The Child of Pleasure. Gabriele D'Annunzio
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came for you alone!' The orchestra suddenly took up the waltz measure with a fresh impetus. And never, through all his life, did he forget that music, nor the attitude of the woman he loved, nor the sumptuous folds of the brocade trailing over the floor, nor the faintest shadow on the rich material, nor one single detail of that supreme moment.
CHAPTER V
Elena left the Farnese palace very soon after this, almost stealthily, without taking leave of Andrea or of any one else. She had therefore not stayed more than half an hour at the ball. Her lover searched for her through all the rooms in vain. The next morning, he sent a servant to the Palazzo Barberini to inquire after the duchess, and learned from him that she was ill. In the evening he went in person, hoping to be received; but a maid informed him that her mistress was in great pain and could see no one. On the Saturday, towards five o'clock, he came back once more, still hoping for better luck.
He left his house on foot. The evening was chill and gray, and a heavy leaden twilight was settling over the city. The lamps were already lighted round the fountain in the Piazza Barberini like pale tapers round a funeral bier, and the Triton, whether being under repair or for some other reason, had ceased to spout water. Down the sloping roadway came a line of carts drawn by two or three horses harnessed in single file, and bands of workmen returning home from the new buildings. A group of these came swaying along arm in arm, singing a lewd song at the pitch of their voices.
Andrea stopped to let them pass. Two or three of the debased, weather-beaten faces impressed themselves on his memory. He noticed that a carter had his hand wrapped in a blood-stained bandage, and that another, who was kneeling in his cart, had the livid complexion, deep sunken eyes and convulsively contracted mouth of a man who has been poisoned. The words of the song were mingled with guttural cries, the cracking of whips, the grinding of wheels, the jingling of horse bells and shrill discordant laughter.
His mental depression increased. He found himself in a very curious mood. The sensibility of his nerves was so acute that the most trivial impression conveyed to them by external means assumed the gravity of a wound. While one fixed thought occupied and tormented his spirit, the rest of his being was left exposed to the rude jostling of surrounding circumstances. Groups of sensations rushed with lightning rapidity across his mental field of vision, like the phantasmagoria of a magic lantern, startling and alarming him. The banked-up clouds of evening, the form of the Triton surrounded by the cadaverous lights, this sudden descent of savage looking men and huge animals, these shouts and songs and curses aggravated his condition, arousing a vague terror in his heart, a foreboding of disaster.
A closed carriage drove out of the palace garden. He caught a glimpse of a lady bowing to him, but he failed to recognise her. The palace rose up before him, vast as some royal residence. The windows of the first floor gleamed with violet reflections, a pale strip of sunset sky rested just above it; a brougham was turning away from the door.
'If I could but see her!' he thought to himself, standing still for a moment. He lingered, purposely to prolong his uncertainty and his hope. Shut up in this immense edifice she seemed to him immeasurably far away—lost to him.
The brougham stopped, and a gentleman put his head out of the window and called—'Andrea!'
It was the Duke of Grimiti, a near relative of his.
'Going to call on the Scerni?' asked the duke with a significant smile.
'Yes,' answered Andrea, 'to inquire after her—she is ill, you know.'
'Yes, I know—I have just come from there. She is better.'
'Does she receive?'
'Me—no. But she may perhaps receive you.' And Grimiti laughed maliciously through the smoke of his cigarette.
'I don't understand,' Andrea answered coldly.
'Bah!' said the duke. 'Report says you are high in favour. I heard it last night at the Pallavicinis', from a lady, a great friend of yours—give you my word!'
Andrea turned on his heel with a gesture of impatience.
'Bonne chance!' cried the duke.
Andrea entered the portico. In reality he was delighted and flattered that such a report should be circulated already. Grimiti's words had suddenly revived his courage like a draught of some cordial. As he mounted the steps, his hopes rose high. He waited for a moment at the door to allow his excitement to calm down a little. Then he rang.
The servant recognised him and said at once: 'If the Signor Conte will have the kindness to wait a moment I will go and inform Mademoiselle.'
He nodded assent, and began pacing the vast ante-chamber, which seemed to echo the violent beating of his heart. Hanging lamps of wrought iron shed an uncertain light over the stamped leather panelling of the walls, the carved oak chests, the antique busts on pedestals. Under a magnificently embroidered baldachin blazed the ducal arms: a unicorn on a field gules. A bronze card-tray, heaped with cards, stood in the middle of a table, and happening to cast his eye over them, Andrea noticed the one which Grimiti had just left lying on the top—Bonne chance!—The ironical augury still rang in his ears.
Mademoiselle now made her appearance. 'The duchess is feeling a little better,' she said. 'I think the Signor Conte might see her for a moment. This way, if you please.'
She was a woman past her first youth, rather thin and dressed in black, with a pair of gray eyes that glittered curiously under the curls of her false fringe. Her step and her movements generally were light, not to say furtive, as of one who is in the habit of attending upon invalids or of executing secret orders.
'This way, Signor Conte.'
She preceded Andrea though the long flight of dimly-lighted rooms, the thick soft carpets deadening every sound; and even through the almost uncontrollable tumult of his soul, the young man was conscious of an instinctive feeling of repulsion against her, without being able to assign an adequate reason for it.
Arrived in front of a door concealed by two pieces of tapestry of the Medicean period, bordered with deep red velvet, she stopped.
'I will go first and announce you. Please to wait here.'
A voice from within, which he recognised as Elena's, called, 'Christina!'
At the sound of her voice coming thus unexpectedly, Andrea began to tremble so violently that he thought to himself—'I am sure I am going to faint.' He had a dim presentiment of some more than mortal happiness in store for him which should exceed his utmost expectations, his wildest dreams—almost beyond his powers to support. She was there—on the other side of that door. All perception of reality deserted him. It seemed to him that he had already imagined—in some picture, some poem—a similar adventure, under the self-same circumstances, with these identical surroundings and enveloped in the same mystery, but of which another—some fiction of his own brain—was the hero. And now, by some strange trick of the imagination, the fictitious was confounded with the real, causing him an indescribable sense of confusion and bewilderment. On each of the pieces of tapestry was a large symbolical figure—Silence and Slumber—two Genii, tall and slender, which might have been designed by Primaticcio of Bologna, guarding the door. And he—he himself—stood before the door waiting, and on the other side of it was his divine lady. He almost thought he could hear her breathe.
At last Mademoiselle returned. Holding back the heavy draperies she smiled, and in a low voice said:
'Please go in.'
She effaced herself, and Andrea entered the room.
He noticed first of all that the air was very hot, almost stifling, and that there was a strong odour of chloroform. Then, through the semi-darkness, he became aware of something red—the crimson of the wall paper and the curtains of the bed—and then he heard Elena's languid voice murmuring,