"They say he sang too well, and that was why they burnt him," said Andreino to her to-day, after telling her for the hundredth time of what he had seen once on the Ligurian shore, far away yonder northward, when he, who knew nothing of Adonais or Prometheus, had been called, a stout seafaring man in that time, amongst other peasants of the country-side, to help bring in the wood for a funeral pyre by the sea.
He had known nought of the songs or the singer, but he loved to tell the tale he had heard then; and say how he had seen, he himself, with his own eyes, the drowned poet burn, far away yonder where the pines stood by the sea, and how the flames had curled around the heart that men had done their best to break, and how it had remained unburnt in the midst, whilst all the rest drifted in ashes down the wind. He knew nought of the Skylark's ode, and nought of the Cor Cordium; but the scene by the seashore had burned itself as though with flame into his mind, and he spoke of it a thousand times if once, sitting by the edge of the sea that had killed the singer.
"Will they burn me if I sing too well?" the child asked him this day, the words of Joconda being with her.
"Oh, that is sure," said Andreino, half in jest and half in earnest. "They burnt him because he sang better than all of them. So they said. I do not know. I know the resin ran out of the pinewood all golden and hissing and his heart would not burn, all we could do. You are a female thing, Musa; your heart will be the first to burn, the first of all!"
"Will it?" said Musa seriously, but not any way alarmed, for the thought of that flaming pile by the seashore by night was a familiar image to her.
"Ay, for sure; you will be a woman!" said Andreino, hammering into his boat.
"Though there is not a soul here, still sometimes they come—Lucchese, Pistoiese, what not—they come as they go; they are a faithless lot; they love all winter, and while the corn is in the ear it goes well, but after harvest—phew!—they put their gains in their pockets and they are off and away back to their mountains. There are broken hearts in Maremma when the threshing is done."
"Yes," said Musa again.
It was nothing to her, and she heeded but little.
"Yes, because men speak too lightly and women hearken too quickly; that is how the mischief is born. With the autumn the mountaineers come. They are strong and bold; they are ruddy and brown; they work all day, but in the long nights they dance and they sing; then the girl listens. She thinks it is all true, though it has all been said before in his own hills to other ears. The winter nights are long, and the devil is always near; when the corn goes down and the heat is come there is another sad soul the more, another burden to carry, and he—he goes back to the mountains. What does he care? Only when he comes down into the plains again he goes to another place to work, because men do not love women's tears. That is how it goes in Maremma."
"So the saints will pluck her to themselves at last," thought Joconda; and the dreariness, the lovelessness, the hopelessness of such an existence did not occur to her, because age, which has learned the solace and sweetness of peace, never remembers that to youth peace seems only stagnation, inanition, death.
The exhausted swimmer, reaching the land, falls prone on it, and blesses it; but the outgoing swimmer, full of strength, spurns the land, and only loves the high-crested wave, the abyss of the deep sea.
Imagination without culture is crippled and moves slowly; but it can be pure imagination, and rich also, as folk-lore will tell the vainest.
It is this narrowness of the peasant mind which philosophers never fairly understand, and demagogues understand but too well, and warp to their own selfish purposes and profits.
Flying, the flamingoes are like a sunset cloud; walking, they are like slender spirals of flame traversing the curling foam. When one looks on them across black lines of storm-blown weeds on a November morning in the marshes, as their long throats twist in the air with the flexile motion of the snake, the grace of a lily blown by wind, one thinks of Thebes, of Babylon, of the gorgeous Persia of Xerxes, of the lascivious Egypt of the Ptolemies.
The world has grown grey and joyless in the twilight of age and fatigue, but these birds keep the colour of its morning. Eos has kissed them.
For want of a word lives often drift apart.
Nausicaa, in the safe shelter of her father's halls, had never tended Odysseus with more serenity and purity than the daughter of Saturnino tended his fellow-slave.
The sanctity of the tombs lay on them, the dead were so near; neither profanity nor passion seemed to have any place here in this mysterious twilight alive with the memories of a vanished people. Her innocence was a grand and noble thing, like any one of the largest white lilies that rose up from the noxious mud of the marshes; a cup of ivory wet with the dewdrops of dawn, blossoming fair on fetid waters. And in him the languor of sickness and of despair borrowed unconsciously for awhile the liveries of chastity; and he spoke no word, he made no gesture, that would have scared from its original calm the soul of this lonely creature, who succoured him with so much courage and so much compassion that they awed him with the sense of an eternal, infinite, and overwhelming obligation. It needs a great nature to bear the weight of a great gratitude.
To a great nature it gives wings that bear it up to heaven; a lower nature feels it always a clog that impatiently is dragged only so long as force compels.
Her daily labours remained the same, but it seemed to her as if she had the strength of those immortals he told her she resembled. She felt as though she trod on air, as though she drank the sunbeams and they gave her force like wine; she had no sense of fatigue; she might have had wings at her ankles, and nectar in her veins. She was so happy, with that perfect happiness which only comes where the world cannot enter, and the free nature has lifted itself to the light, knowing nothing of, and caring nothing for, the bonds of custom and of prejudice with which men have paralysed and cramped themselves, calling the lower the higher law.
The world was so far from her; she knew not of it; she was a law to herself, and her whole duty seemed to her set forth in one single word, perhaps the noblest word in human language—fidelity. When life is cast in solitary places, filled with high passions, and led aloof from men, the laws which are needful to curb the multitudes, but yet are poor conventional foolish things at their best, sink back into their true signification, and lose their fictitious awe.
Moreover, love is for ever measureless, and the deepest and most passionate love is that which survives the death of esteem.
Friendship needs to be rooted in respect, but love can live upon itself alone. Love is born of a glance, a touch, a murmur, a caress; esteem cannot beget it, nor lack of esteem slay it. Questi che mai da me non fia diviso, shall be for ever its consolation amidst hell. One life alone is beloved, is beautiful, is needful, is desired: one life alone out of all the millions of earth. Though it fall, err, betray, be mocked of others and forsaken by itself, what does this matter? This cannot alter love. The more it is injured by itself, derided of men, abandoned of God, the more will love still see that it has need of love, and to the faithless will be faithful.
He stood mute and motionless awhile. Then as the truth was borne in on him, tears gushed from his eyes like rain, and he laughed long, and laughed loud as madmen do.
He never doubted her.
He sprang up the stone steps, and leapt into the open air: into that light of day which he had been forbidden to see so long.
To stand erect there, to look over the plains, to breathe, and move, and gaze, and stretch his arms out to the infinite spaces of the sea and sky—this alone was so intense a joy that he felt mad with it.
Never again to hide with the snake and the fox; never again to tremble as his shadow went beside him on the sand; never to waste the sunlit hours hidden in the bowels of the earth; never to be afraid of every leaf that stirred, of every bird that flew, of every moon-beam that fell across his path!—he laughed and sobbed with the ecstasy of his release.
"O God, Thou hast not forgotten!" he cried in that rapture of freedom.
All the old childish faiths that had been taught him by dim old altars in stately Mantuan churches came back to his memory and heart.
On the barren rock of Gorgona he had cursed and blasphemed the Creator and creation of a world that was hell; he had been without hope: he had derided all the faiths of his youth as illusions woven by devils to make the disappointment of man the more bitter.
But now in the sweetness of his liberty, all the old happy beliefs rushed back to him; he saw Deity in the smile of the seas, in the light upon the plains. He was free!
The world has lost the secret of making labour a joy; but nature has given it to a few. Where the maidens dance the Saltarello under the deep Sardinian forests, and the honey and the grapes are gathered beneath the snowy sides of Etna, and the oxen walk up to their loins in flowing grass where the long aisles of pines grow down the Adrian shore, this wood-magic is known still of the old simple charm of the pastoral life.
"Does it vex you that I am not a boy?" said the girl—"why should it vex you? I can do all they can, I can row better than many, and sail and steer; I can drive too, and I know what to do with the nets; if I had a boat of my own you would see what I could do."
"All that is very well," said Joconda with a little nod. "I do not say it is not. But you have not a boat of your own, that is just it; that is what women always suffer from; they have to steer, but the craft is some one else's, and the haul too."
Wild bird of sea and cloud, you are a stormy petrel, but there may come a storm too many—and I am old. I have done my best, but that is little. If you were a lad one would not be so uneasy. I suppose the good God knows best—if one could be sure of that—I am a hard working woman, and I have done no great sin that I know of, but up in heaven they never take any thought of me. When I was young, I asked them at my marriage altar to help me, and when my boys were born, I did the same, but they never noticed; my man was drowned, and my beautiful boys got the fever and sickened one by one and died: that was all I got. Priests say it is best; priests are not mothers.
"They were greater than the men that live now," she said with a solemn tenderness,
"Perhaps; Why think so?"
"Because they were not afraid of their dead; they built them beautiful houses, and gave them beautiful things. Now, men are afraid or ashamed, or they have no remembrance. Their dead are huddled away in dust or mud as though they were hateful or sinful. That is what I think so cowardly, so thankless. If they will not bear the sight of death, it were better to let great ships go slowly out, far out to sea, and give the waves their lost ones."
MOTHS
When gardeners plant and graft, they know very well what will be the issue of their work; they do not expect the rose from a bulb of garlic, or look for the fragrant olive from a slip of briar; but the culturers of human nature are less wise, and they sow poison, yet rave in reproaches when it breeds and brings forth its like. "The rosebud garden of girls" is a favourite theme for poets, and the maiden in her likeness to a half-opened blossom, is as near purity and sweetness as a human creature can be, yet what does the world do with its opening buds?—it thrusts them in the forcing-house amidst the ordure, and then, if they perish prematurely, never blames itself. The streets absorb the girls of the poor; society absorbs the daughters of the rich; and not seldom one form of prostitution, like the other, keeps its captives "bound in the dungeon of their own corruption."
The frivolous are always frightened at any strength or depth of nature, or any glimpse of sheer despair.
Not to be consoled!
What can seem more strange to the shallow? What can seem more obstinate to the weak? Not to be consoled is to offend all swiftly forgetting humanity, most of whose memories are writ on water.
It is harder to keep true to high laws and pure instincts in modern society than it was in days of martyrdom. There is nothing in the whole range of life so dispiriting and so unnerving as a monotony of indifference. Active persecution and fierce chastisement are tonics to the nerves; but the mere weary conviction that no one cares, that no one notices, that there is no humanity that honours, and no deity that pities, is more destructive of all higher effort than any conflict with tyranny or with barbarism.
Yet as he thought, so he did not realise that he would ever cease to be in the world—who does? Life was still young in him, was prodigal to him of good gifts; of enmity he only knew so much as made his triumph finer, and of love he had more than enough. His life was full—at times laborious—but always poetical and always victorious. He could not realise that the day of darkness would ever come for him, when neither woman nor man would delight him, when no roses would have fragrance for him, and no song any spell to rouse him. Genius gives immortality in another way than in the vulgar one of being praised by others after death; it gives elasticity, unwearied sympathy, and that sense of some essence stronger than death, of some spirit higher than the tomb, which nothing can destroy. It is in this sense that genius walks with the immortals.
A cruel story runs on wheels, and every hand oils the wheels as they run.
You may weep your eyes blind, you may shout your throat dry, you may deafen the ears of your world for half a lifetime, and you may never get a truth believed in, never have a simple fact accredited. But the lie flies like the swallow, multiplies itself like the caterpillar, is accepted everywhere, like the visits of a king; it is a royal guest for whom the gates fly open, the red carpet is unrolled, the trumpets sound, the crowds applaud.
She lived, like all women of her stamp and her epoch, in an atmosphere of sugared sophisms; she never reflected, she never admitted, that she did wrong; in her world nothing mattered much, unless, indeed, it were found out, and got into the public mouth.
Shifting as the sands, shallow as the rain-pools, drifting in all danger to a lie, incapable of loyalty, insatiably curious, still as a friend and ill as a foe, kissing like Judas, denying like Peter, impure of thought, even where by physical bias or political prudence still pure in act, the woman of modern society is too often at once the feeblest and the foulest outcome of a false civilisation. Useless as a butterfly, corrupt as a canker, untrue to even lovers and friends because mentally incapable of comprehending what truth means, caring only for physical comfort and mental inclination, tired of living, but afraid of dying; believing some in priests, and some in physiologists, but none at all in virtue; sent to sleep by chloral, kept awake by strong waters and raw meat; bored at twenty, and exhausted at thirty, yet dying in the harness of pleasure rather than drop out of the race and live naturally; pricking their sated senses with the spur of lust, and fancying it love; taking their passions as they take absinthe before dinner; false in everything, from the swell of their breast to the curls at their throat;—beside them the guilty and tragic figures of old, the Medea, the Clytemnæstra, the Phædra, look almost pure, seem almost noble.
When one thinks that they are the only shape of womanhood which comes hourly before so many men, one comprehends why the old Christianity which made womanhood sacred dies out day by day, and why the new Positivism, which would make her divine, can find no lasting root.
The faith of men can only live by the purity of women, and there is both impurity and feebleness at the core of the dolls of Worth, as the canker of the phylloxera works at the root of the vine.
"What an actress was lost in your mother!" he added with his rough laugh; but he confused the talent of the comedian of society with that of the comedian of the stage, and they are very dissimilar. The latter almost always forgets herself in her part; the former never.
The scorn of genius is the most arrogant and the most boundless of all scorn.
"The fame of the singer can never be but a breath, a sound through a reed. When our lips are once shut, there is on us for ever eternal silence. Who can remember a summer breeze when it has passed by, or tell in any after-time how a laugh or a sigh sounded?"
"When the soldier dies at his post, unhonoured and unpitied, and out of sheer duty, is that unreal because it is noble?" he said one night to his companions. "When the sister of charity hides her youth and her sex under a grey shroud, and gives up her whole life to woe and solitude, to sickness and pain, is that unreal because it is wonderful? A man paints a spluttering candle, a greasy cloth, a mouldy cheese, a pewter can; 'How real!' they cry. If he paint the spirituality of dawn, the light of the summer sea, the flame of arctic nights, of tropic woods, they are called unreal, though they exist no less than the candle and the cloth, the cheese and the can. Ruy Blas is now condemned as unreal because the lovers kill themselves; the realists forget that there are lovers still to whom that death would be possible, would be preferable, to low intrigue and yet more lowering falsehood. They can only see the mouldy cheese, they cannot see the sunrise glory. All that is heroic, all that is sublime, impersonal, or glorious, is derided as unreal. It is a dreary creed. It will make a dreary world. Is not my Venetian glass with its iridescent hues of opal as real every whit as your pot of pewter? Yet the time is coming when every one, morally and mentally at least, will be allowed no other than a pewter pot to drink out of, under pain of being 'writ down an ass'—or worse. It is a dreary prospect."
"Good? bad? If there were only good and bad in this world it would not matter so much," said Corrèze a little recklessly and at random. "Life would not be such a disheartening affair as it is. Unfortunately the majority of people are neither one nor the other, and have little inclination for either crime or virtue. It would be almost as absurd to condemn them as to admire them. They are like tracts of shifting sand, in which nothing good or bad can take root. To me they are more despairing to contemplate than the darkest depth of evil; out of that may come such hope as comes of redemption and remorse, but in the vast, frivolous, featureless mass of society there is no hope."
"No!" he said with some warmth: "I refuse to recognise the divinity of noise; I utterly deny the majesty of monster choruses; clamour and clangour are the death-knell of music as drapery and so-called realism (which means, if it mean aught, that the dress is more real than the form underneath it!) are the destruction of sculpture. It is very strange. Every day art in every other way becomes more natural and music more artificial. Every day I wake up expecting to hear myself dénigré and denounced as old-fashioned, because I sing as my nature as well as my training teaches me to do. It is very odd; there is such a cry for naturalism in other arts—we have Millet instead of Claude; we have Zola instead of Georges Sand; we have Dumas fils instead of Corneille; we have Mercié instead of Canova; but in music we have precisely the reverse, and we have the elephantine creations, the elaborate and pompous combinations of Baireuth, and the Tone school, instead of the old sweet strains of melody that went straight and clear to the ear and the heart of man. Sometimes my enemies write in their journals that I sing as if I were a Tuscan peasant strolling through his corn—how proud they make me! But they do not mean to do so. I will not twist and emphasise. I trust to melody. I was taught music in its own country, and I will not sin against the canons of the Italians. They are right. Rhetoric is one thing, and song is another. Why confuse the two? Simplicity is the soul of great music; as it is the mark of great passion. Ornament is out of place in melody which represents single emotions at their height, be they joy, or fear, or hate, or love, or shame, or vengeance, or whatsoever they will. Music is not a science any more than poetry is. It is a sublime instinct, like genius of all kinds. I sing as naturally as other men speak; let me remain natural"–
Childhood goes with us like an echo always, a refrain to the ballad of our life. One always wants one's cradle-air.
"The poor you have always with you," she said to a bevy of great ladies once. "Christ said so. You profess to follow Christ. How have you the poor with you? The back of their garret, the roof of their hovel, touches the wall of your palace, and the wall is thick. You have dissipations, spectacles, diversions that you call charities; you have a tombola for a famine, you have a dramatic performance for a flood, you have a concert for a fire, you have a fancy fair for a leprosy. Do you never think how horrible it is, that mockery of woe? Do you ever wonder at revolutions? Why do you not say honestly that you care nothing? You do care nothing. The poor might forgive the avowal of indifference; they will never forgive the insult of affected pity."
"Why do you go to such a place?" he asked her as she stood on the staircase.
"There are poor there, and great misery," she answered him reluctantly; she did not care to speak of these things at any time.
"And what good will you do? You will be cheated and robbed, and even if you are not, you should know that political science has found that private charity is the hotbed of all idleness."
"When political science has advanced enough to prevent poverty, it may have the right to prevent charity too," she answered him, with a contempt that showed thought on the theme was not new to her. "Perhaps charity—I dislike the word—may do no good; but friendship from the rich to the poor must do good; it must lessen class hatreds."
"Are you a socialist?" said Zouroff with a little laugh, and drew back and let her pass onward.
"My dear! I never say rude things; but, if you wish me to be sincere, I confess I think everybody is a little vulgar now, except old women like me, who adhered to the Faubourg while you all were dancing and changing your dresses seven times a day at St. Cloud. There is a sort of vulgarity in the air; it is difficult to escape imbibing it; there is too little reticence, there is too much tearing about; men are not well-mannered, and women are too solicitous to please, and too indifferent how far they stoop in pleasing. It may be the fault of steam; it may be the fault of smoking; it may come from that flood of new people of whom 'L'Etrangère' is the scarcely exaggerated sample; but, whatever it comes from, there it is—a vulgarity that taints everything, courts and cabinets as well as society. Your daughter somehow or other has escaped it, and so you find her odd, and the world thinks her stiff. She is neither; but no dignified long-descended point-lace, you know, will ever let itself be twisted and twirled into a cascade and a fouillis like your Brétonne lace that is just the fashion of the hour, and worth nothing. I admire your Vera very greatly; she always makes me think of those dear old stately hotels with their grand gardens in which I saw, in my girlhood, the women who, in theirs, had known France before '30. These hotels and their gardens are gone, most of them, and there are stucco and gilt paint in their places. And here are people who think that a gain. I am not one of them."