Pietro Ghisleri Part 5

"No. But one may be often bad, and sometimes do decently good deeds,"

observed Ghisleri, with a dry laugh. "Let us talk of your marriage instead of speculating on my salvation, or more probable perdition, if there really is such a thing. When is the wedding day?"

Arden was full of plans for the future, and they drove far out, talking of all that was before the young couple.

On the following day the news was announced to the city and the world.

The world held up its hands in wonder, and its tongue wagged for a whole week and a few days more. Laura Carlyon was to marry a penniless cripple of the most dissipated habits. How shocking! Of course every one knew that Lord Herbert had not fainted at all on that night at the Palazzo Braccio, but had succ.u.mbed, in the natural course of events, to the effects of the champagne he had taken at dinner. That was now quite certain. And the whole world was well aware that his father had cut him off with a pittance on account of his evil ways, and that his brother had twice paid his gambling debts to save the family name from disgrace.

Englishmen as a race, and English cripples in particular, were given to drink and high play. The man had actually been the worse for wine when talking to Laura Carlyon in her mother's house, and Ghisleri had been obliged to carry him out for decency's sake before anything worse happened. Scandalous! It was a wonder that Ghisleri, who, after all, was a gentleman, could a.s.sociate with such a fellow. After all, n.o.body ever liked Laura Carlyon since she had first appeared in society, soon after dear Donna Adele's marriage. It was as well that she should go to England and live with her tipsy cripple. She was good-looking, as some people admitted. She might win the heart of her brother-in-law and induce him to pay her husband's debts a third time. They were said to be enormous.

The men were, on the whole, more charitable. Conscious of their own shortcomings, they did not blame Lord Herbert very severely for taking a little too much "extra dry." They did, however, abuse him somewhat roundly at the club, for having gone to the Gerano party at all when he should have known that he was not steady. Of the facts themselves they had not the slightest doubt. Unfortunately for one of them who happened to be declaiming on the subject, but who was really by no means a bad fellow, he did not notice that Ghisleri had entered the room before he had finished his speech. When he had quite done, Ghisleri came forward.

"Arden is my old friend," he said quietly. "He never drinks. He has a disease of the heart and he fainted from the heat. The doctor and I took him home together. I hope that none of you will take up this disgusting story, which was started by the women. And I hope Pietrasanta, there, will do me the honour to believe what I say, and to tell you that he was mistaken."

Ghisleri was not a pleasant person to quarrel with, and moreover had the reputation of being truthful. His story, too, was quite as probable as the other, to say the least of it. Don Gianbattista Pietrasanta glanced quickly from one to the other of the men who were seated around him as though to ask their advice in the matter. Several of them nodded almost imperceptibly, as though counselling him to do as Ghisleri requested.

There was nothing at all aggressive in the latter's manner, either, as he quietly lit a cigarette while waiting for the other's answer.

Suddenly a deep voice was heard from another corner of the room. The Marchese di San Giacinto, giant in body and fortune, had been reading the paper with the utmost indifference during all the previous conversation. All at once he spoke, deliberately and to the point.

"It is no business of mine," he said, "as I do not know Lord Herbert Arden except by sight. But I was at the dance the other night, and half an hour before the occurrence you are discussing, Lord Herbert was standing beside me, talking of the Egyptian difficulty with the French amba.s.sador. I have often seen men drunk. Lord Herbert Arden was, in my opinion, perfectly sober."

Having delivered himself of this statement, San Giacinto put his very black cigar between his teeth again and took up the evening paper he had been reading.

In the face of such men as Ghisleri and the Marchese, it would have been the merest folly to continue any opposition. Moreover, Pietrasanta was neither stupid nor bad, and he was not a coward.

"I do not know Lord Herbert Arden myself," he said without affectation.

"What I said I got on hearsay, and the whole story is evidently a fabrication which we ought to deny. For the rest, Ghisleri, if you are not quite satisfied--" He stopped and looked at Pietro.

"My dear fellow," said the latter, "what more could I have to say about the affair? You all seemed to be in the dark, and I wanted to clear the matter up for the sake of my old friend. That is all. I am very much obliged to you."

After this incident there was less talk at the clubs, and in a few days the subject dropped. But the world said, as usual, that all the men were afraid of Ghisleri, who was a duellist, and of San Giacinto, who was a giant, and who had taken the trouble to learn to fence when he first came to Rome, and that they had basely eaten their words. Men were such cowards, said the world.

Lord Herbert and Laura lived in blissful ignorance of what was said about them. The preparations for the wedding were already begun, and Laura's modest trousseau was almost all ordered. She and Arden had discussed their future, and having realised that they must live in a very economical fashion for the present and so long as it pleased Heaven to preserve Arden's maternal uncle among the living, they decided that the wedding should be as quiet and unostentatious as possible. The old Prince, however, though far too conscientious to have settled a penny of his inherited fortune upon Laura, even if she had chosen to marry a pauper, was not ungenerous in other ways, and considered himself at liberty to offer the pair some very magnificent silver, which he was able to pay for out of his private economies. As for Donna Adele, she presented them with a couple of handsome wine-coolers--doubtless in delicate allusion to the fict.i.tious story about the champagne Lord Herbert was supposed to have taken. The implied insult, if there was any, was not at all noticed by those who had never heard the tale, however, and Adele had to bide her time for the present.

Meanwhile the season tore along at a break-neck pace, and Lent was fast approaching. Everybody saw and danced with almost everybody else every night, and some of them supped afterwards and gambled till midday, and were surprised to find that their nerves were shaky, and their livers slightly eccentric, and their eyes anything but limpid. But they all knew that the quiet time was coming, the Lent wherein no man can dance, nor woman either, and they amused themselves with a contempt for human life which would have amounted to heroism if displayed in a good cause.

"They" of course means the gay set of that particular year. As the Princess of Gerano gave regular informal dances, and two b.a.l.l.s at the end of Carnival, she and her daughter were considered to belong more or less to the company of the chief merry-makers. The Savelli couple were in it, also, as a matter of course. Gouache was in it when he pleased, a dozen or fifteen young members of the diplomatic corps, old Spicca, who always went everywhere, the Contessa dell' Armi, whose husband was in parliament and rarely went into society, Ghisleri and twenty or thirty others, men and women who were young or thought themselves so.

About three weeks before Ash Wednesday, Anastase Gouache, the perennially young, had a brilliant inspiration. His studio was in an historical palace, and consisted of three halls which might have pa.s.sed for churches in any other country, so far as their size was concerned.

He determined to give a Shrove Tuesday supper to the gay set, with a tableau, and a long final waltz afterwards, by way of interring the mangled remains of the season, as he expressed it. The supper should be at the usual dinner hour instead of at one o'clock, because the gay set was not altogether as scarlet as it was painted, and did not, as a whole, care to dance into the morning of Ash Wednesday. The tableau should represent Carnival meeting Lent. The Contessa dell' Armi should be in it, and Ghisleri, and Donna Adele, and possibly San Giacinto might be induced to appear as a mask. His enormous stature would be very imposing. The Contessa, with her cla.s.sic features and violet eyes, would make an admirable nun, and there would be no difficulty in getting together a train of revellers. Ghisleri, lean, straight, and tall, would do for a Satanic being of some kind, and could head the Carnival procession. The whole thing would not last five minutes and the dancing should begin at once.

"Could you not say something, my friend?" asked Gouache, as he talked the matter over with Ghisleri.

"I could, if you could find something for me to say," answered the latter. "But of what use would it be?"

"The density of the public," replied the great painter, "is, to use the jargon of science, as cotton wool multiplied into cast iron. You either sink into it and make no noise at all, or you knock your head against and cannot get through it. You have never sent a picture to the Salon without naming it, or you would understand exactly what I mean. They took a picture I once painted, as an altar piece, for a scene from the Decameron, I believe--but that was when I was young and had illusions.

On the whole, you had better find something to say, and say it--verse, if possible. They say you have a knack at verses."

"Carnival meeting Lent," said Ghisleri, thoughtfully. Then he laughed.

"I will try--though I am no poet. I will trust a little to my acting to help my lame feet."

Ghisleri laughed again, as though an amusing idea had struck him. That night he went home early, and as very often happened, in a bad humour with himself and with most things. He was a very unhappy man, who felt himself to be always the centre of a conflict between opposing pa.s.sions, and he had long been in the habit of throwing into a rough, impersonal shape, the thoughts that crossed his mind about himself and others, when he was alone at night. Being, as he very truly said, no poet, he quickly tore up such odds and ends of halting rhyme or stumbling prose, either as soon as they were written, or the next morning. Whatever the form of these productions might be, the ideas they expressed were rarely feeble and were indeed sometimes so strong that they might have even shocked some unusually sensitive person in the gay set.

Being, as has been said, in a bad humour on that particular evening, he naturally had something to say to himself on paper, and as he took his pencil he thought of Gouache's suggestion. In a couple of hours he had got what he wanted and went to sleep. The great artist liked the verses when Ghisleri read them to him on the following day, the Contessa consented to act the part of the nun, and the affair was settled.

It was a great success. Gouache's wife, Donna Faustina, had entered into her husband's plans with all her heart. She was of the Montevarchi family, sister to the Marchesa di San Giacinto, the latter's husband being a Saracinesca, as every Italian knows. Gouache did things in a princely fashion, and sixty people, including all the gay set and a few others, sat down to the dinner which Anastase was pleased to call a supper. Every one was very gay. Almost every one was in some fancy dress or mask, there was no order of precedence, and all were placed where they would have the best chance of amusing themselves. The halls of the studio, with their magnificent tapestries and almost priceless objects of art, were wonderful to see in the bright light. Many of the costumes were really superb and all were brilliant. No one knew what was to take place after supper, but every one was sure there was to be dancing, and all were aware that it was the last dance before Easter, and that the best dancers in Rome were all present.

One of the halls had been hastily fitted up as a theatre, with a little stage, a row of footlights, and a background representing a dark wall, with a deep archway in the middle, like the door of a church. When every one was seated, a deep, clear voice spoke out a little prologue from behind the scenes, and the figures, as they were described, moved out from opposite sides of the stage to meet and group themselves before the painted doorway. Let prologue and verse speak for themselves.

"It was nearly midnight--the midnight that ends Shrove Tuesday and begins Ash Wednesday, dividing Carnival from Lent. I left the tables, where all the world of Rome was feasting, and pretending that the feast was the last of the year. The brilliant light flashed upon silver and gold, dyed itself in amber and purple wine, ran riot amongst jewels, and blazed upon many a fair face and snowy neck. The clocks were all stopped, lest some tinkling bell should warn men and women that the day of laughter was over, and that the hour of tears had struck. But I, broken-hearted, sick in soul and weary of the two months' struggle with evil fate, turned away from them and left them to all they loved, and to all that I could never love again.

"I pa.s.sed through the deserted ball-room, and my heart sank as I thought of what was over and done. The polished floor was strewn with withered blossoms, with torn and crumpled favours from the dance, with shreds of gauze and lace; many chairs were overturned; the light streamed down like day upon a great desolation; the heated air was faint with the sad odour of dead flowers. There was the corner where we sat, she and I, to-night, last week, a week before that--where we shall never sit again, for neither of us would. I shivered as I went out into the night.

"Through the dark streets I went, not knowing and not caring whither, nor hearing the tinkling mandolines and changing songs of the revellers who pa.s.sed me on their homeward way."

At this point a mandoline was really heard in the very faintest tones from behind the scenes, playing scarcely above a whisper, as it were, the famous "Tout pour l'amour" waltz of Waldteuffel.

"Suddenly," the voice resumed, above the delicate notes of the instrument, "the bells rang out and I knew that my last Carnival was dead." Here deep-toned bells struck twelve, while the mandoline still continued. "Then, all at once, I was aware of two figures in the gloom, advancing towards the door of a church in front of me. The one was a woman, a nun in white robe and black hood, whose saintly violet eyes seemed to shine in the darkness. The other was a monk."

The Contessa dell' Armi came slowly forward, her pale, clear face lifted and thrown into strong relief by the black head-dress, grasping a heavy rosary in her folded hands. Behind her came San Giacinto, recognisable only by his colossal stature, his face hidden in the shadow of a black cowl. Both were admirable, and a murmur of satisfaction ran through the room.

"As they reached the door," continued the reader, "a wild train of maskers broke into the street."

Ghisleri entered from the opposite side, arrayed somewhat in the manner of Mephistopheles, a mandoline slung over his shoulder, on which he was playing. Donna Adele and a dozen others followed him closely, in every variety of brilliant Carnival dress, dancing forward with tambourines and castanets, their eyes bright, their steps cadenced to the rhythm of the waltz tune which now broke out loud and clear--fair young women with flushed cheeks, all life, and motion, and laughter; and young men following them closely, laughing, and talking, and singing, all dancing in and out with changing steps. Then all at once the music died away to a whisper; the nun and the monk stood back as though in horror against the church door, while the revellers grouped themselves together in varied poses around them, Ghisleri the central figure in the midst, bowing with a diabolical smile before the white-robed nun.

"In front of all," said the voice again, "stood one whose face I shall never forget, for it was like my own. The features were mine, but upon them were reflected all the sins of my life, and all the evil I have done. I thought the other revellers did not see him."

Again the music swelled and rose, and the train of dancers pa.s.sed on with song and laughter, and disappeared on the opposite side of the stage. Ghisleri alone stood still before the saint-like figure of the Contessa dell' Armi, bowing low and holding out to her a tall red gla.s.s.

"He who was like me stayed behind," continued the reader, "and the light from his gla.s.s seemed to shine upon the saintly woman's face, and she drew back as though from contamination, to the monk's side for protection. I knew her face when I saw it--the face I have known too long, too well. Then he who was like me spoke to her, and the voice was my own, but as I would have had it when I have been worst."

As the reader ceased Ghisleri began to speak. His voice was strong, but capable of considerable softness and pa.s.sionate expression, and he did his best to render his own irregular verses both intelligible and moving to his hearers, in which effort he was much helped by the dress he wore and by the gestures he made use of.

"So we meet at the last! You the saint, I the time-proved sinner; You the young, I the old; I the world-worn, you the beginner; At the end of the season here, with a gla.s.s of wine To discuss the salvation and--well--the mine and thine Of all the souls we have met this year, and dealt with, Of those you have tried to make feel, and those I've felt with: Though, after all, dear Saint, had we met in heaven Before you got saintship, or I the infernal leaven That works so hot to kill the old angel in me-- If you had seen the world then, as I was able to see Before Sergeant-Major Michael gave me that fall,-- Not a right fall, mind you, taking the facts in all,-- We might have been on the same side both. But now It is yours to cry over lost souls, as it's mine to show them how They may stumble and tumble into the infernal slough.

So here we are. Now tell me--your honour true-- What do you think of our season? Which wins? I? You?

Ha, ha, ha! Sweet friend, you can hardly doubt The result of this two months' hard-fought wrestling bout.

I have won. You have lost the game. I drive a trade Which I invented--perhaps--but you have made.

Without your heaven, friend Saint, what would be my h.e.l.l?

Without your goodness, could I hope to do well With the poor little peddler's pack of original sin They handed me down, when they turned me out to begin My devil's trade with souls. But now I ask Why for eternal penance they gave me so light a task?

You have not condescended from heaven to taste our carnival feast, But if you had tasted it, you would admit at least That the meats were pa.s.sably sweet, and might allure The nicest of angels, whose tastes are wholly pure.

Old friend--I hate you! I hate your saintly face, Your holy eyes, your vague celestial grace!

You are too cold for me, whose soul must smelt In fires whose fury you have never felt.

But come, unbend a little. Let us chatter Of what we like best, of what our pride may flatter,-- Salvation and d.a.m.nation--there's the theme-- Your trade and mine--what I am, and what you seem.

Come, count the souls we have played for, you and I, The broken hearts you have lost on a careless jog of the die, Hearts that were broken in ire, by one short, sharp fault of the head, Souls lifted on pinions of fire, to sink on wings of lead.

We have gambled, and I have won, while you have steadily lost, I laughing, you weeping your senseless saintly tears each time you tossed.

So now--give it up! Dry your eyes; your heaven's a dream!

Sell your saintship for what it is worth, and come over--the Devil's supreme!

Make Judas Iscariot envy the sweets of our sin-- Poor Judas, who ended himself where I could have wished to begin!

A chosen complexion--h.e.l.l's fruit would not have been wasted Had he lived to eat his fill at the feast he barely tasted.

Ah, my friend, you are horribly good! Oh! I know you of old; I know all your virtues, your graces, your beauties; I know they are cold!

But I know that far down in the depths of your crystalline soul There's a spot the archangel physician might not p.r.o.nounce whole.

There's a h.e.l.l in your heaven; there's a heaven in my h.e.l.l. There we meet.