The letter was sealed; Luigi bore it away, and a brief letter to Countess Ammiani, in Pallanza, as well.
Vittoria was relieved of her anxiety concerning Merthyr by the arrival of Georgiana, who had been compelled to make her way round by Piacenza and Turin, where she had left Gambier, with Beppo in attendance on him. Georgiana at once assumed all the duties of head-nurse, and the more resolutely because of her brother's evident moral weakness in sighing for the hand of a fickle girl to smooth his pillow. “When he is stronger you can sit beside him a little,” she said to Vittoria, who surrendered her post without a struggle, and rarely saw him, though Laura told her that his frequent exclamation was her name, accompanied by a soft look at his sister—“which would have stirred my heart like poor old Milan last March,” Laura added, with a lift of her shoulders.
Georgiana's icy manner appeared infinitely strange to Vittoria when she heard from Merthyr that his sister had become engaged to Captain Gambier.
“Nothing softens these women,” said Laura, putting Georgiana in a class.
“I wish you could try the effect of your winning Merthyr,” Vittoria suggested.
“I remember that when I went to my husband, I likewise wanted every woman of my acquaintance to be married.” Laura sighed deeply. “What is this poor withered body of mine now? It feels like an old volcano, cindery, with fire somewhere:—a charming bride! My dear, if I live till my children make me a grandmother, I shall look on the love of men and women as a toy that I have played with. A new husband? I must be dragged through the Circles of Dante before I can conceive it, and then I should loathe the stranger.”
News came that the volunteers were crushed. It was time for Vittoria to start for Pallanza, and she thought of her leave-taking; a final leave-taking, in one sense, to the friends who had cared too much for her. Laura delicately drew Georgiana aside in the sick-room, which she would not quit, and alluded to the necessity for Vittoria's departure without stating exactly wherefore: but Georgiana was a Welshwoman. Partly to show her accurate power of guessing, and chiefly that she might reprove Laura's insulting whisper, which outraged and irritated her as much as if “Oh! your poor brother!” had been exclaimed, she made display of Merthyr's manly coldness by saying aloud, “You mean, that she is going to her marriage.” Laura turned her face to Merthyr. He had striven to rise on his elbow, and had dropped flat in his helplessness. Big tears were rolling down his cheeks. His articulation failed him, beyond a reiterated “No, no,” pitiful to hear, and he broke into childish sobs. Georgiana hurried Laura from the room. By-and-by the doctor was promptly summoned, and it was Georgiana herself, miserably humbled, who obtained Vittoria's sworn consent to keep the life in Merthyr by lingering yet awhile.
Meantime Luigi brought a letter from Pallanza in Carlo's handwriting. This was the burden of it:
“I am here, and you are absent. Hasten!”
CHAPTER XXXVI
A FRESH ENTANGLEMENT
The Lenkenstein ladies returned to Milan proudly in the path of the army which they had followed along the city walls on the black March midnight. The ladies of the Austrian aristocracy generally had to be exiles from Vienna, and were glad to flock together even in an alien city. Anna and Lena were aware of Vittoria's residence in Milan, through the interchange of visits between the Countess of Lenkenstein and her sister Signora Piaveni. They heard also of Vittoria's prospective and approaching marriage to Count Ammiani. The Duchess of Graatli, who had forborne a visit to her unhappy friends, lest her Austrian face should wound their sensitiveness, was in company with the Lenkensteins one day, when Irma di Karski called on them. Irma had come from Lago Maggiore, where she had left her patron, as she was pleased to term Antonio-Pericles. She was full of chatter of that most worthy man's deplorable experiences of Vittoria's behaviour to him during the war, and of many things besides. According to her account, Vittoria had enticed him from place to place with promises that the next day, and the next day, and the day after, she would be ready to keep her engagement to go to London, and at last she had given him the slip and left him to be plucked like a pullet by a horde of volunteer banditti, out of whose hands Antonio-Pericles-“one of our richest millionaires in Europe, certainly our richest amateur,” said Irma—escaped in fit outward condition for the garden of Eden.
Count Karl was lying on the sofa, and went into endless invalid's laughter at the picture presented by Irma of the 'wild man' wanderings of poor infatuated Pericles, which was exaggerated, though not intentionally, for Irma repeated the words and gestures of Pericles in the recital of his tribulations. Being of a somewhat similar physical organization, she did it very laughably. Irma declared that Pericles was cured of his infatuation. He had got to Turin, intending to quit Italy for ever, when—“he met me,” said Irma modestly.
“And heard that the war was at an end,” Count Karl added.
“And he has taken the superb Villa Ricciardi, on Lago Maggiore, where he will have a troupe of singers, and perform operas, in which I believe I may possibly act as prima donna. The truth is, I would do anything to prevent him from leaving the country.”
But Irma had more to say; with “I bear no malice,” she commenced it. The story she had heard was that Count Ammiani, after plighting himself to a certain signorina, known as Vittoria Campa, had received tidings that she was one of those persons who bring discredit on Irma's profession. “Gifted by nature, I can acknowledge,” said Irma; “but devoured by vanity—a perfect slave to the appetite for praise; ready to forfeit anything for flattery! Poor signor Antonio-Pericles!—he knows her.” And now Count Ammiani, persuaded to reason by his mother, had given her up. There was nothing more positive, for Irma had seen him in the society of Countess Violetta d'Isorella.
Anna and Lena glanced at their brother Karl.
“I should not allude to what is not notorious,” Irma pursued. “They are always together. My dear Antonio-Pericles is most amusing in his expressions of delight at it. For my part, though she served me an evil turn once,—you will hardly believe, ladies, that in her jealousy of me she was guilty of the most shameful machinations to get me out of the way on the night of the first performance of Camilla,—but, for my part, I bear no malice. The creature is an inveterate rebel, and I dislike her for that, I do confess.”
“The signorina Vittoria Campa is my particular and very dear friend,” said the duchess.
“She is not the less an inveterate rebel,” said Anna.
Count Karl gave a long-drawn sigh. “Alas, that she should have brought discredit on Fraulein di Karski's profession!”
The duchess hurried straightway to Laura, with whom was Count Serabiglione, reviewing the present posture of affairs from the condescending altitudes of one that has foretold it. Laura and Amalia embraced and went apart. During their absence Vittoria came down to the count and listened to a familiar illustration of his theory of the relations which should exist between Italy and Austria, derived from the friendship of those two women.
“What I wish you to see, signorina, is that such an alliance is possible; and, if we supply the brains, as we do, is by no means likely to be degrading. These bears are absolutely on their knees to us for good fellowship. You have influence, you have amazing wit, you have unparalleled beauty, and, let me say it with the utmost sadness, you have now had experience. Why will you not recognize facts? Italian unity! I have exposed the fatuity—who listens? Italian freedom! I do not attempt to reason with my daughter. She is pricked by an envenomed fly of Satan. Yet, behold her and the duchess! It is the very union I preach; and I am, I declare to you, signorina, in great danger. I feel it, but I persist. I am in danger” (Count Serabiglione bowed his head low) “of the transcendent sin of scorn of my species.”
The little nobleman swayed deploringly in his chair. “Nothing is so perilous for a soul's salvation as that. The one sane among madmen! The one whose reason is left to him among thousands who have forsaken it! I beg you to realize the idea. The Emperor, as I am given to understand, is about to make public admission of my services. I shall be all the more hated. Yet it is a considerable gain. I do not deny that I esteem it as a promotion for my services. I shall not be the first martyr in this world, signorina.”
Count Serabiglione produced a martyr's smile.
“The profits of my expected posts will be,” he was saying, with a reckoning eye cast upward into his cranium for accuracy, when Laura returned, and Vittoria ran out to the duchess. Amalia repeated Irma's tattle. A curious little twitching of the brows at Violetta d'Isorella's name marked the reception of it.
“She is most lovely,” Vittoria said.
“And absolutely reckless.”
“She is an old friend of Count Ammiani's.”
“And you have an old friend here. But the old friend of a young woman—I need not say further than that it is different.”
The duchess used the privilege of her affection, and urged Vittoria not to trifle with her lover's impatience.
Admitted to the chamber where Merthyr lay, she was enabled to make allowance for her irresolution. The face of the wounded man was like a lake-water taking light from Vittoria's presence.
“This may go on for weeks,” she said to Laura.
Three days later, Vittoria received an order from the Government to quit the city within a prescribed number of hours, and her brain was racked to discover why Laura appeared so little indignant at the barbarous act of despotism. Laura undertook to break the bad news to Merthyr. The parting was as quiet and cheerful as, in the opposite degree, Vittoria had thought it would be melancholy and regretful. “What a Government!” Merthyr said, and told her to let him hear of any changes. “All changes that please my friends please me.”
Vittoria kissed his forehead with one grateful murmur of farewell to the bravest heart she had ever known. The going to her happiness seemed more like going to something fatal until she reached the Lago Maggiore. There she saw September beauty, and felt as if the splendour encircling her were her bridal decoration. But no bridegroom stood to greet her on the terrace-steps between the potted orange and citron-trees. Countess Ammiani extended kind hands to her at arms' length.
“You have come,” she said. “I hope that it is not too late.”
Vittoria was a week without sight of her lover: nor did Countess Ammiani attempt to explain her words, or speak of other than common daily things. In body and soul Vittoria had taken a chill. The silent blame resting on her in this house called up her pride, so that she would not ask any questions; and when Carlo came, she wanted warmth to melt her. Their meeting was that of two passionless creatures. Carlo kissed her loyally, and courteously inquired after her health and the health of friends in Milan, and then he rallied his mother. Agostino had arrived with him, and the old man, being in one of his soft moods, unvexed by his conceits, Vittoria had some comfort from him of a dull kind. She heard Carlo telling his mother that he must go in the morning. Agostino replied to her quick look at him, “I stay;” and it seemed like a little saved from the wreck, for she knew that she could speak to Agostino as she could not to the countess. When his mother prepared to retire, Carlo walked over to his bride, and repeated rapidly and brightly his inquiries after friends in Milan. She, with a pure response to his natural-unnatural manner, spoke of Merthyr Powys chiefly: to which he said several times, “Dear fellow!” and added, “I shall always love Englishmen for his sake.”
This gave her one throb. “I could not leave him, Carlo.”
“Certainly not, certainly not,” said Carlo. “I should have been happy to wait on him myself. I was busy; I am still. I dare say you have guessed that I have a new journal in my head: the Pallanza Iris is to be the name of it;—to be printed in three colours, to advocate three principles, in three styles. The Legitimists, the Moderates, and the Republicans are to proclaim themselves in its columns in prose, poetry, and hotch-potch. Once an editor, always an editor. The authorities suspect that something of the sort is about to be planted, so I can only make occasional visits here:—therefore, as you will believe,”—Carlo let his voice fall—“I have good reason to hate them still. They may cease to persecute me soon.”
He insisted upon lighting his mother to her room. Vittoria and Agostino sat talking of the Chief and the minor events of the war—of Luciano, Marco, Giulio, and Ugo Corte—till the conviction fastened on them that Carlo would not return, when Agostino stood up and said, yawning wearily, “I'll talk further to you, my child, tomorrow.”
She begged that it might be now.
“No; to-morrow,” said he.
“Now, now!” she reiterated, and brought down a reproof from his fore-finger.
“The poetic definition of 'now' is that it is a small boat, my daughter, in which the female heart is constantly pushing out to sea and sinking. 'To-morrow' is an island in the deeps, where grain grows. When I land you there, I will talk to you.”
She knew that he went to join Carlo after he had quitted her.
Agostino was true to his promise next day. He brought her nearer to what she had to face, though he did not help her vision much. Carlo had gone before sunrise.
They sat on the terrace above the lake, screened from the sunlight by thick myrtle bushes. Agostino smoked his loosely-rolled cigarettes, and Vittoria sipped chocolate and looked upward to the summit of Motterone, with many thoughts and images in her mind.
He commenced by giving her a love-message from Carlo. “Hold fast to it that he means it: conduct is never a straight index where the heart's involved,” said the chuckling old man; “or it is not in times like ours. You have been in the wrong, and your having a good excuse will not help you before the deciding fates. Woman that you are! did you not think that because we were beaten we were going to rest for a very long while, and that your Carlo of yesterday was going to be your Carlo of to-day?”
Vittoria tacitly confessed to it.
“Ay,” he pursued, “when you wrote to him in the Val d'Intelvi, you supposed you had only to say, 'I am ready,' which was then the case. You made your summer and left the fruits to hang, and now you are astounded that seasons pass and fruits drop. You should have come to this place, if but for a pair of days, and so have fixed one matter in the chapter. This is how the chapter has run on. I see I talk to a stunned head; you are thinking that Carlo's love for you can't have changed: and it has not, but occasion has gone and times have changed. Now listen. The countess desired the marriage. Carlo could not go to you in Milan with the sword in his hand. Therefore you had to come to him. He waited for you, perhaps for his own preposterous lover's sake as much as to make his mother's heart easy. If she loses him she loses everything, unless he leaves a wife to her care and the hope that her House will not be extinct, which is possibly not much more the weakness of old aristocracy than of human nature.
“Meantime, his brothers in arms had broken up and entered Piedmont, and he remained waiting for you still. You are thinking that he had not waited a month. But if four months finished Lombardy, less than one month is quite sufficient to do the same for us little beings. He met the Countess d'Isorella here. You have to thank her for seeing him at all, so don't wrinkle your forehead yet. Luciano Romara is drilling his men in Piedmont; Angelo Guidascarpi has gone there. Carlo was considering it his duty to join Luciano, when he met this lady, and she has apparently succeeded in altering his plans. Luciano and his band will go to Rome. Carlo fancies that another blow will be struck for Lombardy. This lady should know; the point is, whether she can be trusted. She persists in declaring that Carlo's duty is to remain, and—I cannot tell how, for I am as a child among women—she has persuaded him of her sincerity. Favour me now with your clearest understanding, and deliver it from feminine sensations of any description for just two minutes.”
Agostino threw away the end of a cigarette and looked for firmness in Vittoria's eyes.
“This Countess d'Isorella is opposed to Carlo's marriage at present. She says that she is betraying the king's secrets, and has no reliance on a woman. As a woman you will pardon her, for it is the language of your sex. You are also denounced by Barto Rizzo, a madman—he went mad as fire, and had to be chained at Varese. In some way or other Countess d'Isorella got possession of him; she has managed to subdue him. A sword-cut he received once in Verona has undoubtedly affected his brain, or caused it to be affected under strong excitement. He is at her villa, and she says—perhaps with some truth—that Carlo would in several ways lose his influence by his immediate marriage with you. The reason must have weight; otherwise he would fulfil his mother's principal request, and be at the bidding of his own desire. There; I hope I have spoken plainly.”
Agostino puffed a sigh of relief at the conclusion of his task.
Vittoria had been too strenuously engaged in defending the steadiness of her own eyes to notice the shadow of an assumption of frankness in his.
She said that she understood.
She got away to her room like an insect carrying a load thrice its own size. All that she could really gather from Agostino's words was, that she felt herself rocking in a tower, and that Violetta d'Isorella was beautiful. She had striven hard to listen to him with her wits alone, and her sensations subsequently revenged themselves in this fashion. The tower rocked and struck a bell that she discovered to be her betraying voice uttering cries of pain. She was for hours incapable of meeting Agostino again. His delicate intuition took the harshness off the meeting. He led her even to examine her state of mind, and to discern the fancies from the feelings by which she was agitated. He said shrewdly and bluntly, “You can master pain, but not doubt. If you show a sign of unhappiness, remember that I shall know you doubt both what I have told you, and Carlo as well.”
Vittoria fenced: “But is there such a thing as happiness?”
“I should imagine so,” said Agostino, touching her cheek, “and slipperiness likewise. There's patience at any rate; only you must dig for it. You arrive at nothing, but the eternal digging constitutes the object gained. I recollect when I was a raw lad, full of ambition, in love, and without a franc in my pockets, one night in Paris, I found myself looking up at a street lamp; there was a moth in it. He couldn't get out, so he had very little to trouble his conscience. I think he was near happiness: he ought to have been happy. My luck was not so good, or you wouldn't see me still alive, my dear.”
Vittoria sighed for a plainer speaker.
CHAPTER XXXVII
ON LAGO MAGGIORE
Carlo's hours were passed chiefly across the lake, in the Piedmontese valleys. When at Pallanza he was restless, and he shunned the two or three minutes of privacy with his betrothed which the rigorous Italian laws besetting courtship might have allowed him to take. He had perpetually the look of a man starting from wine. It was evident that he and Countess d'Isorella continued to hold close communication, for she came regularly to the villa to meet him. On these occasions Countess Ammiani accorded her one ceremonious interview, and straightway locked herself in her room. Violetta's grace of ease and vivacity soared too high to be subject to any hostile judgement of her character. She seemed to rely entirely on the force of her beauty, and to care little for those who did not acknowledge it. She accepted public compliments quite royally, nor was Agostino backward in offering them. “And you have a voice, you know,” he sometimes said aside to Vittoria; but she had forgotten how easily she could swallow great praise of her voice; she had almost forgotten her voice. Her delight was to hang her head above inverted mountains in the lake, and dream that she was just something better than the poorest of human creatures. She could not avoid putting her mind in competition with this brilliant woman's, and feeling eclipsed; and her weakness became pitiable. But Countess d'Isorella mentioned once that Pericles was at the Villa Ricciardi, projecting magnificent operatic entertainments. The reviving of a passion to sing possessed Vittoria like a thirst for freedom, and instantly confused all the reflected images within her, as the fury of a sudden wind from the high Alps scourges the glassy surface of the lake. She begged Countess Ammiani's permission that she might propose to Pericles to sing in his private operatic company, in any part, at the shortest notice.
“You wish to leave me?” said the countess, and resolutely conceived it.
Speaking to her son on this subject, she thought it necessary to make some excuse for a singer's instinct, who really did not live save on the stage. It amused Carlo; he knew when his mother was really angry with persons she tried to shield from the anger of others; and her not seeing the wrong on his side in his behaviour to his betrothed was laughable. Nevertheless she had divined the case more correctly than he: the lover was hurt. After what he had endured, he supposed, with all his forgiveness, that he had an illimitable claim upon his bride's patience. He told his another to speak to her openly.
“Why not you, my Carlo?” said the countess.
“Because, mother, if I speak to her, I shall end by throwing out my arms and calling for the priest.”
“I would clap hands to that.”
“We will see; it may be soon or late, but it can't be now.”
“How much am I to tell her, Carlo?”
“Enough to keep her from fretting.”
The countess then asked herself how much she knew. Her habit of receiving her son's word and will as supreme kept her ignorant of anything beyond the outline of his plans; and being told to speak openly of them to another, she discovered that her acquiescing imagination supplied the chief part of her knowledge. She was ashamed also to have it thought, even by Carlo, that she had not gathered every detail of his occupation, so that she could not argue against him, and had to submit to see her dearest wishes lightly swept aside.
“I beg you to tell me what you think of Countess d'Isorella; not the afterthought,” she said to Vittoria.
“She is beautiful, dear Countess Ammiani.”
“Call me mother now and then. Yes; she is beautiful. She has a bad name.”
“Envy must have given it, I think.”
“Of course she provokes envy. But I say that her name is bad, as envy could not make it. She is a woman who goes on missions, and carries a husband into society like a passport. You have only thought of her beauty?”
“I can see nothing else,” said Vittoria, whose torture at the sight of the beauty was appeased by her disingenuous pleading on its behalf.
“In my time Beauty was a sinner,” the countess resumed. “My confessor has filled my ears with warnings that it is a net to the soul, a weapon for devils. May the saints of Paradise make bare the beauty of this woman. She has persuaded Carlo that she is serving the country. You have let him lie here alone in a fruitless bed, silly girl. He stayed for you while his comrades called him to Vercelli, where they are assembled. The man whom he salutes as his Chief gave him word to go there. They are bound for Rome. Ah me! Rome is a great name, but Lombardy is Carlo's natal home, and Lombardy bleeds. You were absent—how long you were absent! If you could know the heaviness of those days of his waiting for you. And it was I who kept him here! I must have omitted a prayer, for he would have been at Vercelli now with Luciano and Emilio, and you might have gone to him; but he met this woman, who has convinced him that Piedmont will make a Winter march, and that his marriage must be delayed.” The countess raised her face and drooped her hands from the wrists, exclaiming, “If I have lately omitted one prayer, enlighten me, blessed heaven! I am blind; I cannot see for my son; I am quite blind. I do not love the woman; therefore I doubt myself. You, my daughter, tell me your thought of her, tell me what you think. Young eyes observe; young heads are sometimes shrewd in guessing.”
Vittoria said, after a pause, “I will believe her to be true, if she supports the king.” It was hardly truthful speaking on her part.
“How can Carlo have been persuaded!” the countess sighed.
“By me?” Victoria asked herself, and for a moment she was exulting.
She spoke from that emotion when it had ceased to animate her.
“Carlo was angry with the king. He echoed Agostino, but Agostino does not sting as he did, and Carlo cannot avoid seeing what the king has sacrificed. Perhaps the Countess d'Isorella has shown him promises of fresh aid in the king's handwriting. Suffering has made Carlo Alberto one with the Republicans, if he had other ambitions once. And Carlo dedicates his blood to Lombardy: he does rightly. Dear countess—my mother! I have made him wait for me; I will be patient in waiting for him. I know that Countess d'Isorella is intimate with the king. There is a man named Barto Rizzo, who thinks me a guilty traitress, and she is making use of this man. That must be her reason for prohibiting the marriage. She cannot be false if she is capable of uniting extreme revolutionary agents and the king in one plot, I think; I do not know.” Vittoria concluded her perfect expression of confidence with this atoning doubtfulness.
Countess Ammiani obtained her consent that she would not quit her side.
After Violetta had gone, Carlo, though he shunned secret interviews, addressed his betrothed as one who was not strange to his occupation and the trial his heart was undergoing. She could not doubt that she was beloved, in spite of the colourlessness and tonelessness of a love that appealed to her intellect. He showed her a letter he had received from Laura, laughing at its abuse of Countess d'Isorella, and the sarcasms levelled at himself.
In this letter Laura said that she was engaged in something besides nursing.
Carlo pointed his finger to the sentence, and remarked, “I must have your promise—a word from you is enough—that you will not meddle with any intrigue.”
Vittoria gave the promise, half trusting it to bring the lost bloom of their love to him; but he received it as a plain matter of necessity. Certain of his love, she wondered painfully that it should continue so barren of music.
“Why am I to pledge myself that I will be useless?” she asked. “You mean, my Carlo, that I am to sit still, and watch, and wait.”
He answered, “I will tell you this much: I can be struck vitally through you. In the game I am playing, I am able to defend myself. If you enter it, distraction begins. Stay with my mother.”
“Am I to know nothing?”
“Everything—in good time.”
“I might—might I not help you, my Carlo?”
“Yes; and nobly too. And I show you the way.”
Agostino and Carlo made an expedition to Turin. Before he went, Carlo took her in his arms.
“Is it coming?” she said, shutting her eyelids like a child expecting the report of firearms.
He pressed his lips to the closed eyes. “Not yet; but are you growing timid?”
His voice seemed to reprove her.
She could have told him that keeping her in the dark among unknown terrors ruined her courage; but the minutes were too precious, his touch too sweet. In eyes and hands he had become her lover again. The blissful minutes rolled away like waves that keep the sunshine out at sea.
Her solitude in the villa was beguiled by the arrival of the score of an operatic scena, entitled “HAGAR,” by Rocco Ricci, which she fancied that either Carlo or her dear old master had sent, and she devoured it. She thought it written expressly for her. With HAGAR she communed during the long hours, and sang herself on to the verge of an imagined desert beyond the mountain-shadowed lake and the last view of her beloved Motterone. Hagar's face of tears in the Brerawas known to her; and Hagar in her 'Addio' gave the living voice to that dumb one. Vittoria revelled in the delicious vocal misery. She expanded with the sorrow of poor Hagar, whose tears refreshed her, and parted her from her recent narrowing self-consciousness. The great green mountain fronted her like a living presence. Motterone supplied the place of the robust and venerable patriarch, whom she reproached, and worshipped, but with a fathomless burdensome sense of cruel injustice, deeper than the tears or the voice which spoke of it: a feeling of subjected love that was like a mother's giving suck to a detested child. Countess Ammiani saw the abrupt alteration of her step and look with a dim surprise. “What do you conceal from me?” she asked, and supplied the answer by charitably attributing it to news that the signora Piaveni was coming.
When Laura came, the countess thanked her, saying, “I am a wretched companion for this boiling head.”
Laura soon proved to her that she had been the best, for after very few hours Vittoria was looking like the Hagar on the canvas.
A woman such as Violetta d'Isorella was of the sort from which Laura shrank with all her feminine power of loathing; but she spoke of her with some effort at personal tolerance until she heard of Violetta's stipulation for the deferring of Carlo's marriage, and contrived to guess that Carlo was reserved and unfamiliar with his betrothed. Then she cried out, “Fool that he is! Is it ever possible to come to the end of the folly of men? She has inflamed his vanity. She met him when you were holding him waiting, and no doubt she commenced with lamentations over the country, followed by a sigh, a fixed look, a cheerful air, and the assurance to him that she knew it—uttered as if through the keyhole of the royal cabinet—she knew that Sardinia would break the Salasco armistice in a mouth:—if only, if the king could be sure of support from the youth of Lombardy.”
“Do you suspect the unhappy king?” Vittoria interposed.
“Grasp your colours tight,” said Laura, nodding sarcastic approbation of such fidelity, and smiling slightly. “There has been no mention of the king. Countess d'Isorella is a spy and a tool of the Jesuits, taking pay from all parties—Austria as well, I would swear. Their object is to paralyze the march on Rome, and she has won Carlo for them. I am told that Barto Rizzo is another of her conquests. Thus she has a madman and a fool, and what may not be done with a madman and a fool? However, I have set a watch on her. She must have inflamed Carlo's vanity. He has it, just as they all have. There's trickery: I would rather behold the boy charging at the head of a column than putting faith in this base creature. She must have simulated well,” Laura went on talking to herself.
“What trickery?” said Vittoria.
“He was in love with the woman when he was a lad,” Laura replied, and pertinently to Vittoria's feelings. This threw the moist shade across her features.
Beppo in Turin and Luigi on the lake were the watch set on Countess d'Isorella; they were useless except to fortify Laura's suspicions. The Duchess of Graatli wrote mere gossip from Milan. She mentioned that Anna of Lenkenstein had visited with her the tomb of her brother Count Paul at Bologna, and had returned in double mourning; and that Madame Sedley—“the sister of our poor ruined Pierson”—had obtained grace, for herself at least, from Anna, by casting herself at Anna's feet,—and that they were now friends.
Vittoria felt ashamed of Adela.
When Carlo returned, the signora attacked him boldly with all her weapons; reproached him; said, “Would my husband have treated me in such a manner?” Carlo twisted his moustache and stroked his young beard for patience. They passed from room to balcony and terrace, and Laura brought him back into company without cessation of her fire of questions and sarcasms, saying, “No, no; we will speak of these things publicly.” She appealed alternately to Agostino, Vittoria, and Countess Ammiani for support, and as she certainly spoke sense, Carlo was reduced to gloom and silence. Laura then paused. “Surely you have punished your bride enough?” she said; and more softly, “Brother of my Giacomo! you are under an evil spell.”
Carlo started up in anger. Bending to Vittoria, he offered her his hand to lead her out, They went together.
“A good sign,” said the countess.
“A bad sign!” Laura sighed. “If he had taken me out for explanation! But tell me, my Agostino, are you the woman's dupe?”
“I have been,” Agostino admitted frankly.
“You did really put faith in her?”
“She condescends to be so excessively charming.”
“You could not advance a better reason.”
“It is one of our best; perhaps our very best, where your sex is concerned, signora.”
“You are her dupe no more?”
“No more. Oh, dear no!”
“You understand her now, do you?”
“For the very reason, signora, that I have been her dupe. That is, I am beginning to understand her. I am not yet in possession of the key.”
“Not yet in possession!” said Laura contemptuously; “but, never mind. Now for Carlo.”
“Now for Carlo. He declares that he never has been deceived by her.”
“He is perilously vain,” sighed the signora.
“Seriously”—Agostino drew out the length of his beard—“I do not suppose that he has been—boys, you know, are so acute. He fancies he can make her of service, and he shows some skill.”
“The skill of a fish to get into the net!”
“My dearest signora, you do not allow for the times. I remember”—Agostino peered upward through his eyelashes in a way that he had—“I remember seeing in a meadow a gossamer running away with a spider-thread. It was against all calculation. But, observe: there were exterior agencies at work: a stout wind blew. The ordinary reckoning is based on calms. Without the operation of disturbing elements, the spider-thread would have gently detained the gossamer.”
“Is that meant for my son?” Countess Ammiani asked slowly, with incredulous emphasis.
Agostino and Laura, laughing in their hearts at the mother's mysterious veneration for Carlo, had to explain that 'gossamer' was a poetic, generic term, to embrace the lighter qualities of masculine youth.
A woman's figure passed swiftly by the window, which led Laura to suppose that the couple outside had parted. She ran forth, calling to one of them, but they came hand in hand, declaring that they had seen neither woman nor man. “And I am happy,” Vittoria whispered. She looked happy, pale though she was.
“It is only my dreadful longing for rest which makes me pale,” she said to Laura, when they were alone. “Carlo has proved to me that he is wiser than I am.”
“A proof that you love Carlo, perhaps,” Laura rejoined.
“Dearest, he speaks more gently of the king.”
“It may be cunning, or it may be carelessness.”
“Will nothing satisfy you, wilful sceptic? He is quite alive to the Countess d'Isorella's character. He told me how she dazzled him once.”
“Not how she has entangled him now?”
“It is not true. He told me what I should like to dream over without talking any more to anybody. Ah, what a delight! to have known him, as you did, when he was a boy. Can one who knew him then mean harm to him? I am not capable of imagining it. No; he will not abandon poor broken Lombardy, and he is right; and it is my duty to sit and wait. No shadow shall come between us. He has said it, and I have said it. We have but one thing to fear, which is contemptible to fear; so I am at peace.”
“Love-sick,” was Laura's mental comment. Yet when Carlo explained his position to her next day, she was milder in her condemnation of him, and even admitted that a man must be guided by such brains as he possesses. He had conceived that his mother had a right to claim one month from him at the close of the war; he said this reddening. Laura nodded. He confessed that he was irritated when he met the Countess d'Isorella, with whom, to his astonishment, he found Barto Rizzo. She had picked him up, weak from a paroxysm, on the high-road to Milan. “And she tamed the brute,” said Carlo, in admiration of her ability; “she saw that he was plot-mad, and she set him at work on a stupendous plot; agents running nowhere, and scribblings concentring in her work-basket. You smile at me, as if I were a similar patient, signora. But I am my own agent. I have personally seen all my men in Turin and elsewhere. Violetta has not one grain of love for her country; but she can be made to serve it. As for me, I have gone too far to think of turning aside and drilling with Luciano. He may yet be diverted from Rome, to strike another blow for Lombardy. The Chief, I know, has some religious sentiment about Rome. So might I have; it is the Head of Italy. Let us raise the body first. And we have been beaten here. Great Gods! we will have another fight for it on the same spot, and quickly. Besides, I cannot face Luciano and tell him why I was away from him in the dark hour. How can I tell him that I was lingering to bear a bride to the altar? while he and the rest—poor fellows! Hard enough to have to mention it to you, signora!”
She understood his boyish sense of shame. Making smooth allowances for a feeling natural to his youth and the circumstances, she said, “I am your sister, for you were my husband's brother in arms, Carlo. We two speak heart to heart: I sometimes fancy you have that voice: you hurt me with it more than you know; gladden me too! My Carlo, I wish to hear why Countess d'Isorella objects to your marriage.”
“She does not object.”
“An answer that begins by quibbling is not propitious. She opposes it.”
“For this reason: you have not forgotten the bronze butterfly?”
“I see more clearly,” said Laura, with a start.
“There appears to be no cure for the brute's mad suspicion of her,” Carlo pursued: “and he is powerful among the Milanese. If my darling takes my name, he can damage much of my influence, and—you know what there is to be dreaded from a fanatic.”
Laura nodded, as if in full agreement with him, and said, after meditating a minute, “What sort of a lover is this!”
She added a little laugh to the singular interjection.
“Yes, I have also thought of a secret marriage,” said Carlo, stung by her penetrating instinct so that he was enabled to read the meaning in her mind.
“The best way, when you are afflicted by a dilemma of such a character, my Carlo,” the signora looked at him, “is to take a chess-table and make your moves on it. 'King—my duty;' 'Queen—my passion;' 'Bishop—my social obligation;' 'Knight—my what-you-will and my round-the-corner wishes.' Then, if you find that queen may be gratified without endangering king, and so forth, why, you may follow your inclinations; and if not, not. My Carlo, you are either enviably cool, or you are an enviable hypocrite.”
“The matter is not quite so easily settled as that,” said Carlo.
On the whole, though against her preconception, Laura thought him an honest lover, and not the player of a double game. She saw that Vittoria should have been with him in the critical hour of defeat, when his passions were down, and heaven knows what weakness of our common manhood, that was partly pride, partly love-craving, made his nature waxen to every impression; a season, as Laura knew, when the mistress of a loyal lover should not withhold herself from him. A nature tender like Carlo's, and he bearing an enamoured heart, could not, as Luciano Romara had done, pass instantly from defeat to drill. And vain as Carlo was (the vanity being most intricate and subtle, like a nervous fluid), he was very open to the belief that he could diplomatize as well as fight, and lead a movement yet better than follow it. Even so the signora tried to read his case.
They were all, excepting Countess Ammiani (“who will never, I fear, do me this honour,” Violetta wrote, and the countess said, “Never,” and quoted a proverb), about to pass three or four days at the villa of Countess d'Isorella. Before they set out, Vittoria received a portentous envelope containing a long scroll, that was headed “YOUR CRIMES,” and detailing a lest of her offences against the country, from the revelation of the plot in her first letter to Wilfrid, to services rendered to the enemy during the war, up to the departure of Charles Albert out of forsaken Milan.
“B. R.” was the undisguised signature at the end of the scroll.
Things of this description restored her old war-spirit to Vittoria. She handed the scroll to Laura; Laura, in great alarm, passed it on to Carlo. He sent for Angelo Guidascarpi in haste, for Carlo read it as an ante-dated justificatory document to some mischievous design, and he desired that hands as sure as his own, and yet more vigilant eyes, should keep watch over his betrothed.