Chapter 185

Beppo knew by her eyes that her ears were locked against him; and, though she spoke softly, there was an imperiousness in her voice not to be disregarded. He showed plainly by the lost rigidity of his attitude that he was beaten and perplexed. Further expostulations being disregarded, he turned his head to look at the poor panting beast under his charge, and went slowly up to him: they walked off together, a crest-fallen pair.

"You have gained the victory, signorina," said Ugo Corte.

She replied, smiling, "My poor Beppo! it's not difficult to get the best of those who love us."

"Ha!" cried Agostino; "here is one of their secrets, Carlo. Take heed of it, my boy. We shall have queens when kings are fossils, mark me!"

Ammiani muttered a courtly phrase, whereat Corte yawned in very grim fashion.

The signorina had dropped to the grass, at a short step from the Chief, to whom her face was now seriously given. In Ammiani's sight she looked a dark Madonna, with the sun shining bright gold through the edges of the summer hat, thrown back from her head. The full and steady contemplative eyes had taken their fixed expression, after a vanishing affectionate gaze of an instant cast upon Agostino. Attentive as they were, light played in them like water. The countenance was vivid in repose. She leaned slightly forward, clasping the wrist of one hand about her knee, and the sole of one little foot showed from under her dress.

Deliberately, but with no attempt at dramatic impressiveness, the Chief began to speak. He touched upon the condition of Italy, and the new lilt animating her young men and women. "I have heard many good men jeer," he said, "at our taking women to our counsel, accepting their help, and putting a great stake upon their devotion. You have read history, and you know what women can accomplish. They may be trained, equally as we are, to venerate the abstract idea of country, and be a sacrifice to it. Without their aid, and the fire of a fresh life being kindled in their bosoms, no country that has lain like ours in the death-trance can revive. In the death-trance, I say, for Italy does not die!"

"True," said other voices.

"We have this belief in the eternal life of our country, and the belief is the life itself. But let no strong man among us despise the help of women. I have seen our cause lie desperate, and those who despaired of it were not women. Women kept the flame alive. They worship in the temple of the cause."

Ammiani's eyes dwelt fervidly upon the signorina. Her look, which was fastened upon the Chief, expressed a mind that listened to strange matter concerning her very little. But when the plans for the rising of the Bergamascs and Brescians, the Venetians, the Bolognese, the Milanese, all the principal Northern cities, were recited, with a practical emphasis thrown upon numbers, upon the readiness of the organized bands, the dispositions of the leaders, and the amount of resistance to be expected at the various points indicated for the outbreak, her hands disjoined, and she stretched her fingers to the grass, supporting herself so, while her extended chin and animated features told how eagerly her spirit drank at positive springs, and thirsted for assurance of the coming storm.

"It is decided that Milan gives the signal," said the Chief; and a light, like the reflection of a beacon-fire upon the night, flashed over her.

He was pursuing, when Ugo Corte smote the air with his nervous fingers, crying out passionately, "Bunglers! are we again to wait for them, and hear that fifteen patriots have stabbed a Croat corporal, and wrestled hotly with a lieutenant of the guard? I say they are bunglers. They never mean the thing. Fifteen! There were just three Milanese among the last lot--the pick of the city; and the rest were made up of Trentini, and our lads from Bergamo and Brescia; and the order from the Council was, 'Go and do the business!' which means, 'Go and earn your ounce of Austrian lead.' They went, and we gave fifteen true men for one poor devil of a curst tight blue-leg. They can play the game on if we give them odds like that. Milan burns bad powder, and goes off like a drugged pistol. It's a nest of bunglers, and may it be razed! We could do without it, and well! If it were a family failing, should not I too be trusting them? My brother was one of the fifteen who marched out as targets to try the skill of those hell-plumed Tyrolese: and they did it thoroughly--shot him straight here." Corte struck his chest. "He gave a jump and a cry. Was it a viva for Milan? They swear that it was, and they can't translate from a living mouth, much more from a dead one; but I know my Niccolo better. I have kissed his lips a thousand times, and I know the poor boy meant, 'Scorn and eternal distrust of such peddling conspirators as these!' I can deal with traitors, but these flash-in-the-pan plotters--these shaking, jelly-bodied patriots!--trust to them again? Rather draw lots for another fifteen to bare their breasts and bandage their eyes, and march out in the grey morning, while the stupid Croat corporal goes on smoking his lumpy pipe! We shall hear that Milan is moving; we shall rise; we shall be hot at it; and the news will come that Milan has merely yawned and turned over to sleep on the other side. Twice she has done this trick, and the garrison there has sent five regiments to finish us--teach us to sleep soundly likewise! I say, let it be Bergamo; or be it Brescia, if you like; or Venice: she is ready. You trust to Milan, and you are fore-doomed. I would swear it with this hand in the flames. She give the signal? Shut your eyes, cross your hands flat on your breasts: you are dead men if you move. She lead the way? Spin on your heels, and you have followed her!"

Corte had spoken in a thick difficult voice, that seemed to require the aid of his vehement gestures to pour out as it did like a water-pipe in a hurricane of rain. He ceased, red almost to blackness, and knotted his arms, that were big as the cable of a vessel. Not a murmur followed his speech. The word was, given to the Chief, and he resumed:--"You have a personal feeling in this case, Ugo. You have not heard me. I came through Paris. A rocket will soon shoot up from Paris that will be a signal for Christendom. The keen French wit is sick of its compromise-king. All Europe is in convulsions in a few months: to-morrow it may be. The elements are in the hearts of the people, and nothing will contain them. We have sown them to reap them. The sowing asks for persistency; but the reaping demands skill and absolute truthfulness. We have now one of those occasions coming which are the flowers to be plucked by resolute and worthy hands: they are the tests of our sincerity. This time now rapidly approaching will try us all, and we must be ready for it. If we have believed in it, we stand prepared. If we have conceived our plan of action in purity of heart, we shall be guided to discern the means which may serve us. You will know speedily what it is that has prompted you to move. If passion blindfolds you, if you are foiled by a prejudice, I also shall know. My friend, the nursing of a single antipathy is a presumption that your motive force is personal--whether the thirst for vengeance or some internal union of a hundred indistinct little fits of egoism. I have seen brave and even noble men fail at the ordeal of such an hour: not fail in courage, not fail in the strength of their desire; that was the misery for them! They failed because midway they lost the vision to select the right instruments put in our way by heaven. That vision belongs solely to such as have clean and disciplined hearts. The hope in the bosom of a man whose fixed star is Humanity becomes a part of his blood, and is extinguished when his blood flows no more. To conquer him, the principle of life must be conquered. And he, my friend, will use all, because he serves all. I need not touch on Milan."

The signorina drew in her breath quickly, as if in this abrupt close she had a revelation of the Chief's whole meaning, and was startled by the sudden unveiling of his mastery. Her hands hung loose; her figure was tremulous. A murmur from Corte jarred within her like a furious discord, but he had not offended by refusing to disclaim his error, and had simply said in a gruff acquiescent way, "Proceed." Her sensations of surprise at the singular triumph of the Chief made her look curiously into the faces of the other men; but the pronouncing of her name engaged her attention.

"Your first night is the night of the fifteenth of next month?"

"It is, signore," she replied, abashed to find herself speaking with him who had so moved her.

"There is no likelihood of a postponement?"

"I am certain, signore, that I shall be ready."

"There are no squabbles of any serious kind among the singers?"

A soft dimple played for a moment on her lips. "I have heard something."

"Among the women?"

"Yes, and the men."

"But the men do not concern you?"

"No, signore. Except that the women twist them."

Agostino chuckled audibly. The Chief resumed:

"You believe, notwithstanding, that all will go well? The opera will be acted; and you will appear in it?"

"Yes, signore. I know one who has determined on it, and can do it."

"Good. The opera is Camilla?"

She was answering with an affirmative, when Agostino broke in,--"Camilla! And honour to whom honour is due! Let Caesar claim the writing of the libretto, if it be Caesar's! It has passed the censorship, signed Agostino Balderini--a disaffected person out of Piedmont, rendered tame and fangless by a rigorous imprisonment. The sources of the tale, O ye grave Signori Tedeschi? The sources are partly to be traced to a neat little French vaudeville, very sparkling--Camille, or the Husband Asserted; and again to a certain Chronicle that may be mediaeval, may be modern, and is just, as the great Shakespeare would say, 'as you like it.'"

Agostino recited some mock verses, burlesquing the ordinary libretti, and provoked loud laughter from Carlo Ammiani, who was familiar enough with the run of their nonsense.

"Camilla is the bride of Camillo. I give to her all the brains, which is a modern idea, quite! He does all the mischief, which is possibly mediaeval. They have both an enemy, which is mediaeval and modern. None of them know exactly what they are about; so there you have the modern, the mediaeval, and the antique, all in one. Finally, my friends, Camilla is something for you to digest at leisure. The censorship swallowed it at a gulp. Never was bait so handsomely taken! At present I have the joy of playing my fish. On the night of the fifteenth I land him. Camilla has a mother. Do you see? That mother is reported, is generally conceived, as dead. Do you see further? Camilla's first song treats of a dream she has had of that mother. Our signorina shall not be troubled to favour you with a taste of it, or, by Bacchus and his Indian nymphs, I should speedily behold you jumping like peas in a pan, like trout on a bank! The earth would be hot under you, verily! As I was remarking, or meant to be, Camilla and her husband disagree, having agreed to. 'Tis a plot to deceive Count Orso--aha? You are acquainted with Count Orso! He is Camilla's antenuptial guardian. Now you warm to it! In that condition I leave you. Perhaps my child here will give you a taste of her voice. The poetry does much upon reflection, but it has to ripen within you--a matter of time. Wed this voice to the poetry, and it finds passage 'twixt your ribs, as on the point of a driven blade. Do I cry the sweetness and the coolness of my melons? Not I! Try them."

The signorina put her hand out for the scroll he was unfolding, and cast her eyes along bars of music, while Agostino called a "Silenzio tutti!" She sang one verse, and stopped for breath.

Between her dismayed breathings she said to the Chief:--"Believe me, signore, I can be trusted to sing when the time comes."

"Sing on, my blackbird--my viola!" said Agostino. "We all trust you. Look at Colonel Corte, and take him for Count Orso. Take me for pretty Camillo. Take Marco for Michiela; Giulio for Leonardo; Carlo for Cupid. Take the Chief for the audience. Take him for a frivolous public. Ah, my Pippo!" (Agostino laughed aside to him). "Let us lead off with a lighter piece; a trifle-tra-la-la! and then let the frisky piccolo be drowned in deep organ notes, as on some occasions in history the people overrun certain puling characters. But that, I confess, is an illustration altogether out of place, and I'll simply jot it down in my notebook."

Agostino had talked on to let her gain confidence. When he was silent she sang from memory. It was a song of flourishes: one of those be-flowered arias in which the notes flicker and leap like young flames. Others might have sung it; and though it spoke favourably of her aptitude and musical education, and was of a quality to enrapture easy, merely critical audiences, it won no applause from these men. The effect produced by it was exhibited in the placid tolerance shown by the uplifting of Ugo Corte's eyebrows, which said, "Well, here's a voice, certainly." His subsequent look added, "Is this what we have come hither to hear?"

Vittoria saw the look. "Am I on my trial before you?" she thought; and the thought nerved her throat. She sang in strong and grave contralto tones, at first with shut eyes. The sense of hostility left her, and left her soul free, and she raised them. The song was of Camilla dying. She pardons the treacherous hand, commending her memory and the strength of her faith to her husband:--

"Beloved, I am quickly out of sight: I pray that you will love more than my dust.

Were death defeat, much weeping would be right; 'Tis victory when it leaves surviving trust. You will not find me save when you forget Earth's feebleness, and come to faith, my friend, For all Humanity doth owe a debt To all Humanity, until the end."

Agostino glanced at the Chief to see whether his ear had caught note of his own language.

The melancholy severity of that song of death changed to a song of prophetic triumph. The signorina stood up. Camilla has thrown off the mask, and has sung the name "Italia!" At the recurrence of it the men rose likewise.

"Italia, Italia, shall be free!"

Vittoria gave the inspiration of a dying voice: the conquest of death by an eternal truth seemed to radiate from her. Voice and features were as one expression of a rapture of belief built upon pathetic trustfulness.

"Italia, Italia shall be free!"

She seized the hearts of those hard and serious men as a wind takes the strong oak-trees, and rocks them on their knotted roots, and leaves them with the song of soaring among their branches. Italy shone about her; the lake, the plains, the peaks, and the shouldering flushed snowridges. Carlo Ammiani breathed as one who draws in fire. Grizzled Agostino glittered with suppressed emotion, like a frosted thorn-bush in the sunlight. Ugo Corte had his thick brows down, as a man who is reading iron matter. The Chief alone showed no sign beyond a half lifting of the hand, and a most luminous fixed observation of the fair young woman, from whom power was an emanation, free of effort. The gaze was sad in its thoughtfulness, such as our feelings translate of the light of evening.

She ceased, and he said, "You sing on the night of the fifteenth?"

"I do, signore."

"It is your first appearance?"

She bent her head.

"And you will be prepared on that night to sing this song?"

"Yes, signore."

"Save in the event of your being forbidden?"

"Unless you shall forbid me, I will sing it, signore."

"Should they imprison you?--"

"If they shoot me I shall be satisfied to know that I have sung a song that cannot be forgotten."

The Chief took her hand in a gentle grasp.

"Such as you will help to give our Italy freedom. You hold the sacred flame, and know you hold it in trust."

"Friends,"--he turned to his companions,--"you have heard what will be the signal for Milan."

CHAPTER IV

It was a surprise to all of them, save to Agostino Balderini, who passed his inspecting glance from face to face, marking the effect of the announcement. Corte gazed at her heavily, but not altogether disapprovingly. Giulio Bandinelli and Marco Sana, though evidently astonished, and to some extent incredulous, listened like the perfectly trusty lieutenants in an enterprise which they were. But Carlo Ammiani stood horror-stricken. The blood had left his handsome young olive-hued face, and his eyes were on the signorina, large with amazement, from which they deepened to piteousness of entreaty.

"Signorina!--you! Can it be true? Do you know?--do you mean it?"

"What, signor Carlo?"

"This; will you venture to do such a thing?"

"Oh, will I venture? What can you think of me? It is my own request."

"But, signorina, in mercy, listen and consider."

Carlo turned impetuously to the Chief. "The signorina can't know the danger she is running. She will be seized on the boards, and shut up between four walls before a man of us will be ready,--or more than one," he added softly. "The house is sure to be packed for a first night; and the Polizia have a suspicion of her. She has been off her guard in the Conservatorio; she has talked of a country called Italy; she has been indiscreet;--pardon, pardon, signorina! but it is true that she has spoken out from her noble heart. And this opera! Are they fools?--they must see through it. It will never,--it can't possibly be reckoned on to appear. I knew that the signorina was heart and soul with us; but who could guess that her object was to sacrifice herself in the front rank,--to lead a forlorn hope! I tell you it's like a Pagan rite. You are positively slaying a victim. I beg you all to look at the case calmly!"

A burst of laughter checked him; for his seniors by many years could not hear such veteran's counsel from a hurried boy without being shrewdly touched by the humour of it, while one or two threw a particular irony into their tones.

"When we do slay a victim, we will come to you as our augur, my Carlo," said Agostino.

Corte was less gentle. As a Milanese and a mere youth Ammiani was antipathetic to Corte, who closed his laughter with a windy rattle of his lips, and a "pish!" of some emphasis.

Carlo was quick to give him a challenging frown.

"What is it?" Corte bent his head back, as if inquiringly.

"It's I who claim that question by right," said Carlo.

"You are a boy."

"I have studied war."

"In books."

"With brains, Colonel Corte."

"War is a matter of blows, my little lad."

"Let me inform you, signor Colonel, that war is not a game between bulls, to be played with the horns of the head."

"You are prepared to instruct me?" The fiery Bergamasc lifted his eyebrows.

"Nay, nay!" said Agostino. "Between us two first;" and he grasped Carlo's arm, saying in an underbreath, "Your last retort was too long-winded. In these conflicts you must be quick, sharp as a rifle-crack that hits echo on the breast-bone and makes her cry out. I correct a student in the art of war." Then aloud: "My opera, young man!--well, it's my libretto, and you know we writers always say 'my opera' when we have put the pegs for the voice; you are certainly aware that we do. How dare you to make calumnious observations upon my opera? Is it not the ripe and admirable fruit of five years of confinement? Are not the lines sharp, the stanzas solid? and the stuff, is it not good? Is not the subject simple, pure from offence to sensitive authority, constitutionally harmless? Reply!"

"It's transparent to any but asses," said Carlo.

"But if it has passed the censorship? You are guilty, my boy, of bestowing upon those highly disciplined gentlemen who govern your famous city--what title? I trust a prophetic one, since that it comes from an animal whose custom is to turn its back before it delivers a blow, and is, they remark, fonder of encountering dead lions than live ones. Still, it is you who are indiscreet,--eminently so, I must add, if you will look lofty. If my opera has passed the censorship! eh, what have you to say?"

Carlo endured this banter till the end of it came.

"And you--you encourage her!" he cried wrathfully. "You know what the danger is for her, if they once lay hands on her. They will have her in Verona in four-and-twenty hours; through the gates of the Adige in a couple of days, and at Spielberg, or some other of their infernal dens of groans, within a week. Where is the chance of a rescue then? They torture, too, they torture! It's a woman; and insult will be one mode of torturing her. They can use rods--"

The excited Southern youth was about to cover his face, but caught back his hands, clenching them.

"All this," said Agostino, "is an evasion, manifestly, of the question concerning my opera, on which you have thought proper to cast a slur. The phrase, 'transparent to any but asses,' may not be absolutely objectionable, for transparency is, as the critics rightly insist, meritorious in a composition. And, according to the other view, if we desire our clever opponents to see nothing in something, it is notably skilful to let them see through it. You perceive, my Carlo. Transparency, then, deserves favourable comment. So, I do not complain of your phrase, but I had the unfortunate privilege of hearing it uttered. The method of delivery scarcely conveyed a compliment. Will you apologize?"

Carlo burst from him with a vehement question to the Chief: "Is it decided?"

"It is, my friend," was the reply.

"Decided! She is doomed! Signorina! what can you know of this frightful risk? You are going to the slaughter. You will be seized before the first verse is out of your lips, and once in their clutches, you will never breathe free air again. It's madness!--ah, forgive me!--yes, madness! For you shut your eyes; you rush into the trap blindfolded. And that is how you serve our Italy! She sees you an instant, and you are caught away;--and you who might serve her, if you would, do you think you can move dungeon walls?"

"Perhaps, if I have been once seen, I shall not be forgotten," said the signorina smoothly, and then cast her eyes down, as if she felt the burden of a little possible accusation of vanity in this remark. She raised them with fire.

"No; never!" exclaimed Carlo. "But, now you are ours. And--surely it is not quite decided?"

He had spoken imploringly to the Chief. "Not irrevocably?" he added.

"Irrevocably!"

"Then she is lost!"

"For shame, Carlo Ammiani;" said old Agostino, casting his sententious humours aside. "Do you not hear? It is decided! Do you wish to rob her of her courage, and see her tremble? It's her scheme and mine: a case where an old head approves a young one. The Chief says Yes! and you bellow still! Is it a Milanese trick? Be silent."

"Be silent!" echoed Carlo. "Do you remember the beast Marschatska's bet?" The allusion was to a black incident concerning a young Italian ballet girl who had been carried off by an Austrian officer, under the pretext of her complicity in one of the antecedent conspiracies.

"He rendered payment for it," said Agostino.

"He perished; yes! as we shake dust to the winds; but she!--it's terrible! You place women in the front ranks--girls! What can defenceless creatures do? Would you let the van-regiment in battle be the one without weapons? It's slaughter. She's like a lamb to them. You hold up your jewel to the enemy, and cry, 'Come and take it.' Think of the insults! think of the rough hands, and foul mouths! She will be seized on the boards--"