Mr. Anthony Hope is finding out his enviable position. Do what he will, he has the power to please most people. Whatever be his moods, and whatever the quality of his performance, he is never awkward, and elegance of form in any literary matter popularly interesting is so uncommon that gratitude and admiration are widespread and intense in proportion. Now that he is finding this out, it is not surprising that he should take advantage of it, and give pleasure to his numerous admirers as frequently and with as little trouble to himself as possible. It is impertinent to pry into the state of Mr. Hope's soul to see if it is growing demoralised by easy triumphs, but it is quite justifiable to say that a little more effort than is to be found in this book is wanted to keep to the estimate which some sincere but discreet admirers have formed of his powers. The stories here are entertaining, and the youth of fourteen who should disapprove of them would do so from mere dulness. But there are features in it that would lead one to believe they were not written for lads in their early teens. Yet it is not exactly a book for men and women, to whom the tales, excellent in imagining as many of them are, must be spoilt by the artificiality of the mechanism, and the conventionality of all the motives, feelings, and expressions, of the human beings concerned. Mr. Hope is a novelist of power, and he gives us an unimpeachable gift-book of a quality equalled by a dozen boys' story writers any Christmas. His Antonio he calls an outlaw ; but he is the outlaw of a maiden-aunt's or a schoolmaster's imagination—compounded of demi-god and family pastor. True, he appears to us through the narrative of a holy father, but Mr. Hope chose that medium, and if it was unsuitable for the rough record of the wild men who took to the hills, he is responsible.
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The Chronicles Of Count Antonio
Anthony Hope – His Life And Work
The Chronicles Of Count Antonio
Jazzybee Verlag Jürgen Beck
86450 Altenmünster, Loschberg 9
By Frederick Taber Cooper
It is a sufficiently pleasant task to undertake to write a brief appreciation of Mr. Anthony Hope. The prevailing urbanity of his manner, the sustained sparkle of his wit, the agreeable expectation that he arouses of something stimulating about to happen, largely disarm criticism. Besides, he does not seem to demand to be taken too seriously; he is not a preacher or reformer, he is not trying to revolutionize the world; he is too well pleased with men and women as they actually are, to desire to make them something different. In short, he is a suave and charming public entertainer, and like all wise entertainers he alters the character of his program in accordance with the fluctuations of public taste. And being both versatile and farsighted he is usually in the van of each new movement. The God in the Car, his story of gigantic land speculations in South Africa, with the Herculean figure whom he chooses to disguise under the name of " Juggernaut," appeared in 1894, thus antedating by five years The Colossus, by Morley Roberts. Phroso, with its romantic setting among the islands of modern Greece, anticipated by a year Mr. E. F. Benson's analogous attempts, The Vintage and The Capsina. When the revival of the English historical novel was at its height, he succeeded once more in coming in ahead of his competitors, and Simon Dale, which appeared in 1898 and is a study of Restoration manners, with Nell Gwynn for its central interest, led the way for The Orange Girl by Sir Walter Besant, issued in 1899, and F. Frankfort Moore's Nell Gwynn, Comedian, which was not published until 1900.
But although he so cleverly adapts himself to the trend of public taste, Mr. Anthony Hope is not an innovator; he adapts but does not originate. Yet it is no uncommon thing to hear him erroneously praised for having created two new and widely popular types of fiction, the Zenda type and that of The Dolly Dialogues. Now, The Prisoner of Zenda, as we remember at once when we stop to think, is not the first up-to-date sword and buckler story of an imaginary principality; it was preceded, by nearly a decade, by Stevenson's Prince Otto; and the only reason that it so often gets the credit of being the forerunner of its class is simply because it was done with a defter, lighter touch, a more spontaneous inspiration. Similarly, The Dolly Dialogues are not the first attempt to imitate in English the sparkle and the piquancy of the Gallic dialogue in the form that " Gyp " and Henri Lavedan have made familiar. Although it is quite likely that at that time Anthony Hope had never even heard of it, The Story of the Gadsbys had at least three years the start of The Dolly Dialogues, and even though it was done with a heavier hand, it succeeded in getting a greater effectiveness out of the type.
But, after all, statistics of this sort, while interesting to a person of precise and inquiring mind, have little or no bearing upon the sources of enjoyment which a surprisingly large number of people undoubtedly find in Mr. Hope's writings. And there is variety enough among them to suit all tastes. He began in a spirit of blithe and irresponsible romanticism; he has gradually come, in his later years, to look upon life in a rather matter-of-fact way and to picture, by choice, the more serious problems of life in the social world to which he belongs. Yet his novels, even the most ambitious of them, never suggest the ponderousness of a novel-with-a-purpose; he never forgets what is expected from a conscientious entertainer. And one reason why he so uniformly succeeds is that he is an exceedingly good craftsman; he has mastered the sheer mechanics of his art. It is never wise for a novelist, whatever his literary creed may be, to be wantonly scornful of technique. There are just a few erratic geniuses who, because they have in them certain big thoughts that are struggling for utterance and apparently cannot be uttered in the simple usual way, boldly break the established rules and make new ones to suit their needs. To draw an offhand parallel, they are somewhat in the position of a man who, although untrained in public speaking, is listened to indulgently because of the importance of what he has to say. But your public entertainer enjoys no such license; and the lighter and more irresponsible his theme the more perfect must be his execution. And it is because Mr. Hope possesses that magic touch of the born story teller, that such delightful triflings as The Dolly Dialogues and The Indiscretion of the Duchess seem to linger in the memory with perennial youth, while many another weightier volume has faded out with the passage of years.
Accordingly, Mr. Hope belongs to that order of novelists about whom it is not only more enjoyable but more profitable to gossip genially than to weigh strictly in the balance. It is so easy to become garrulous over volumes that have worn well and afford many a pleasant hour of relaxation. It would be purposeless to take up serially each one of his many volumes, analyze and pigeonhole it according to its relative value. The better and the franker thing to do is to admit that there are certain volumes by Mr. Hope which gave the present writer genuine pleasure, and certain others that gave him no pleasure at all, and that those falling under the first division are the only ones which it seems worth while to discuss. In his earlier period the mere mention of Anthony Hope conjured up scenes of spirited adventure, reckless daring, gallant heroes combining the good breeding, the patrician ease, the assured manner of the better class of young Englishmen possessing the double advantage of birth and education, who, nevertheless, despite their studied reserve and immaculateness of dress, are plunged by a whim of fate into adventures of extraordinary daring and sublime audacity, adventures that would have taxed the prowess of Dumas's Immortal Three. It is a clever formula, this trick of taking certain types of familiar everyday people straight out of prosaic actuality and compelling them, whether they will or no, to perform romantic deeds against a romantic background. This peculiar combination was certainly a happy thought. It appealed to that latent thirst for adventure which we almost all possess; it unconsciously flattered the reader with a new sense of daring, a feeling that he too, if thus suddenly and surprisingly transported into Zendaland, might similarly rise to the occasion and achieve great deeds. There is no purpose served by analyzing once again the story of The Prisoner of Zenda. It is one of those stories the artificiality of which stands out glaringly the moment one starts to lay its bones bare.
Any story which depends upon the chance resemblance of two human beings, a resemblance so close, so misleading, that even the wife of one of the two is at a loss to distinguish them, takes on, when stated briefly, apart from the glamour of the tale itself, an air of palpable falsity to life. And yet the fact remains that tens of thousands of readers have lost themselves, forgotten time and space, in their utter absorption in the dilemma of the Princess Flavia, who finds in Rudolph Rassendyl all the qualities which might have made it possible for her to love her husband, if only he had been as close a replica of Rassendyl morally as he was physically.
I do not mind admitting that personally I revert more frequently to The Dolly Dialogues than to any other volume by Mr. Hope. This is not merely because of the delicate touch and epigrammatic neatness for which they have been so universally praised. Superficially considered they are a series of encounters between a sparkling and fascinating little lady and a sedate and nimble-witted gentleman, whom it is insinuated that the Lady Dolly has jilted. Now, the real fascination about these brilliant exchanges of repartee lies chiefly in the subtle and yet elusive implications that we are always on the point of reading between the lines, and yet never quite get in their entirety. That Mr. Carter has long been a worshiper at the shrine of Lady Dolly, that he has many a time felt a pang of regret that his fortune in life has made him ineligible, that he considers her husband not half grateful enough to Providence and that his own assumed air of sentimental resignation has in it a little touch of genuine regret, all this we get pretty clearly. And yet, we are well aware, all the time, that Mr. Carter, in spite of an occasional twinge of envy, would not change his condition if he could; that, although he may not be precisely aware of it, he is already confirmed in his bachelor habits; that he likes his freedom from responsibility, his harmless, unprofitable daily routine, his favorite corner in his favorite club, his innocent philandering with various young women, married and unmarried. He may, at times, deceive the Lady Dolly into commiserating him and blaming herself as a thoughtless coquette, but never for very long at a time. The whole thing is a sort of grown-up game of make-believe in which the players get a curious transitory, almost illogical enjoyment in feigning broken hearts and blighted lives. And yet there is just enough truth underlying it all to suggest that Mr. Hope was capable of more serious work than he had yet done. There was, for instance, everywhere a pervading suggestion of the infinite number of contradictory motives and impulses that determine every human action, and the impossibility which every man and woman must admit to themselves of deciding just how much gladness and how much regret is entailed in every least little thing that they do.
Almost without warning Mr. Hope proved that the vague promise of more serious work was well founded, by producing what, I think, the sober judgment of posterity will recognize as his most ambitious and most enduring work, Quisante. Alexander Quisante, from whom the volume takes its name, is not an Englishman either by birth or ancestry. He comes of antecedents almost unknown beyond the fact that they are a mixture of French and Spanish. With scanty means he comes, an absolute outsider, preparing to lay siege to the political and social world of London. In every way he finds himself handicapped. The foreordained course of education through which the English ruling classes pass as a matter of course and by which their prejudices and points of view are determined, has not been his privilege. In addition to this he lacks that inborn refinement which sometimes makes up for good breeding and social experience. His taste is often exceedingly bad; his manner is alternately too subservient and too arrogant. Of the higher standards of morality he has no perception; he is the typical adventurer, unscrupulous, insincere, monumentally selfish. But, to offset all this, his intellect is quite extraordinary; his brain is an instrument marvelously under control, and he uses it at his pleasure, to bring the lesser intellects about him under his dominion. Above all, he has the gift of eloquence; and when he chooses to give full rein to his rhetorical powers, he can sway his audience at will, and thrill and sweep them with him through the whole gamut of human emotions. Of the men and women whom he meets, fully one-half are antagonized and repelled; the others give him an unquestioning, almost slavish devotion. But he has a personality which cannot leave negative results; it must breed love or hate.
The other character in the book who shares the central interest is Lady May Gaston, a woman who, by birth and training, participates in all those special privileges of rank and caste, all the traditions of her order from which Quisante is shut out. There is another man, one in her own class, who would be glad to make her his wife. He is in all respects the sort of man whom she is expected to marry; and she is not wholly indifferent to him. But she meets Quisante, and, from the first, comes under the spell of his dominant personality. There is much in him from which she shrinks. His social ineptitude, his faculty for doing the wrong thing, or the right thing at the wrong time, makes her shudder. Although fascinated, she is not blinded. She sees his vulgarities, she questions his sincerity, she even doubts whether he is deserving of her respect. Nevertheless, the spectacular, flamboyant brilliancy of the man dominates her better judgment, and in spite of her relatives' remonstrances, in spite of warnings from a member of Quisante's own family, she marries him, unable to resist the almost hypnotic spell cast over her by this man, who is something of a charlatan and something of a cad. The greater part of the book concerns itself with the story of the married life of this curiously ill-assorted couple; of his success in the public eye; of her gradual disillusionment, which, bitter though it is in its completeness, finds her somewhat apathetic, unable to feel the resentment that she knows she ought, unable to acknowledge that she regrets her choice. This, indeed, is the most interesting aspect of the book, the domination, mentally and morally, of a woman of rare sensitiveness and infinite possibilities by a man with whom companionship inevitably means deterioration.
The next of Mr. Anthony Hope's volumes, which personally appealed to the present writer, is entitled A Servant of the Public, and is enjoyable chiefly because of the tantalizing witchery of its heroine. Ora Pinsent is a young actress, who has taken London by storm. She has a husband somewhere, it is said, " whose name does not matter "; indeed, it matters so little that it does not prevent her from letting Ashley Mead make ardent love to her, one Sunday afternoon, though all the while she " preserves wonderfully the air of not being responsible for the thing, of neither accepting nor rejecting, of being quite passive, of having it just happen to her." Thus with a single pen stroke Mr. Hope has set the woman unmistakably before us. Throughout the book she practices the art of having things just happen to her, the art of dodging responsibility. With Ashley she drifts, dangerously one thinks, at first, until one sees how easily she checks his ardor when she chooses, with a nervous laugh, and a low whispered " Don't, don't make love to me any more now." She talks much solemn nonsense about her duty to the husband whose name does not matter, and about her intention to renounce Ashley, although one realizes that there is really nothing to renounce, nor ever will be. And when the time comes for her company to leave London and start on their American tour, here also she plays the passive role, neither accepting nor rejecting. It is only when the weary months of her absence are over and she comes back as the wife of her leading man, that Ashley begins to see her as she really is; only then that he feels her power over him has ceased; only then that he can say, " I no longer love her, but I wish to God I did! " It is not easy to convey an impression of a woman's charm, when it lies not in what she says, but in the way she says it; not in what she does, but in the way she does it. But this is precisely what Anthony Hope has done triumphantly in his portraiture of Ora Pinsent, Ora, with her upturned face, with its habitual expression of expecting to be kissed, is one of the heroines in contemporary fiction that will not easily be forgotten.
Helena's Path deserves something more than a passing word of commendation, for it is an excellent example of Mr. Hope's deftness in doing a very slight thing extremely well. It has an outward framework of actuality, the atmosphere of present day English country life; yet into this he has infused a certain spirit of old-time chivalry and homage that gives to his whole picture something of the grace and charm of a Watteau landscape. The whole theme of the volume, which is scarcely more than a novelette, concerns itself with a right of way. The hero's estates lie somewhere on the east coast of England; but between his land and the strip of beach where he and his fathers before him have for generations been in the habit of bathing lies the property which the heroine has recently purchased; and, unaware of any right of way, she closes up the gate through which it is his habit to pass for his daily swim. He writes courteously but firmly, insisting on his right. She answers in the same spirit, emphatically denying it. He refuses to be robbed of his legal rights, even by a pretty woman; she refuses to yield, at a command, what she would have graciously granted to a prayer. As neither side chooses to adopt legal measures, a state of mimic war ensues, in which he continues to invade the enemy's territory, while she continues to barricade and entrench. And all the while, although they have not once met face to face, each is quietly falling in love with the other, so that when finally honorable terms of peace are concluded, it is already a foregone conclusion that the whole dainty little comedy will end with oaths of fealty and bestowal of favors worthy of a knight and a lady of the olden times.
With the passage of years, however, the author of The Dotty Dialogues has tended to give us fewer and fewer of these dainty trifles and more and more of his serious and careful social studies. In this class belongs The Great Miss Driver, and there is no exaggeration in saying that since the publication of Quisante it is easily the biggest, best-rounded, and altogether worthiest book he has written. And yet, the first thing you are apt to think of is that the germ idea of the story goes straight back to The Dolly Dialogues; that in a superficial way, yes, and perhaps in a deeper way, too, there is a certain rather absurd similarity between them; just as though the author, having once made a pleasant little comedy out of a certain situation, had ever since been turning over in his mind the possibility of using it in a bigger and more serious way, until eventually he evolved the present volume. Not that Jennie Driver, heiress to Breysgate Priory, bears any close resemblance to Lady Mickleham beyond the very feminine desire for conquest, any more than the Mr. Austin of the one story is a close relative of Mr. Carter in the other. The resemblance lies in this, that both stories are told in the first person by the man who in his secret heart loves the woman of whom he writes, but knows that because he is poor, because he has the natural instinct of an old bachelor, because, also, she has given her heart elsewhere, he must remain content to look upon her joys and sorrows in the capacity of a friend, and not that of a lover. To this extent The Great Miss Driver may be defined as The Dolly Dialogues rendered in a different tempo.
Yet, such a definition gives no hint of the strength, the variety, the vital interest of this story. In the character of Jennie Driver Mr. Hope has given us a woman whose ruling passion is to hold sway, to fascinate and bend to her will every one who comes within her sphere. And because of this desire she can never bear to lose the allegiance of any man, no matter how mean and unworthy he has proved himself; and herein lies the source of her life's tragedy. She is not content to be merely the richest woman in the county, to play the part of Lady Bountiful, and build memorials and endow institutions with fabulous sums; she wants also to be a social leader with undisputed right to take precedence over all the other ladies of the community, and this she could do if she married Lord Fillingford, whom she respects, and who badly needs her fortune; but not if she should marry Leonard Octon, big, brusque, rather brutal, who is cut by the whole county, and whom she happens to love. It is a rather unique situation in fiction for a woman to be forced into publicly slighting the one man on earth that she cares for; still more unique for a woman who is pledged to marry one man to be secretly meeting the other man, and thus atoning for deliberately cutting him whenever they meet in public. And, surely, it was a rather audacious thing for Mr. Hope to attempt to make us feel that in spite of her double-dealing Jennie Driver is a rather big and fine and splendid sort of woman; that she would have kept faith with Fillingford had he been big enough to trust her when appearances were heavily against her; and that in defying convention and scandalizing the little world she lives in by fleeing with Octon to Paris, she is doing the one big, brave, inevitable act. Yet, that is precisely what the author does succeed in making us feel; and when because Fate intervenes and wrecks the last chance of Jennie's happiness through the death of Octon, we not only sympathize with her bitterness toward the narrow-minded social circle that had forced her lover into exile, but we also glory with her in the big, carefully planned and altogether adequate revenge by which she forces the county to pay tardy homage to the name of Octon.
Notwithstanding the statement made at the beginning of this chapter, to the effect that Mr. Anthony Hope does not write problem novels, the volume entitled Mrs. Maxon Protests comes critically near the border-line. Mrs. Maxon is simply one more young woman who has discovered marriage to be something vastly different from what she had imagined; and her difficulty is of the variety which she regards as almost humiliatingly commonplace namely, incompatibility. Her husband happens to be one of those narrow, self-satisfied, dictatorial men, with old-fashioned ideas about women in general and a rooted conviction that a man has a high moral responsibility for his wife's conduct and must mould her in all fashions to his own way of thinking. Mrs. Maxon bears the strain for five years; then she consults a lawyer. She learns that while she cannot get a divorce in England, she can leave her husband and he cannot force her to come back. At the time of their separation, or to be more accurate, her desertion of him for Maxon refuses to take the matter seriously there is no other man in her life; but in the weeks that follow during which she stays at the country home of some friends with lax ideas of life and a houseful of curious and often irregular people, she suddenly surprises herself by falling in love with a certain Godfrey Ledstone and promptly scandalizes society by eloping with him openly and unashamed. The rest of the book traces, with a clear-sightedness that Mr. Hope has not always shown in his books, the subsequent career of a woman who thinks that by the force of her own example she can bring the whole world over to her way of thinking. He does not spare us any of her disillusions, her humiliations, her heartache and loneliness. But through it all she is learning, strangely and cruelly learning, much that is exceedingly good for her. She is learning, for instance, that charity and sympathy and understanding are often found where least expected. She is learning, too, that there are many other standards in this world as well as her own and that they are just as reasonable and perhaps nobler. She learns that one of the best men she has ever had the good fortune to meet, loving her, pitying her, utterly disapproving of her, would nevertheless have made her his wife in spite of the scandal that had preceded and followed her divorce but for one reason: he is an army officer, and a woman with a taint upon her name would lower the social tone of his regiment and be in some degree a menace to the moral tone of the younger set. It is a temptation to analyze at some length the separate episodes of this rather unusual book throughout the years while Mrs. Maxon is slowly finding her way out of the quagmire of her own making into a belated peace and happiness. Yet, after all, what the book stands for is so admirably summed up in the concluding paragraph that one cannot do it a greater service than to close with one brief quotation. It is a satisfaction to find a book written upon this theme which, while recognizing that there is much to be said on both sides, shows neither vindictiveness toward the woman nor a misplaced championship that would exalt her into a martyr.
In the small circle of those with whom she had shared the issues of destiny she had unsettled much; of a certainty she had settled nothing. Things were just as much in solution as ever; the welter was not abated. Man being imperfect, laws must be made. Man being imperfect, laws must be broken or ever new laws will be made. Winnie Maxon had broken a law and asked a question. When thousands do the like, the Giant, after giving the first comers a box on the ear, may at last put his hand to his own and ponderously consider.
Such are the volumes chosen as a matter of personal preference, out of the generous series that Mr. Hope has so industriously turned out, during a score of years. Another reader's choice might be different, and who shall say whether it would not be as well justified? Because, the first duty of a public entertainer is to entertain; and, taking this for a criterion, the most that any one can say of his own knowledge is, such-and-such volumes have entertained me. It is obvious that Mr. Hope's own preference is for his more serious work, that with the passage of years he has grown more willing to allow the books of his romantic period to fade from sight. Yet, by doing this, he challenges a harder competition, a stricter measurement against a host of rivals. There has been no one to give us a second Prisoner of Zenda, excepting Mr. Hope himself, notwithstanding that many another writer has tried his best. But it would be easy to name a dozen contemporary novelists who could give us the annals of another Servant of the People, or chronicle some further Intrusions of Peggy, and one or two who, perhaps, could do it better. Mr. Hope is not one of the great novelists of his generation; but he is never mediocre, and even in his uninspired moments never dull. His Prisoner of Zenda and his Dolly Dialogues were both gems of the first water; his Quisante certainly suffers nothing by comparison with George Gissing's Charlatan, separated from it by barely a year. As a chronicler of English manners he is certainly of rather more importance than Mr. E. F. Benson or Mr. Maarten Maartens, although not in the same class with Galsworthy, Bennett, or W. H. Maxwell. He will be remembered, I think, somewhat as William Black and Marion Crawford are remembered, as having preserved a wholesome optimism, an unshaken belief in human nature, and as having done his part to keep the tone of the modern novel clean and wholesome.
How Count Antonio Took To The Hills.
Countless are the stories told of the sayings that Count Antonio spoke and of the deeds that he did when he dwelt an outlaw in the hills. For tales and legends gather round his name thick as the berries hang on a bush, and with the passage of every succeeding year it grows harder to discern where truth lies and where the love of wonder, working together with the sway of a great man's memory, has wrought the embroidery of its fancy on the plain robe of fact. Yet, amid all that is of uncertain knowledge and so must rest, this much at least should be known and remembered for the honour of a noble family, how it fell out that Count Antonio, a man of high lineage, forsook the service of his Prince, disdained the obligation of his rank, set law at naught, and did what seemed indeed in his own eyes to be good but was held by many to be nothing other than the work of a rebel and a brigand. Yet, although it is by these names that men often speak of him, they love his memory; and I also, Ambrose the Franciscan, having gathered diligently all that I could come by in the archives of the city or from the lips of aged folk, have learned to love it in some sort. Thus I am minded to write, before the time that I must carry what I know with me to the grave, the full and whole truth concerning Antonio's flight from the city and the Court, seeking in my heart, as I write, excuse for him, and finding in the record, if little else, yet a tale that lovers must read in pride and sorrow, and, if this be not too high a hope, that princes may study for profit and for warning.
Now it was in the tenth year of the reign of Duke Valentine over the city of Firmola, its territories and dependent towns, that Count Antonio of Monte Velluto—having with him a youthful cousin of his, whom he loved greatly, and whom, by reason of his small stature and of a boyish gaiety he had, men called Tommasino—came from his own house on the hill that fronts the great gate of the city, to the palace of the Duke, with intent to ask His Highness's sanction for his marriage with the Lady Lucia. This lady, being then seventeen years of age, loved Antonio, and he her, and troth had been privily plighted between them for many months; and such was the strength and power of the love they bore the one to the other, that even to this day the old mock at young lovers who show themselves overfond, crying, "'Tis Lucia and Antonio!"
But since the Lady Lucia was an orphan, Antonio came now to the Duke, who enjoyed ward-ship over her, and setting out his passion and how that his estate was sufficient and his family such as the Duke knew, prayed leave of His Highness to wed her. But the Duke, a crafty and subtle prince, knowing Antonio's temper and the favour in which he was held by the people, counted not to augment his state and revenues by the gift of a bride so richly dowered, but chose rather to give her to a favourite of his, a man in whose devotion he could surely trust and whose disposition was to serve his master in all things fair and foul, open or secret. Such an one the Duke found in the Lord Robert de Beauregard, a gentleman of Provence, who had quitted his own country, having been drawn into some tumult there, and, having taken service with the Duke, had risen to a great place in his esteem and confidence. Therefore, when Antonio preferred his request, the Duke, with many a courteous regretful phrase, made him aware that the lady stood promised to Robert by the irrevocable sanctity of his princely pledge.
"So forget, I pray you, my good cousin Antonio," said he, "forget, as young men lightly can, this desire of yours, and it shall be my charge to find you a bride full as fair as the Lady Lucia."
But Antonio's face went red from brow to chin, as he answered: "My gracious lord, I love the lady, and she me, and neither can wed another. As for my Lord Robert, your Highness knows well that she loves him not."
"A girl's love!" smiled the Duke. "A girl's love! It rains and shines, and shines and rains, Antonio."
"It has shone on me since she knew a man when she looked on him," said Antonio.
And Tommasino, who stood by, recking as little of the Duke as of the Duke's deerhound which he was patting the while, broke in, saying carelessly, "And this Robert, my lord, is not the man for a pretty girl to love. He is a sour fellow."
"I thank you for your counsel, my lord Tommasino," smiled the Duke. "Yet I love him." Whereat Tommasino lifted his brows and patted the hound again. "It is enough," added the Duke. "I have promised, Antonio. It is enough."
"Yes, it is enough," said Antonio; and he and Tommasino, having bowed low, withdrew from the presence of the Duke. But when he got clear outside of the Duke's cabinet, Antonio laid his hand on Tommasino's shoulder, saying, "It is not well that Robert have her."
"It is mighty ill," said Tommasino.
And then they walked in silence to the city gate, and, in silence still, climbed the rugged hill where Antonio's house stood.
But the Duke sent for Robert de Beauregard into his cabinet and said to him: "If you be wise, friend Robert, little grass shall grow under your feet this side your marriage. This Antonio says not much; but I have known him outrun his tongue with deeds."
"If the lady were as eager as I, the matter would not halt," said Robert with a laugh. "But she weeps and spits fire at me, and cries for Antonio."
"She will be cured after the wedding," said the Duke. "But see that she be well guarded, Robert; let a company of your men watch her. I have known the bride to be missing on a marriage day ere now."
"If he can touch her, he may wed her," cried Robert. "The pikemen are close about her house, and she can neither go in nor come forth without their knowledge."
"It is well," said the Duke. "Yet delay not. They are stubborn men, these Counts of Monte Velluto."
Now had the Lady Lucia been of a spirit as haughty as her lover's, it may be that she would have refused to wed Robert de Beauregard. But she was afraid. When Antonio was with her, she had clung to him, and he loved her the more for her timidity. With him gone and forbidden to come near her, she dared not resist the Duke's will nor brave his displeasure; so that a week before the day which the Duke had appointed for the wedding, she sent to Antonio, bidding him abandon a hope that was vain and set himself to forget a most unhappy lady.
"Robert shall not have her," said Antonio, putting the letter in his belt.
"Then the time is short," said Tommasino.
They were walking together on the terrace before Antonio's house, whence they looked on the city across the river. Antonio cast his eye on the river and on the wall of the Duke's garden that ran along it; fair trees, shrubs, and flowers lined the top of the wall, and the water gleamed in the sunshine.
"It is strange," said Antonio, musing, "that one maiden can darken for a man all the world that God lights with his sun. Yet since so it is, Tommasino, a man can be but a man; and being a man, he is a poor man, if he stand by while another takes his love."
"And that other a stranger, and, as I swear, a cut-throat," added Tommasino.
When they had dined and evening began to come on, Antonio made his servants saddle the best horses in his stable—though, indeed, the choice was small, for Antonio was not rich as a man of his rank counts riches—and the two rode down the hill towards the city. But, as they went, Antonio turned once and again in his saddle and gazed long at the old gray house, the round tower, and the narrow gate.
"Why look behind, and not forward?" asked Tommasino.
"Because there is a foreboding in me," answered Antonio, "that it will be long before that gate again I pass through. Were there a hope of persuading you, Tommasino, I would bid you turn back, and leave me to go alone on this errand."
"Keep your breath against when you have to run," laughed Tommasino, pricking his horse and tossing his hair, dark as Antonio's was fair, back from his neck.
Across the bridge they rode and through the gates, and having traversed the great square, came to the door of Lucia's house, where it rose fronting the Duke's palace. Here Antonio dismounted, giving his bridle into Tommasino's hand, and bade the servants carry his name to the Lady Lucia. A stir arose among them and much whispering, till an old man, head of the servingmen, came forward, saying: "Pardon, my lord, but we are commanded not to admit you to the Lady Lucia;" and he waved his hand towards the inner part of the porch, where Antonio saw a dozen or more pikemen of the Duke's Guard drawn across the passage to the house; and their pikes flashed in the rays of the setting sun as they levelled them in front of their rank.
Some of the townsmen and apprentice lads, stout fellows, each with a staff, had gathered now around Antonio, whom they loved for his feats of strength and his liberal gifts to the poor, and, understanding what was afoot, one came to him, saying: "There are some, my lord, who would enter with you if you are set on entering," and the fellow's eyes sparkled; for there was a great enmity in the town against the pikemen, and a lusty youth with a stick in his hand is never loth to find a use for it.
For a moment Count Antonio hesitated; for they flocked closer to him, and Tommasino threw him a glance of appeal and touched the hilt of his sword. But he would not that the blood of men who were themselves loved by mothers, wives, and maids, should be shed in his quarrel, and he raised his hand, bidding them be still.
"I have no quarrel with the pikeman," said he, "and we must not fight against His Highness's servants."
The faces of the townsmen grew long in disappointment. Tommasino alone laughed low, recognising in Antonio's gentleness the lull that heralds a storm. The Count was never more dangerous than when he praised submission.
"But," continued Antonio, "I would fain see the Lady Lucia." And with this he stepped inside the porch, signing to Tommasino to stay where he was; but the lad would not, and, leaping down, ran to his kinsman and stood shoulder to shoulder with him.
Thus they stood facing the line of pikemen, when suddenly the opposing rank opened and Robert de Beauregard himself came through. Starting slightly on sight of Antonio, he yet bowed courteously, baring his head, and Antonio, with Tommasino, did the like.
"What is your desire, my lord?" asked Robert.
"I have naught to ask of you," answered Antonio, and he took a step forward. Robert's hand flew to his sword, and in a moment they would have fought. But now another figure came forward with uplifted hand. It was the Duke himself, and he looked on Antonio with his dark smile, and Antonio flushed red.
"You seek me, Antonio?" asked the Duke.
"I seek not your Highness, but my plighted wife," said Antonio.
Duke Valentine smiled still. Coming to Antonio, he passed his arm through his, and said in most friendly fashion: "Come with me to my house, and we will talk of this;" and Antonio, caught fast in the choice between obedience and open revolt, went frowning across the square, the Duke's arm through his, Robert on the Duke's other side, and, behind, Tommasino with the horses. But as they went, a sudden cry came from the house they left, and a girl's face showed for an instant, tear-stained and pallid, at an open window. A shiver ran through Antonio; but the Duke pressing his arm, he went still in silence.
At the door of the palace, a lackey took the horses from Tommasino, and the four passed through the great hall and through the Duke's cabinet beyond and into the garden; there the Duke sat down under the wall of the garden, near by the fish-pond, and turning suddenly on Antonio, spoke to him fiercely; "Men have died at my hands for less," said he.
"Then for each of such shall you answer to God," retorted Antonio, not less hotly.
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