The Child of Pleasure. Gabriele D'Annunzio
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you often been in love?'
He answered by another question—'Which do you consider the truest, noblest way of love—to imagine you have discovered every aspect of the eternal Feminine combined in one woman, or to run rapidly over the lips of woman as you run your fingers over the keys of a piano, till, at last, you find the sublime chord of harmony?'
'I really cannot say—and you?'
'Nor I either—I am unable to solve the great problem of sentiment. However, by personal instinct, I have followed the latter plan and have now, I fear, struck the grand chord—judging, at least, by an inward premonition.'
'You fear?'
'Je crains ce que j'espère.'
He instinctively employed this language of affected sentiment to cloak his really strong emotion, and Elena felt herself caught by his voice as in a golden net and drawn forcibly out of the life surrounding them.
'Her Excellency the Princess di Micigliano!' announced a footman.
'Count di Gissi!'
'Madame Chrysoloras!'
'The Marchese and the Marchesa Massa d'Alba!'
The rooms began to fill rapidly. Long shimmering trains swept over the deep red carpet, white shoulders emerged from bodices starred with diamonds, embroidered with pearls, covered with flowers, and in nearly every coiffure glittered those marvellous hereditary gems for which the Roman nobility are so much envied.
'Her Excellency the Princess of Ferentino!'
'His Excellency the Duke of Grimiti!'
The guests formed themselves in various groups, the rallying points of gossip and of flirtation. The chief group, composed exclusively of men, was in the vicinity of the piano, gathered round the Duchess of Scerni, who had risen to her feet, the better to hold her own against her besiegers. The Princess of Ferentino came over to greet her friend with a reproach.
'Why did you not come to Nini Santamarta's to-day? We all expected you.'
She was tall and thin with extraordinary green eyes sunk deep in their shadowy sockets. Her dress was black, the bodice open in a point back and front, and in her hair, which was blond cendré, she wore a great diamond crescent like Diana. She waved a huge fan of red feathers hastily to and fro as she spoke.
'Nini is at Madame Van Hueffel's this evening.'
'I am going there later on for a little while, so I shall see her,' answered the Duchess.
'Oh, Ugenta,' said the Princess turning to Andrea, 'I was looking for you to remind you of our appointment. To-morrow is Thursday and Cardinal Immenraet's sale begins at twelve. Will you fetch me at one?'
'I shall not fail, Princess.'
'I simply must have that rock crystal.'
'Then you must be prepared for competition.'
'From whom?'
'My cousin for one.'
'And who else?'
'From me,' said Elena.
'You?—Well, we shall see.'
Several of the gentlemen asked for further enlightenment.
'It is a contest between ladies of the 19th century for a rock crystal vase which belonged to Niccolo Niccoli,' Andrea explained with solemnity; 'a vase, on which is engraved the Trojan Anchises untying one of the sandals of Venus Aphrodite. The entertainment will be given gratis, at one o'clock to-morrow afternoon, in the Public Sale-rooms of the Via Sistina. Contending parties—the Princess of Ferentino, the Duchess of Scerni and the Marchesa d'Ateleta.'
Everybody laughed, and Grimiti asked, 'Is betting permitted?'
'The odds! The odds!' yelled Don Filippo del Monte, imitating the strident voice of the bookmaker Stubbs.
The Princess gave him an admonitory tap on the arm with her red fan, but the joke seemed to amuse them hugely and the betting began at once. Hearing the bursts of laughter, other ladies and gentlemen joined the group in order to share the fun. The news of the approaching contest spread like lightning and soon assumed the proportions of a society event.
'Give me your arm and let us take a turn through the rooms,' said Elena to Andrea Sperelli.
As soon as they were in the west room, away from the noisy crowd, Andrea pressed her arm and murmured, 'Thanks.'
She leaned on him, stopping now and again to reply to some greeting. She seemed fatigued, and was as pale as the pearls of her necklace. Each gentleman addressed her with some hackneyed compliment.
'How stupid they all are! it makes me feel quite ill,' she said.
As they turned, she saw Sakumi was following them noiselessly, her camellia in his button-hole, his eyes full of yearning not daring to come nearer. She threw him a compassionate smile.
'Poor Sakumi!'
'Did you not notice him before?' asked Andrea.
'No.'
'While we were sitting by the piano, he was in the recess of the window, and never took his eyes off your hands when you were playing with the weapon of his native country—now reduced to being a paper-cutter for a European novel.'
'Just now, do you mean?'
'Yes, just now. Perhaps he was thinking how sweet it would be to perform Hara-Kiri with that little scimitar, the chrysanthemums on which seemed to blossom out of the lacquer and steel under the touch of your fingers.'
She did not smile. A veil of sadness, almost of suffering, seemed to have fallen over her face; her eyes, faintly luminous under the white lids, seemed drowned in shadow, the corners of her mouth drooped wearily, her right arm hung straight and languid at her side. She no longer held out her hand to those who greeted her; she listened no longer to their speeches.
'What is the matter?' asked Andrea.
'Nothing—I must go to the Van Hueffels' now. Take me to Francesca to say good-bye, and then come with me down to my carriage.'
They returned to the first drawing-room, where Luigi Gulli, a young man, swarthy and curly-haired as an Arab, who had left his native Calabria in search of fortune, was executing, with much feeling, Beethoven's sonata in C# minor. The Marchesa d'Ateleta, a patroness of his, was standing near the piano, with her eyes fixed on the keys. By degrees, the sweet and grave music drew all these frivolous spirits within its magic circle, like a slow-moving but irresistible whirlpool.
'Beethoven!' exclaimed Elena in a tone of almost religious fervour, as she stood still and drew her arm from Andrea's.
She had halted beside one of the great palms and, extending her left hand, began very slowly to put on her glove. In that attitude her whole figure, continued by the train, seemed taller and more erect; the shadow of the palm veiled and, so to speak, spiritualised the pallor of her skin. Andrea gazed at her in a kind of rapture, increased by the pathos of the music.
As if drawn by the young man's impetuous desire, Elena turned her head a little, and smiled at him—a smile so subtle, so spiritual, that it seemed rather an emanation of the soul than a movement of the lips, while her eyes remained sad and as if lost in a far away dream. Thus overshadowed they were verily the eyes of the Night, such as Leonardo da Vinci might have imagined for an allegorical figure after having seen Lucrezia Crevelli at Milan.
During the second that the smile lasted, Andrea felt himself absolutely alone with her in the crowd. An immense wave of pride flooded his heart.
Elena now prepared to put on the other glove.
'No, not that one,' he entreated in a low voice.
She understood, and left her hand bare.
He was hoping to kiss that hand before she left. And