the anteroom, a catalogue was put into his hand. He paused to give one hurried, comprehensive glance at it. Among long columns of such names as Rubens, Raphael, Angelo, Domenichino, Da Vinci, all shamelessly prefaced with the words "undoubted," or "testified," Pierre met the following brief line:--"_No. 99. A stranger's head, by an unknown hand._"

It seemed plain that the whole must be a collection of those wretched imported daubs, which with the incredible effrontery peculiar to some of the foreign picture-dealers in America, were christened by the loftiest names known to Art. But as the most mutilated torsoes of the perfections of antiquity are not unworthy the student's attention, neither are the most bungling modern incompletenesses: for both are torsoes; one of perished perfections in the past; the other, by antic.i.p.ation, of yet unfulfilled perfections in the future. Still, as Pierre walked along by the thickly hung walls, and seemed to detect the infatuated vanity which must have prompted many of these utterly unknown artists in the attempted execution by feeble hand of vigorous themes; he could not repress the most melancholy foreboding concerning himself. All the walls of the world seemed thickly hung with the empty and impotent scope of pictures, grandly outlined, but miserably filled. The smaller and humbler pictures, representing little familiar things, were by far the best executed; but these, though touching him not unpleasingly, in one restricted sense, awoke no dormant majesties in his soul, and therefore, upon the whole, were contemptibly inadequate and unsatisfactory.

At last Pierre and Isabel came to that painting of which Pierre was capriciously in search--No. 99.

"My G.o.d! see! see!" cried Isabel, under strong excitement, "only my mirror has ever shown me that look before! See! see!"

By some mere hocus-pocus of chance, or subtly designing knavery, a real Italian gem of art had found its way into this most hybrid collection of impostures.

No one who has pa.s.sed through the great galleries of Europe, unbewildered by their wonderful mult.i.tudinousness of surpa.s.sing excellence--a redundancy which neutralizes all discrimination or individualizing capacity in most ordinary minds--no calm, penetrative person can have victoriously run that painted gauntlet of the G.o.ds, without certain very special emotions, called forth by some one or more individual paintings, to which, however, both the catalogues and the criticisms of the greatest connoisseurs deny any all-transcending merit, at all answering to the effect thus casually produced. There is no time now to show fully how this is; suffice it, that in such instances, it is not the abstract excellence always, but often the accidental congeniality, which occasions this wonderful emotion. Still, the individual himself is apt to impute it to a different cause; hence, the headlong enthusiastic admiration of some one or two men for things not at all praised by--or at most, which are indifferent to--the rest of the world;--a matter so often considered inexplicable.

But in this Stranger's Head by the Unknown Hand, the abstract general excellence united with the all-surprising, accidental congeniality in producing an acc.u.mulated impression of power upon both Pierre and Isabel. Nor was the strangeness of this at all impaired by the apparent uninterestedness of Lucy concerning that very picture. Indeed, Lucy--who, owing to the occasional jolting of the crowd, had loosened her arm from Pierre's, and so, gradually, had gone on along the pictured hall in advance--Lucy had thus pa.s.sed the strange painting, without the least special pause, and had now wandered round to the precisely opposite side of the hall; where, at this present time, she was standing motionless before a very tolerable copy (the only other good thing in the collection) of that sweetest, most touching, but most awful of all feminine heads--The Cenci of Guido. The wonderfulness of which head consists chiefly, perhaps, in a striking, suggested contrast, half-identical with, and half-a.n.a.logous to, that almost supernatural one--sometimes visible in the maidens of tropical nations--namely, soft and light blue eyes, with an extremely fair complexion; vailed by funereally jetty hair. But with blue eyes and fair complexion, the Cenci's hair is golden--physically, therefore, all is in strict, natural keeping; which, nevertheless, still the more intensifies the suggested fanciful anomaly of so sweetly and seraphically _blonde_ a being, being double-hooded, as it were, by the black c.r.a.pe of the two most horrible crimes (of one of which she is the object, and of the other the agent) possible to civilized humanity--incest and parricide.

Now, this Cenci and "the Stranger" were hung at a good elevation in one of the upper tiers; and, from the opposite walls, exactly faced each other; so that in secret they seemed pantomimically talking over and across the heads of the living spectators below.

With the aspect of the Cenci every one is familiar. "The Stranger" was a dark, comely, youthful man's head, portentously looking out of a dark, shaded ground, and ambiguously smiling. There was no discoverable drapery; the dark head, with its crisp, curly, jetty hair, seemed just disentangling itself from out of curtains and clouds. But to Isabel, in the eye and on the brow, were certain shadowy traces of her own unmistakable likeness; while to Pierre, this face was in part as the resurrection of the one he had burnt at the Inn. Not that the separate features were the same; but the pervading look of it, the subtler interior keeping of the entirety, was almost identical; still, for all this, there was an unequivocal aspect of foreignness, of Europeanism, about both the face itself and the general painting.

"Is it? Is it? Can it be?" whispered Isabel, intensely.

Now, Isabel knew nothing of the painting which Pierre had destroyed. But she solely referred to the living being who--under the designation of her father--had visited her at the cheerful house to which she had been removed during childhood from the large and unnamable one by the pleasant woman in the coach. Without doubt--though indeed she might not have been at all conscious of it in her own mystic mind--she must have somehow vaguely fancied, that this being had always through life worn the same aspect to every body else which he had to her, for so very brief an interval of his possible existence. Solely knowing him--or dreaming of him, it may have been--under that one aspect, she could not conceive of him under any other. Whether or not these considerations touching Isabel's ideas occurred to Pierre at this moment is very improbable. At any rate, he said nothing to her, either to deceive or undeceive, either to enlighten or obscure. For, indeed, he was too much riveted by his own far-interior emotions to a.n.a.lyze now the cotemporary ones of Isabel. So that there here came to pa.s.s a not unremarkable thing: for though both were intensely excited by one object, yet their two minds and memories were thereby directed to entirely different contemplations; while still each, for the time--however unreasonably--might have vaguely supposed the other occupied by one and the same contemplation. Pierre was thinking of the chair-portrait: Isabel, of the living face. Yet Isabel's fervid exclamations having reference to the living face, were now, as it were, mechanically responded to by Pierre, in syllables having reference to the chair-portrait. Nevertheless, so subtile and spontaneous was it all, that neither perhaps ever afterward discovered this contradiction; for, events whirled them so rapidly and peremptorily after this, that they had no time for those calm retrospective reveries indispensable perhaps to such a discovery.

"Is it? is it? can it be?" was the intense whisper of Isabel.

"No, it can not be, it is not," replied Pierre; "one of the wonderful coincidences, nothing more."

"Oh, by that word, Pierre, we but vainly seek to explain the inexplicable. Tell me: it is! it must be! it is wonderful!"

"Let us begone; and let us keep eternal silence," said Pierre, quickly; and, seeking Lucy, they abruptly left the place; as before, Pierre, seemingly unwilling to be accosted by any one he knew, or who knew his companions, unconsciously accelerating their steps while forced for a s.p.a.ce to tread the thoroughfares.

II.

As they hurried on, Pierre was silent; but wild thoughts were hurrying and shouting in his heart. The most tremendous displacing and revolutionizing thoughts were upheaving in him, with reference to Isabel; nor--though at the time he was hardly conscious of such a thing--were these thoughts wholly unwelcome to him.

How did he know that Isabel was his sister? Setting aside Aunt Dorothea's nebulous legend, to which, in some shadowy points, here and there Isabel's still more nebulous story seemed to fit on,--though but uncertainly enough--and both of which thus blurredly conjoining narrations, regarded in the unscrupulous light of real naked reason, were any thing but legitimately conclusive; and setting aside his own dim reminiscences of his wandering father's death-bed; (for though, in one point of view, those reminiscences might have afforded some degree of presumption as to his father's having been the parent of an unacknowledged daughter, yet were they entirely inconclusive as to that presumed daughter's ident.i.ty; and the grand point now with Pierre was, not the general question whether his father had had a daughter, but whether, a.s.suming that he had had, _Isabel_, rather than any other living being, _was that daughter_;)--and setting aside all his own manifold and inter-enfolding mystic and transcendental persuasions,--originally born, as he now seemed to feel, purely of an intense procreative enthusiasm:--an enthusiasm no longer so all-potential with him as of yore; setting all these aside, and coming to the plain, palpable facts,--how did he _know_ that Isabel was his sister? Nothing that he saw in her face could he remember as having seen in his father's. The chair-portrait, _that_ was the entire sum and substance of all possible, rakable, downright presumptive evidence, which peculiarly appealed to his own separate self. Yet here was another portrait of a complete stranger--a European; a portrait imported from across the seas, and to be sold at public auction, which was just as strong an evidence as the other. Then, the original of this second portrait was as much the father of Isabel as the original of the chair-portrait. But perhaps there was no original at all to this second portrait; it might have been a pure fancy piece; to which conceit, indeed, the uncharacterizing style of the filling-up seemed to furnish no small testimony.

With such bewildering meditations as these in him, running up like clasping waves upon the strand of the most latent secrecies of his soul, and with both Isabel and Lucy bodily touching his sides as he walked; the feelings of Pierre were entirely untranslatable into any words that can be used.

Of late to Pierre, much more vividly than ever before, the whole story of Isabel had seemed an enigma, a mystery, an imaginative delirium; especially since he had got so deep into the inventional mysteries of his book. For he who is most practically and deeply conversant with mysticisms and mysteries; he who professionally deals in mysticisms and mysteries himself; often that man, more than any body else, is disposed to regard such things in others as very deceptively bejuggling; and likewise is apt to be rather materialistic in all his own merely personal notions (as in their practical lives, with priests of Eleusinian religions), and more than any other man, is often inclined, at the bottom of his soul, to be uncompromisingly skeptical on all novel visionary hypotheses of any kind. It is only the no-mystics, or the half-mystics, who, properly speaking, are credulous. So that in Pierre, was presented the apparent anomaly of a mind, which by becoming really profound in itself, grew skeptical of all tendered profundities; whereas, the contrary is generally supposed.

By some strange arts Isabel's wonderful story might have been, someway, and for some cause, forged for her, in her childhood, and craftily impressed upon her youthful mind; which so--like a slight mark in a young tree--had now enlargingly grown with her growth, till it had become this immense staring marvel. Tested by any thing real, practical, and reasonable, what less probable, for instance, than that fancied crossing of the sea in her childhood, when upon Pierre's subsequent questioning of her, she did not even know that the sea was salt.

III.

In the midst of all these mental confusions they arrived at the wharf; and selecting the most inviting of the various boats which lay about them in three or four adjacent ferry-slips, and one which was bound for a half-hour's sail across the wide beauty of that glorious bay; they soon found themselves afloat and in swift gliding motion.

They stood leaning on the rail of the guard, as the sharp craft darted out from among the lofty pine-forests of ships'-masts, and the tangled underbrush and cane-brakes of the dwarfed sticks of sloops and scows.

Soon, the spires of stone on the land, blent with the masts of wood on the water; the crotch of the twin-rivers pressed the great wedged city almost out of sight. They swept by two little islets distant from the sh.o.r.e; they wholly curved away from the domes of free-stone and marble, and gained the great sublime dome of the bay's wide-open waters.

Small breeze had been felt in the pent city that day, but the fair breeze of naked nature now blew in their faces. The waves began to gather and roll; and just as they gained a point, where--still beyond--between high promontories of fortresses, the wide bay visibly sluiced into the Atlantic, Isabel convulsively grasped the arm of Pierre and convulsively spoke.

"I feel it! I feel it! It is! It is!"

"What feelest thou?--what is it?"

"The motion! the motion!"

"Dost thou not understand, Pierre?" said Lucy, eying with concern and wonder his pale, staring aspect--"The waves: it is the motion of the waves that Isabel speaks of. Look, they are rolling, direct from the sea now."

Again Pierre lapsed into a still stranger silence and revery.

It was impossible altogether to resist the force of this striking corroboration of by far the most surprising and improbable thing in the whole surprising and improbable story of Isabel. Well did he remember her vague reminiscence of the teetering sea, that did not slope exactly as the floors of the unknown, abandoned, old house among the French-like mountains.

While plunged in these mutually neutralizing thoughts of the strange picture and the last exclamations of Isabel, the boat arrived at its destination--a little hamlet on the beach, not very far from the great blue sluice-way into the ocean, which was now yet more distinctly visible than before.

"Don't let us stop here"--cried Isabel. "Look, let us go through there!

Bell must go through there! See! see! out there upon the blue! yonder, yonder! far away--out, out!--far, far away, and away, and away, out there! where the two blues meet, and are nothing--Bell must go!"

"Why, Isabel," murmured Lucy, "that would be to go to far England or France; thou wouldst find but few friends in far France, Isabel."

"Friends in far France? And what friends have I here?--Art thou my friend? In thy secret heart dost thou wish me well? And for thee, Pierre, what am I but a vile clog to thee; dragging thee back from all thy felicity? Yes, I will go yonder--yonder; out there! I will, I will!

Unhand me! Let me plunge!"

For an instant, Lucy looked incoherently from one to the other. But both she and Pierre now mechanically again seized Isabel's frantic arms, as they were again thrown over the outer rail of the boat. They dragged her back; they spoke to her; they soothed her; but though less vehement, Isabel still looked deeply distrustfully at Lucy, and deeply reproachfully at Pierre.

They did not leave the boat as intended; too glad were they all, when it unloosed from its fastenings, and turned about upon the backward trip.

Stepping to sh.o.r.e, Pierre once more hurried his companions through the unavoidable publicity of the thoroughfares; but less rapidly proceeded, soon as they gained the more secluded streets.

IV.