LITTLE NOVELS [93]
I arrived, sitting in a Roman theater--now many years since. My friend and traveling companion, Rothsay, cordially agreed with me. Experience had given us some claim to form an opinion. We had visited, at that time, nearly every city in Italy. Where-ever a theater was open, we had attended the performances of the companies which travel from place to place; and we had never seen bad acting from first to last. Men and women, whose names are absolutely unknown in England, played (in modern comedy and drama for the most part) with a general level of dramatic ability which I have never seen equaled in the theaters of other nations. Incapable Italian actors there must be, no doubt. For my own part I have only discovered them, by ones and twos, in England; appearing among the persons engaged to support Salvini and Ristori before the audiences of London.
On the occasion of which I am now writing, the night's performances consisted of two plays. An accident, to be presently related, prevented us from seeing more than the introductory part of the second piece. That one act--in respect of the influence which the remembrance of it afterward exercised over Rothsay and myself--claims a place of its own in the opening pages of the present narrative.
The scene of the story was laid in one of the principalities of Italy, in the bygone days of the Carbonaro conspiracies. The chief persons were two young noblemen, friends affectionately attached to each other, and a beautiful girl born in the lower ranks of life
On the rising of the curtain, the scene before us was the courtyard of a prison. We found the beautiful girl (called Celia as well as I can recollect) in great distress; confiding her sorrows to the jailer's daughter. Her father was pining in the prison, charged with an offense of which he was innocent; and she herself was suffering the tortures of hopeless love. She was on the point of confiding her secret to her friend, when the appearance of the young nobleman closed her lips. The girls at once withdrew; and the two friends--whom I now only remember as the Marquis and the Count--began the dialogue which prepared us for the story of the play.
The Marquis had been tried for conspiracy against the reigning Prince and his government; had been found guilty, and is condemned to be shot that evening. He accepts his sentence with the resignation of a man who is weary of his life. Young as he is, he has tried the round of pleasures without enjoyment; he has no interests, no aspirations, no hopes; he looks on death as a welcome release. His friend the Count, admitted to a farewell interview, has invented a stratagem by which the prisoner may escape and take to flight. The Marquis expresses a grateful sense of obligation, and prefers being shot. "I don't value my life," he says; "I am not a happy man like you." Upon this the Count mentions circumstances which he has hitherto kept secret. He loves the charming Celia, and loves in vain. Her reputation is unsullied; she possesses every good quality that a man can desire in a wife--but the Count's social position forbids him to marry a woman of low birth. He is heart-broken; and he too finds life without hope a burden that is not to be borne. The Marquis at once sees a way of devoting himself to his friend's interests. He is rich; his money is at his own disposal; he will bequeath a marriage portion to Celia which will make her one of the richest women in Italy. The Count receives this proposal with a sigh. "No money," he says, "will remove the obstacle that still remains. My father's fatal objection to Celia is her rank in life. "The Marquis walks apart--considers a little--consults his watch--and returns with a new idea. "I have nearly two hours of life still left," he says. "Send for Celia: she was here just now, and she is probably in her father's cell." The Count is at a loss to understand what this proposal means. The Marquis explains himself. "I ask your permission," he resumes, "to offer marriage to Celia--for your sake. The chaplain of the prison will perform the ceremony.
On the occasion of which I am now writing, the night's performances consisted of two plays. An accident, to be presently related, prevented us from seeing more than the introductory part of the second piece. That one act--in respect of the influence which the remembrance of it afterward exercised over Rothsay and myself--claims a place of its own in the opening pages of the present narrative.
The scene of the story was laid in one of the principalities of Italy, in the bygone days of the Carbonaro conspiracies. The chief persons were two young noblemen, friends affectionately attached to each other, and a beautiful girl born in the lower ranks of life
On the rising of the curtain, the scene before us was the courtyard of a prison. We found the beautiful girl (called Celia as well as I can recollect) in great distress; confiding her sorrows to the jailer's daughter. Her father was pining in the prison, charged with an offense of which he was innocent; and she herself was suffering the tortures of hopeless love. She was on the point of confiding her secret to her friend, when the appearance of the young nobleman closed her lips. The girls at once withdrew; and the two friends--whom I now only remember as the Marquis and the Count--began the dialogue which prepared us for the story of the play.
The Marquis had been tried for conspiracy against the reigning Prince and his government; had been found guilty, and is condemned to be shot that evening. He accepts his sentence with the resignation of a man who is weary of his life. Young as he is, he has tried the round of pleasures without enjoyment; he has no interests, no aspirations, no hopes; he looks on death as a welcome release. His friend the Count, admitted to a farewell interview, has invented a stratagem by which the prisoner may escape and take to flight. The Marquis expresses a grateful sense of obligation, and prefers being shot. "I don't value my life," he says; "I am not a happy man like you." Upon this the Count mentions circumstances which he has hitherto kept secret. He loves the charming Celia, and loves in vain. Her reputation is unsullied; she possesses every good quality that a man can desire in a wife--but the Count's social position forbids him to marry a woman of low birth. He is heart-broken; and he too finds life without hope a burden that is not to be borne. The Marquis at once sees a way of devoting himself to his friend's interests. He is rich; his money is at his own disposal; he will bequeath a marriage portion to Celia which will make her one of the richest women in Italy. The Count receives this proposal with a sigh. "No money," he says, "will remove the obstacle that still remains. My father's fatal objection to Celia is her rank in life. "The Marquis walks apart--considers a little--consults his watch--and returns with a new idea. "I have nearly two hours of life still left," he says. "Send for Celia: she was here just now, and she is probably in her father's cell." The Count is at a loss to understand what this proposal means. The Marquis explains himself. "I ask your permission," he resumes, "to offer marriage to Celia--for your sake. The chaplain of the prison will perform the ceremony.