The Marble Faun; Or, The Romance of Monte Beni Volume II Part 4

"I can hardly tell," replied Kenyon; "on the whole, I think not."

"Neither do I," responded the Count; "for, if spirits ever come back, I should surely have met one within these two months past. Ghosts never rise! So much I know, and am glad to know it!"

Following the narrow staircase still higher, they came to another room of similar size and equally forlorn, but inhabited by two personages of a race which from time immemorial have held proprietorship and occupancy in ruined towers. These were a pair of owls, who, being doubtless acquainted with Donatello, showed little sign of alarm at the entrance of visitors. They gave a dismal croak or two, and hopped aside into the darkest corner, since it was not yet their hour to flap duskily abroad.

"They do not desert me, like my other feathered acquaintances," observed the young Count, with a sad smile, alluding to the scene which Kenyon had witnessed at the fountain-side. "When I was a wild, playful boy, the owls did not love me half so well."

He made no further pause here, but led his friend up another flight of steps--while, at every stage, the windows and narrow loopholes afforded Kenyon more extensive eye-shots over hill and valley, and allowed him to taste the cool purity of mid-atmosphere. At length they reached the topmost chamber, directly beneath the roof of the tower.

"This is my own abode," said Donatello; "my own owl's nest."

In fact, the room was fitted up as a bedchamber, though in a style of the utmost simplicity. It likewise served as an oratory; there being a crucifix in one corner, and a mult.i.tude of holy emblems, such as Catholics judge it necessary to help their devotion withal. Several ugly little prints, representing the sufferings of the Saviour, and the martyrdoms of saints, hung on the wall; and behind the crucifix there was a good copy of t.i.tian's Magdalen of the Pitti Palace, clad only in the flow of her golden ringlets. She had a confident look (but it was t.i.tian's fault, not the penitent woman's), as if expecting to win heaven by the free display of her earthly charms. Inside of a gla.s.s case appeared an image of the sacred Bambino, in the guise of a little waxen boy, very prettily made, reclining among flowers, like a Cupid, and holding up a heart that resembled a bit of red sealing-wax. A small vase of precious marble was full of holy water.

Beneath the crucifix, on a table, lay a human skull, which looked as if it might have been dug up out of some old grave. But, examining it more closely, Kenyon saw that it was carved in gray alabaster; most skillfully done to the death, with accurate imitation of the teeth, the sutures, the empty eye-caverns, and the fragile little bones of the nose. This hideous emblem rested on a cushion of white marble, so nicely wrought that you seemed to see the impression of the heavy skull in a silken and downy substance.

Donatello dipped his fingers into the holy-water vase, and crossed himself. After doing so he trembled.

"I have no right to make the sacred symbol on a sinful breast!" he said.

"On what mortal breast can it be made, then?" asked the sculptor. "Is there one that hides no sin?"

"But these blessed emblems make you smile, I fear," resumed the Count, looking askance at his friend. "You heretics, I know, attempt to pray without even a crucifix to kneel at."

"I, at least, whom you call a heretic, reverence that holy symbol,"

answered Kenyon. "What I am most inclined to murmur at is this death's head. I could laugh, moreover, in its ugly face! It is absurdly monstrous, my dear friend, thus to fling the dead weight of our mortality upon our immortal hopes. While we live on earth, 't is true, we must needs carry our skeletons about with us; but, for Heaven's sake, do not let us burden our spirits with them, in our feeble efforts to soar upward! Believe me, it will change the whole aspect of death, if you can once disconnect it, in your idea, with that corruption from which it disengages our higher part."

"I do not well understand you," said Donatello; and he took up the alabaster skull, shuddering, and evidently feeling it a kind of penance to touch it. "I only know that this skull has been in my family for centuries. Old Tomaso has a story that it was copied by a famous sculptor from the skull of that same unhappy knight who loved the fountain lady, and lost her by a blood-stain. He lived and died with a deep sense of sin upon him, and on his death-bed he ordained that this token of him should go down to his posterity. And my forefathers, being a cheerful race of men in their natural disposition, found it needful to have the skull often before their eyes, because they dearly loved life and its enjoyments, and hated the very thought of death."

"I am afraid," said Kenyon, "they liked it none the better, for seeing its face under this abominable mask."

Without further discussion, the Count led the way up one more flight of stairs, at the end of which they emerged upon the summit of the tower.

The sculptor felt as if his being were suddenly magnified a hundredfold; so wide was the Umbrian valley that suddenly opened before him, set in its grand framework of nearer and more distant hills. It seemed as if all Italy lay under his eyes in that one picture. For there was the broad, sunny smile of G.o.d, which we fancy to be spread over that favored land more abundantly than on other regions, and beneath it glowed a most rich and varied fertility. The trim vineyards were there, and the fig-trees, and the mulberries, and the smoky-hued tracts of the olive orchards; there, too, were fields of every kind of grain, among which, waved the Indian corn, putting Kenyon in mind of the fondly remembered acres of his father's homestead. White villas, gray convents, church spires, villages, towns, each with its battlemented walls and towered gateway, were scattered upon this s.p.a.cious map; a river gleamed across it; and lakes opened their blue eyes in its face, reflecting heaven, lest mortals should forget that better land when they beheld the earth so beautiful.

What made the valley look still wider was the two or three varieties of weather that were visible on its surface, all at the same instant of time. Here lay the quiet sunshine; there fell the great black patches of ominous shadow from the clouds; and behind them, like a giant of league-long strides, came hurrying the thunderstorm, which had already swept midway across the plain. In the rear of the approaching tempest, brightened forth again the sunny splendor, which its progress had darkened with so terrible a frown.

All round this majestic landscape, the bald-peaked or forest-crowned mountains descended boldly upon the plain. On many of their spurs and midway declivities, and even on their summits, stood cities, some of them famous of old; for these had been the seats and nurseries of early art, where the flower of beauty sprang out of a rocky soil, and in a high, keen atmosphere, when the richest and most sheltered gardens failed to nourish it.

"Thank G.o.d for letting me again behold this scene!" Said the sculptor, a devout man in his way, reverently taking off his hat. "I have viewed it from many points, and never without as full a sensation of grat.i.tude as my heart seems capable of feeling. How it strengthens the poor human spirit in its reliance on His providence, to ascend but this little way above the common level, and so attain a somewhat wider glimpse of His dealings with mankind! He doeth all things right! His will be done!"

"You discern something that is hidden from me," observed Donatello gloomily, yet striving with unwonted grasp to catch the a.n.a.logies which so cheered his friend. "I see sunshine on one spot, and cloud in another, and no reason for it in either ease. The sun on you; the cloud on me! What comfort can I draw from this?"

"Nay; I cannot preach," said Kenyon, "with a page of heaven and a page of earth spread wide open before us! Only begin to read it, and you will find it interpreting itself without the aid of words. It is a great mistake to try to put our best thoughts into human language. When we ascend into the higher regions of emotion and spiritual enjoyment, they are only expressible by such grand hieroglyphics as these around us."

They stood awhile, contemplating the scene; but, as inevitably happens after a spiritual flight, it was not long before the sculptor felt his wings flagging in the rarity of the upper atmosphere. He was glad to let himself quietly downward out of the mid-sky, as it were, and alight on the solid platform of the battlemented tower. He looked about him, and beheld growing out of the stone pavement, which formed the roof, a little shrub, with green and glossy leaves. It was the only green thing there; and Heaven knows how its seeds had ever been planted, at that airy height, or how it had found nourishment for its small life in the c.h.i.n.ks of the stones; for it had no earth, and nothing more like soil than the crumbling mortar, which had been crammed into the crevices in a long-past age.

Yet the plant seemed fond of its native site; and Donatello said it had always grown there from his earliest remembrance, and never, he believed, any smaller or any larger than they saw it now.

"I wonder if the shrub teaches you any good lesson," said he, observing the interest with which Kenyon examined it. "If the wide valley has a great meaning, the plant ought to have at least a little one; and it has been growing on our tower long enough to have learned how to speak it."

"O, certainly!" answered the sculptor; "the shrub has its moral, or it would have perished long ago. And, no doubt, it is for your use and edification, since you have had it before your eyes all your lifetime, and now are moved to ask what may be its lesson."

"It teaches me nothing," said the simple Donatello, stooping over the plant, and perplexing himself with a minute scrutiny. "But here was a worm that would have killed it; an ugly creature, which I will fling over the battlements."

CHAPTER XXIX

ON THE BATTLEMENTS

The sculptor now looked through art embrasure, and threw down a bit of lime, watching its fall, till it struck upon a stone bench at the rocky foundation of the tower, and flew into many fragments.

"Pray pardon me for helping Time to crumble away your ancestral walls,"

said he. "But I am one of those persons who have a natural tendency to climb heights, and to stand on the verge of them, measuring the depth below. If I were to do just as I like, at this moment, I should fling myself down after that bit of lime. It is a very singular temptation, and all but irresistible; partly, I believe, because it might be so easily done, and partly because such momentous consequences would ensue, without my being compelled to wait a moment for them. Have you never felt this strange impulse of an evil spirit at your back, shoving you towards a precipice?"

"Ah, no!" cried. Donatello, shrinking from the battlemented wall with a face of horror. "I cling to life in a way which you cannot conceive; it has been so rich, so warm, so sunny!--and beyond its verge, nothing but the chilly dark! And then a fall from a precipice is such an awful death!"

"Nay; if it be a great height," said Kenyon, "a man would leave his life in the air, and never feel the hard shock at the bottom."

"That is not the way with this kind of death!" exclaimed Donatello, in a low, horror-stricken voice, which grew higher and more full of emotion as he proceeded. "Imagine a fellow creature,--breathing now, and looking you in the face,--and now tumbling down, down, down, with a long shriek wavering after him, all the way! He does not leave his life in the air!

No; but it keeps in him till he thumps against the stones, a horribly long while; then he lies there frightfully quiet, a dead heap of bruised flesh and broken bones! A quiver runs through the crushed ma.s.s; and no more movement after that! No; not if you would give your soul to make him stir a finger! Ah, terrible! Yes, yes; I would fain fling myself down for the very dread of it, that I might endure it once for all, and dream of it no more!"

"How forcibly, how frightfully you conceive this!" said the sculptor, aghast at the pa.s.sionate horror which was betrayed in the Count's words, and still more in his wild gestures and ghastly look. "Nay, if the height of your tower affects your imagination thus, you do wrong to trust yourself here in solitude, and in the night-time, and at all unguarded hours. You are not safe in your chamber. It is but a step or two; and what if a vivid dream should lead you up hither at midnight, and act itself out as a reality!"

Donatello had hidden his face in his hands, and was leaning against the parapet.

"No fear of that!" said he. "Whatever the dream may be, I am too genuine a coward to act out my own death in it."

The paroxysm pa.s.sed away, and the two friends continued their desultory talk, very much as if no such interruption had occurred. Nevertheless, it affected the sculptor with infinite pity to see this young man, who had been born to gladness as an a.s.sured heritage, now involved in a misty bewilderment of grievous thoughts, amid which he seemed to go staggering blindfold. Kenyon, not without an unshaped suspicion of the definite fact, knew that his condition must have resulted from the weight and gloom of life, now first, through the agency of a secret trouble, making themselves felt on a character that had heretofore breathed only an atmosphere of joy. The effect of this hard lesson, upon Donatello's intellect and disposition, was very striking. It was perceptible that he had already had glimpses of strange and subtle matters in those dark caverns, into which all men must descend, if they would know anything beneath the surface and illusive pleasures of existence. And when they emerge, though dazzled and blinded by the first glare of daylight, they take truer and sadder views of life forever afterwards.

From some mysterious source, as the sculptor felt a.s.sured, a soul had been inspired into the young Count's simplicity, since their intercourse in Rome. He now showed a far deeper sense, and an intelligence that began to deal with high subjects, though in a feeble and childish way.

He evinced, too, a more definite and n.o.bler individuality, but developed out of grief and pain, and fearfully conscious of the pangs that had given it birth. Every human life, if it ascends to truth or delves down to reality, must undergo a similar change; but sometimes, perhaps, the instruction comes without the sorrow; and oftener the sorrow teaches no lesson that abides with us. In Donatello's case, it was pitiful, and almost ludicrous, to observe the confused struggle that he made; how completely he was taken by surprise; how ill-prepared he stood, on this old battlefield of the world, to fight with such an inevitable foe as mortal calamity, and sin for its stronger ally.

"And yet," thought Kenyon, "the poor fellow bears himself like a hero, too! If he would only tell me his trouble, or give me an opening to speak frankly about it, I might help him; but he finds it too horrible to be uttered, and fancies himself the only mortal that ever felt the anguish of remorse. Yes; he believes that n.o.body ever endured his agony before; so that--sharp enough in itself--it has all the additional zest of a torture just invented to plague him individually."

The sculptor endeavored to dismiss the painful subject from his mind; and, leaning against the battlements, he turned his face southward and westward, and gazed across the breadth of the valley. His thoughts flew far beyond even those wide boundaries, taking an air-line from Donatello's tower to another turret that ascended into the sky of the summer afternoon, invisibly to him, above the roofs of distant Rome.

Then rose tumultuously into his consciousness that strong love for Hilda, which it was his habit to confine in one of the heart's inner chambers, because he had found no encouragement to bring it forward. But now he felt a strange pull at his heart-strings. It could not have been more perceptible, if all the way between these battlements and Hilda's dove-cote had stretched an exquisitely sensitive cord, which, at the hither end, was knotted with his aforesaid heart-strings, and, at the remoter one, was grasped by a gentle hand. His breath grew tremulous. He put his hand to his breast; so distinctly did he seem to feel that cord drawn once, and again, and again, as if--though still it was bashfully intimated there were an importunate demand for his presence. O for the white wings of Hilda's doves, that he might, have flown thither, and alighted at the Virgin's shrine!

But lovers, and Kenyon knew it well, project so lifelike a copy of their mistresses out of their own imaginations, that it can pull at the heartstrings almost as perceptibly as the genuine original. No airy intimations are to be trusted; no evidences of responsive affection less positive than whispered and broken words, or tender pressures of the hand, allowed and half returned; or glances, that distil many pa.s.sionate avowals into one gleam of richly colored light. Even these should be weighed rigorously, at the instant; for, in another instant, the imagination seizes on them as its property, and stamps them with its own arbitrary value. But Hilda's maidenly reserve had given her lover no such tokens, to be interpreted either by his hopes or fears.

"Yonder, over mountain and valley, lies Rome," said the sculptor; "shall you return thither in the autumn?"

"Never! I hate Rome," answered Donatello; "and have good cause."