________________________________________________
_ They descended into the excavation: a young peasant, in the short blue
jacket, the small-clothes buttoned at the knee, and buckled shoes,
that compose one of the ugliest dresses ever worn by man, except the
wearer's form have a grace which any garb, or the nudity of an antique
statue, would equally set off; and, hand in hand with him, a village
girl, in one of those brilliant costumes largely kindled up with
scarlet, and decorated with gold embroidery, in which the contadinas
array themselves on feast-days. But Kenyon was not deceived; he had
recognized the voices of his friends, indeed, even before their
disguised figures came between him and the sunlight. Donatello was
the peasant; the contadina, with the airy smile, half mirthful, though
it shone out of melancholy eyes,--was Miriam.
They both greeted the sculptor with a familiar kindness which reminded
him of the days when Hilda and they and he had lived so happily
together, before the mysterious adventure of the catacomb. What a
succession of sinister events had followed one spectral figure out of
that gloomy labyrinth.
"It is carnival time, you know," said Miriam, as if in explanation of
Donatello's and her own costume. "Do you remember how merrily we
spent the Carnival, last year?"
"It seems many years ago," replied Kenyon. We are all so changed!"
When individuals approach one another with deep purposes on both sides,
they seldom come at once to the matter which they have most at heart.
They dread the electric shock of a too sudden contact with it. A
natural impulse leads them to steal gradually onward, hiding
themselves, as it were, behind a closer, and still a closer topic,
until they stand face to face with the true point of interest. Miriam
was conscious of this impulse, and partially obeyed it.
"So your instincts as a sculptor have brought you into the presence of
our newly discovered statue," she observed. "Is it not beautiful? A
far truer image of immortal womanhood than the poor little damsel at
Florence, world famous though she be."
"Most beautiful," said Kenyon, casting an indifferent glance at the
Venus. "The time has been when the sight of this statue would have
been enough to make the day memorable."
"And will it not do so now?" Miriam asked.
"I fancied so, indeed, when we discovered it two days ago. It is
Donatello's prize. We were sitting here together, planning an
interview with you, when his keen eyes detected the fallen goddess,
almost entirely buried under that heap of earth, which the clumsy
excavators showered down upon her, I suppose. We congratulated
ourselves, chiefly for your sake. The eyes of us three are the only
ones to which she has yet revealed herself. Does it not frighten you
a little, like the apparition of a lovely woman that livid of old, and
has long lain in the grave?"
"Ah, Miriam! I cannot respond to you," said the sculptor, with
irrepressible impatience. "Imagination and the love of art have both
died out of me."
"Miriam," interposed Donatello with gentle gravity, "why should we
keep our friend in suspense? We know what anxiety he feels. Let us
give him what intelligence we can."
"You are so direct and immediate, my beloved friend!" answered Miriam
with an unquiet smile. "There are several reasons why I should like
to play round this matter a little while, and cover it with fanciful
thoughts, as we strew a grave with flowers."
"A grave!" exclaimed the sculptor.
"No grave in which your heart need be buried," she replied; "you have
no such calamity to dread. But I linger and hesitate, because every
word I speak brings me nearer to a crisis from which I shrink. Ah,
Donatello! let us live a little longer the life of these last few days!
It is so bright, so airy, so childlike, so without either past or
future! Here, on the wild Campagna, you seem to have found, both for
yourself and me, the life that belonged to you in early youth; the
sweet irresponsible life which you inherited from your mythic ancestry,
the Fauns of Monte Beni. Our stern and black reality will come upon
us speedily enough. But, first, a brief time more of this strange
happiness."
"I dare not linger upon it," answered Donatello, with an expression
that reminded the sculptor of the gloomiest days of his remorse at
Monte Beni. "I dare to be so happy as you have seen me, only because
I have felt the time to be so brief."
"One day, then!" pleaded Miriam. "One more day in the wild freedom of
this sweet-scented air."
"Well, one more day," said Donatello, smiling; and his smile touched
Kenyon with a pathos beyond words, there being gayety and sadness both
melted into it; "but here is Hilda's friend, and our own. Comfort him,
at least, and set his heart at rest, since you have it partly in your
power."
"Ah, surely he might endure his pangs a little longer!" cried Miriam,
turning to Kenyon with a tricksy, fitful kind of mirth, that served to
hide some solemn necessity, too sad and serious to be looked at in its
naked aspect. "You love us both, I think, and will be content to
suffer for our sakes, one other day. Do I ask too much?"
"Tell me of Hilda," replied the sculptor; "tell me only that she is
safe, and keep back what else you will."
"Hilda is safe," said Miriam. "There is a Providence purposely for
Hilda, as I remember to have told you long ago. But a great
trouble--an evil deed, let us acknowledge it has spread out its dark
branches so widely, that the shadow falls on innocence as well as
guilt. There was one slight link that connected your sweet Hilda with
a crime which it was her unhappy fortune to witness, but of which I
need not say she was as guiltless as the angels that looked out of
heaven, and saw it too. No matter, now, what the consequence has been.
You shall have your lost Hilda back, and--who knows?--perhaps
tenderer than she was."
"But when will she return?" persisted the sculptor; "tell me the when,
and where, and how!"
"A little patience. Do not press me so," said Miriam; and again
Kenyon was struck by the sprite-like, fitful characteristic of her
manner, and a sort of hysteric gayety, which seemed to be a
will-o'-the-wisp from a sorrow stagnant at her heart. "You have more
time to spare than I. First, listen to something that I have to tell.
We will talk of Hilda by and by."
Then Miriam spoke of her own life, and told facts that threw a gleam
of light over many things which had perplexed the sculptor in all his
previous knowledge of her. She described herself as springing from
English parentage, on the mother's side, but with a vein, likewise, of
Jewish blood; yet connected, through her father, with one of those few
princely families of Southern Italy, which still retain great wealth
and influence. And she revealed a name at which her auditor started
and grew pale; for it was one that, only a few years before, had been
familiar to the world in connection with a mysterious and terrible
event. The reader, if he think it worth while to recall some of the
strange incidents which have been talked of, and forgotten, within no
long time past, will remember Miriam's name.
"You shudder at me, I perceive," said Miriam, suddenly interrupting
her narrative.
"No; you were innocent," replied the sculptor. "I shudder at the
fatality that seems to haunt your footsteps, and throws a shadow of
crime about your path, you being guiltless."
"There was such a fatality," said Miriam; "yes; the shadow fell upon
me, innocent, but I went astray in it, and wandered--as Hilda could
tell you--into crime."
She went on to say that, while yet a child, she had lost her English
mother. From a very early period of her life, there had been a
contract of betrothal between herself and a certain marchese, the
representative of another branch of her paternal house,--a family
arrangement between two persons of disproportioned ages, and in which
feeling went for nothing. Most Italian girls of noble rank would have
yielded themselves to such a marriage as an affair of course. But
there was something in Miriam's blood, in her mixed race, in her
recollections of her mother,--some characteristic, finally, in her own
nature,--which had given her freedom of thought, and force of will,
and made this prearranged connection odious to her. Moreover, the
character of her destined husband would have been a sufficient and
insuperable objection; for it betrayed traits so evil, so treacherous,
so vile, and yet so strangely subtle, as could only be accounted for
by the insanity which often develops itself in old, close-kept races
of men, when long unmixed with newer blood. Reaching the age when the
marriage contract should have been fulfilled, Miriam had utterly
repudiated it.
Some time afterwards had occurred that terrible event to which Miriam
had alluded when she revealed her name; an event, the frightful and
mysterious circumstances of which will recur to many minds, but of
which few or none can have found for themselves a satisfactory
explanation. It only concerns the present narrative, inasmuch as the
suspicion of being at least an accomplice in the crime fell darkly and
directly upon Miriam herself.
"But you know that I am innocent!" she cried, interrupting herself
again, and looking Kenyon in the face.
"I know it by my deepest consciousness," he answered; "and I know it
by Hilda's trust and entire affection, which you never could have won
had you been capable of guilt."
"That is sure ground, indeed, for pronouncing me innocent," said
Miriam, with the tears gushing into her eyes. "Yet I have since
become a horror to your saint-like Hilda, by a crime which she herself
saw me help to perpetrate!"
She proceeded with her story. The great influence of her family
connections had shielded her from some of the consequences of her
imputed guilt. But, in her despair, she had fled from home, and had
surrounded her flight with such circumstances as rendered it the most
probable conclusion that she had committed suicide. Miriam, however,
was not of the feeble nature which takes advantage of that obvious and
poor resource in earthly difficulties. She flung herself upon the
world, and speedily created a new sphere, in which Hilda's gentle
purity, the sculptor's sensibility, clear thought, and genius, and
Donatello's genial simplicity had given her almost her first
experience of happiness. Then came that ill-omened adventure of the
catacomb, The spectral figure which she encountered there was the evil
fate that had haunted her through life.
Looking back upon what had happened, Miriam observed, she now
considered him a madman. Insanity must have been mixed up with his
original composition, and developed by those very acts of depravity
which it suggested, and still more intensified, by the remorse that
ultimately followed them. Nothing was stranger in his dark career
than the penitence which often seemed to go hand in hand with crime.
Since his death she had ascertained that it finally led him to a
convent, where his severe and self-inflicted penance had even acquired
him the reputation of unusual sanctity, and had been the cause of his
enjoying greater freedom than is commonly allowed to monks.
"Need I tell you more?" asked Miriam, after proceeding thus far. "It
is still a dim and dreary mystery, a gloomy twilight into which I
guide you; but possibly you may catch a glimpse of much that I myself
can explain only by conjecture. At all events, you can comprehend
what my situation must have been, after that fatal interview in the
catacomb. My persecutor had gone thither for penance, but followed me
forth with fresh impulses to crime. He had me in his power. Mad as
he was, and wicked as he was, with one word he could have blasted me
in the belief of all the world. In your belief too, and Hilda's!
Even Donatello would have shrunk from me with horror!"
"Never," said Donatello, "my instinct would have known you innocent."
"Hilda and Donatello and myself,--we three would have acquitted you,"
said Kenyon, "let the world say what it might. Ah, Miriam, you should
have told us this sad story sooner!"
"I thought often of revealing it to you," answered Miriam; "on one
occasion, especially,--it was after you had shown me your Cleopatra;
it seemed to leap out of my heart, and got as far as my very lips.
But finding you cold to accept my confidence, I thrust it back again.
Had I obeyed my first impulse, all would have turned out differently."
"And Hilda!" resumed the sculptor. "What can have been her connection
with these dark incidents?"
"She will, doubtless, tell you with her own lips," replied Miriam.
"Through sources of information which I possess in Rome, I can assure
you of her safety. In two days more--by the help of the special
Providence that, as I love to tell you, watches over Hilda--she shall
rejoin you."
"Still two days morel" murmured the sculptor.
"Ah, you are cruel now! More cruel than you know!" exclaimed Miriam,
with another gleam of that fantastic, fitful gayety, which had more
than once marked her manner during this interview. "Spare your poor
friends!"
"I know not what you mean, Miriam," said Kenyon.
"No matter," she replied; "you will understand hereafter. But could
you think it? Here is Donatello haunted with strange remorse, and an
unmitigable resolve to obtain what he deems justice upon himself. He
fancies, with a kind of direct simplicity, which I have vainly tried
to combat, that, when a wrong has been done, the doer is bound to
submit himself to whatsoever tribunal takes cognizance of such things,
and abide its judgment. I have assured him that there is no such
thing as earthly justice, and especially none here, under the head of
Christendom."
"We will not argue the point again," said Donatello, smiling. "I have
no head for argument, but only a sense, an impulse, an instinct, I
believe, which sometimes leads me right. But why do we talk now of
what may make us sorrowful? There are still two days more. Let us be
happy!"
It appeared to Kenyon that since he last saw Donatello, some of the
sweet and delightful characteristics of the antique Faun had returned
to him. There were slight, careless graces, pleasant and simple
peculiarities, that had been obliterated by the heavy grief through
which he was passing at Monte Beni, and out of which he had hardly
emerged when the sculptor parted with Miriam and him beneath the
bronze pontiffs outstretched hand. These happy blossoms had now
reappeared. A playfulness came out of his heart, and glimmered like
firelight in his actions, alternating, or even closely intermingled,
with profound sympathy and serious thought.
"Is he not beautiful?" said Miriam, watching the sculptor's eye as it
dwelt admiringly on Donatello. "So changed, yet still, in a deeper
sense, so much the same! He has travelled in a circle, as all things
heavenly and earthly do, and now comes back to his original self, with
an inestimable treasure of improvement won from an experience of pain.
How wonderful is this! I tremble at my own thoughts, yet must needs
probe them to their depths. Was the crime--in which he and I were
wedded--was it a blessing, in that strange disguise? Was it a means
of education, bringing a simple and imperfect nature to a point of
feeling and intelligence which it could have reached under no other
discipline?"
"You stir up deep and perilous matter, Miriam," replied Kenyon. "I
dare not follow you into the unfathomable abysses whither you are
tending."
"Yet there is a pleasure in them! I delight to brood on the verge of
this great mystery," returned she. "The story of the fall of man! Is
it not repeated in our romance of Monte Beni? And may we follow the
analogy yet further? Was that very sin,--into which Adam precipitated
himself and all his race, was it the destined means by which, over a
long pathway of toil and sorrow, we are to attain a higher, brighter,
and profounder happiness, than our lost birthright gave? Will not
this idea account for the permitted existence of sin, as no other
theory can?"
"It is too dangerous, Miriam! I cannot follow you!" repeated the
sculptor. "Mortal man has no right to tread on the ground where you
now set your feet."
"Ask Hilda what she thinks of it," said Miriam, with a thoughtful
smile. "At least, she might conclude that sin--which man chose
instead of good--has been so beneficently handled by omniscience and
omnipotence, that, whereas our dark enemy sought to destroy us by it,
it has really become an instrument most effective in the education of
intellect and soul."
Miriam paused a little longer among these meditations, which the
sculptor rightly felt to be so perilous; she then pressed his hand, in
token of farewell.
"The day after to-morrow," said she, "an hour before sunset, go to the
Corso, and stand in front of the fifth house on your left, beyond the
Antonine column. You will learn tidings of a friend."
Kenyon would have besought her for more definite intelligence, but she
shook her head, put her finger on her lips, and turned away with an
illusive smile. The fancy impressed him that she too, like Donatello,
had reached a wayside paradise, in their mysterious life journey,
where they both threw down the burden of the before and after, and,
except for this interview with himself, were happy in the flitting
moment. To-day Donatello was the sylvan Faun; to-day Miriam was his
fit companion, a Nymph of grove or fountain; to-morrow--a remorseful
man and woman, linked by a marriage bond of crime--they would set
forth towards an inevitable goal. _
Read next: VOLUME II: CHAPTER XLVIII - A SCENE IN THE CORSO
Read previous: VOLUME II: CHAPTER XLVI - A WALK ON THE CAMPAGNA
Table of content of Marble Faun
GO TO TOP OF SCREEN
Post your review
Your review will be placed after the table of content of this book
