Quentin Durward. Вальтер Скотт
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a turret staircase, and from thence along a gallery, with many doors opening from it, like those of cells in a convent; a resemblance which our young hero, who recollected, with much ennui, an early specimen of a monastic life, was far from admiring. The host paused at the very end of the gallery, selected a key from the large bunch which he carried at his girdle, opened the door, and showed his guest the interior of a turret chamber; small, indeed, but which, being clean and solitary, and having the pallet bed and the few articles of furniture, in unusually good order, seemed, on the whole, a little palace.
“I hope you will find your dwelling agreeable here, fair sir,” said the landlord. “I am bound to pleasure every friend of Maitre Pierre.”
“Oh, happy ducking!” exclaimed Quentin Durward, cutting a caper on the floor, so soon as his host had retired: “Never came good luck in a better or a wetter form. I have been fairly deluged by my good fortune.”
As he spoke thus, he stepped towards the little window, which, as the turret projected considerably from the principal line of the building, not only commanded a very pretty garden of some extent, belonging to the inn, but overlooked, beyond its boundary, a pleasant grove of those very mulberry trees which Maitre Pierre was said to have planted for the support of the silk worm. Besides, turning the eye from these more remote objects, and looking straight along the wall, the turret of Quentin was opposite to another turret, and the little window at which he stood commanded a similar little window in a corresponding projection of the building. Now, it would be difficult for a man twenty years older than Quentin to say why this locality interested him more than either the pleasant garden or the grove of mulberry trees; for, alas! eyes which have been used for forty years and upwards, look with indifference on little turret windows, though the lattice be half open to admit the air, while the shutter is half closed to exclude the sun, or perhaps a too curious eye – nay, even though there hang on the one side of the casement a lute, partly mantled by a light veil of sea green silk. But, at Durward’s happy age, such accidents, as a painter would call them, form sufficient foundation for a hundred airy visions and mysterious conjectures, at recollection of which the full grown man smiles while he sighs, and sighs while he smiles.
As it may be supposed that our friend Quentin wished to learn a little more of his fair neighbour, the owner of the lute and veil – as it may be supposed he was at least interested to know whether she might not prove the same whom he had seen in humble attendance on Maitre Pierre, it must of course be understood that he did not produce a broad staring visage and person in full front of his own casement. Durward knew better the art of bird catching; and it was to his keeping his person skilfully withdrawn on one side of his window; while he peeped through the lattice, that he owed the pleasure of seeing a white, round, beautiful arm take down the instrument, and that his ears had presently after their share in the reward of his dexterous management.
The maid of the little turret, of the veil, and of the lute sang exactly such an air as we are accustomed to suppose flowed from the lips of the high born dames of chivalry, when knights and troubadours listened and languished. The words had neither so much sense, wit, or fancy as to withdraw the attention from the music, nor the music so much of art as to drown all feeling of the words. The one seemed fitted to the other; and if the song had been recited without the notes, or the air played without the words, neither would have been worth noting. It is; therefore, scarcely fair to put upon record lines intended not to be said or read, but only to be sung. But such scraps of old poetry have always had a sort of fascination for us; and as the tune is lost for ever unless Bishop [Sir Henry Rowley, an English composer and professor of music at Oxford in 1848. Among his most popular operas are Guy Mannering and The Kniqht of Snowdon] happens to find the notes, or some lark teaches Stephens [Catherine (1794-1882): a vocalist and actress who created Susanna in the Marriage of Figaro, and various parts in adaptation of Scott.] to warble the air – we will risk our credit, and the taste of the Lady of the Lute, by preserving the verses, simple and even rude as they are:
Ah! County Guy, the hour is nigh,
The sun has left the lea,
The orange flower perfumes the bower,
The breeze is on the sea.
The lark, his lay who thrill’d all day,
Sits hush’d his partner nigh;
Breeze, bird, and flower confess the hour,
But where is County Guy?
The village maid steals through the shade,
Her shepherd’s suit to hear;
To beauty shy, by lattice high,
Sings high born Cavalier.
The star of Love, all stars above,
Now reigns o’er earth and sky;
And high and low the influence know
– But where is County Guy?
Whatever the reader may think of this simple ditty, it had a powerful effect on Quentin, when married to heavenly airs, and sung by a sweet and melting voice, the notes mingling with the gentle breezes which wafted perfumes from the garden, and the figure of the songstress being so partially and obscurely visible as threw a veil of mysterious fascination over the whole.
At the close of the air, the listener could not help showing himself more boldly than he had yet done, in a rash attempt to see more than he had yet been able to discover. The music instantly ceased – the casement was closed, and a dark curtain, dropped on the inside, put a stop to all farther observation on the part of the neighbour in the next turret.
Durward was mortified and surprised at the consequence of his precipitance, but comforted himself with the hope that the Lady of the Lute could neither easily forego the practice of an instrument which seemed so familiar to her, nor cruelly resolve to renounce the pleasures of fresh air and an open window for the churlish purpose of preserving for her own exclusive ear the sweet sounds which she created. There came, perhaps, a little feeling of personal vanity to mingle with these consolatory reflections. If, as he shrewdly suspected, there was a beautiful dark tressed damsel inhabitant of the one turret, he could not but be conscious that a handsome, young, roving, bright locked gallant, a cavalier of fortune, was the tenant of the other; and romances, those prudent instructors, had taught his youth that if damsels were shy, they were yet neither void of interest nor of curiosity in their neighbours’ affairs.
Whilst Quentin was engaged in these sage reflections, a sort of attendant or chamberlain of the inn informed him that a cavalier desired to speak with him below.
CHAPTER V: THE MAN AT ARMS
Full of strange oaths, and bearded like the pard, Seeking the bubble reputation Even in the cannon’s mouth.
The cavalier who awaited Quentin Durward’s descent into the apartment where he had breakfasted, was one of those of whom Louis XI had long since said that they held in their hands the fortune of France, as to them were intrusted the direct custody and protection of the royal person.
Charles the Sixth had instituted this celebrated body, the Archers, as they were called, of the Scottish Bodyguard, with better reason than can generally be alleged for establishing round the throne a guard of foreign and mercenary troops. The divisions which tore from his side more than half of France, together with the wavering and uncertain faith of the nobility who yet acknowledged his cause, rendered it impolitic and unsafe to commit his personal safety to their keeping. The Scottish nation was the hereditary enemy of the English, and the ancient, and, as it seemed, the natural allies of France. They were poor, courageous, faithful; their ranks were sure to be supplied from the superabundant population of their own country, than which none in Europe sent forth more or bolder adventurers. Their high claims of descent, too, gave them a good title to approach the person of a monarch more closely than other troops, while the comparative smallness of their numbers prevented the possibility of their mutinying, and becoming masters where they ought to be servants.
On the other hand, the French monarchs made it their policy to conciliate the affections of this select