THE BRIDE OF FATE
It was a glad day in Venice. The eve of the feast of the Purification had arrived, and all those maidens of the Republic, whose names had been written in the "Book of Gold," were assembled with their parents, their friends and lovers – a beautiful and joyous crowd – repairing, in the gondolas provided by the Republic, to the church of San Pietro de Castella, at Olivolo, which was the residence of the Patriarch. This place was on the extreme verge of the city, a beautiful and isolated spot, its precincts almost without inhabitants, a ghostly and small priesthood excepted, whose grave habits and taciturn seclusion seemed to lend an additional aspect of solitude to the neighborhood. It was, indeed, a solitary and sad-seeming region, which, to the thoughtless and unmeditative, might be absolutely gloomy. But it was not the less lovely as a place suited equally for the picturesque and the thoughtful; and, just now, it was very far from gloomy or solitary. The event which was in hand was decreed to enliven it in especial degree, and, in its consequences, to impress its characteristics on the memory for long generations after. It was the day of St. Mary's Eve – a day set aside from immemorial time for a great and peculiar festival. All, accordingly, was life and joy in the sea republic. The marriages of a goodly company of the high-born, the young and the beautiful, were to be celebrated on this occasion, and in public, according to the custom. Headed by the Doge himself, Pietro Candiano, the city sent forth its thousands. The ornamented gondolas plied busily from an early hour in the morning, from the city to Olivolo; and there, amidst music and merry gratulations of friends and kindred, the lovers disembarked. They were all clad in their richest array. Silks, which caught their colors from the rainbow, and jewels that had inherited, even in their caverns, their beauties from the sun and stars, met the eye in all directions. Wealth had put on all its riches, and beauty, always modest, was not satisfied with her intrinsic loveliness. All that could delight the eye, in personal decorations and nuptial ornaments, was displayed to the eager gaze of curiosity, and, for a moment, the treasures of the city were transplanted to the solitude and waste.
But gorgeous and grand as was the spectacle, and joyous as was the crowd, there were some at the festival, some young, throbbing hearts, who, though deeply interested in its proceedings, felt any thing but gladness. While most of the betrothed thrilled only with rapturous anticipations that might have been counted in the strong pulsations that made the bosom heave rapidly beneath the close pressure of the virgin zone, there were yet others, who felt only that sad sinking of the heart which declares nothing but its hopelessness and desolation. There were victims to be sacrificed as well as virgins to be made happy, and girdled in by thousands of the brave and goodly – by golden images and flaunting banners, and speaking symbols – by music and by smiles – there were more hearts than one that longed to escape from all, to fly away to some far solitude, where the voices of such a joy as was now present could vex the defrauded soul no more. As the fair procession moved onward and up through the gorgeous avenues of the cathedral to the altar-place, where stood the venerable Patriarch in waiting for their coming, in order to begin the solemn but grateful rites, you might have marked, in the crowding column, the face of one meek damsel, which declared a heart very far removed from hope or joyful expectation. Is that tearful eye – is that pallid cheek – that lip, now so tremulously convulsed – are these proper to one going to a bridal, and that her own? Where is her anticipated joy? It is not in that despairing vacancy of face – not in that feeble, faltering, almost fainting footstep – not, certainly, in any thing that we behold about the maiden, unless we seek it in the rich and flaming jewels with which she is decorated and almost laden down; and these no more declare for her emotions than the roses which encircle the neck of the white lamb, as it is led to the altar and the priest. The fate of the two is not unlike, and so also is their character. Francesca Ziani is decreed for a sacrifice. She was one of those sweet and winning, but feeble spirits, which know how to submit only. She has no powers of resistance. She knows that she is a victim; she feels that her heart has been wronged even to the death, by the duty to which it is now commanded; she feels that it is thus made the cruel but unwilling instrument for doing a mortal wrong to the heart of another; but she lacks the courage to refuse, to resist, to die rather than submit. Her nature only teaches her submission; and this is the language of the wo-begone, despairing glance – but one – which she bestows, in passing up the aisle, upon one who stands beside a column, close to her progress, in whose countenance she perceives a fearful struggle, marking equally his indignation and his grief.
Giovanni Gradenigo was one of the noblest cavaliers of Venice – but nobleness, as we know, is not always, perhaps not often, the credential in behalf of him who seeks a maiden from her parents. He certainly was not the choice of Francesca's sire. The poor girl was doomed to the embraces of one Ulric Barberigo, a man totally destitute of all nobility, that alone excepted which belonged to wealth. This shone in the eyes of Francesca's parents, but failed utterly to attract her own. She saw, through the heart's simple, unsophisticated medium, the person of Giovanni Gradenigo only. Her sighs were given to him, her loathings to the other. Though meek and finally submissive, she did not yield without a remonstrance, without mingled tears and entreaties, which were found unavailing. The ally of a young damsel is naturally her mother, and when she fails her, her best human hope is lost. Alas! for the poor Francesca! It was her mother's weakness, blinded by the wealth of Ulric Barberigo, that rendered the father's will so stubborn. It was the erring mother that wilfully beheld her daughter led to the sacrifice, giving no heed to the heart which was breaking, even beneath its heavy weight of jewels. How completely that mournful and desponding, that entreating and appealing glance to her indignant lover, told her wretched history. There he stood, stern as well as sad, leaning, as if for support, upon the arm of his kinsman, Nicolo Malapieri. Hopeless, helpless, and in utter despair, he thus lingered, as if under a strange and fearful fascination, watching the progress of the proceedings which were striking fatally, with every movement, upon the sources of his own hope and happiness. His resolution rose with his desperation, and he suddenly shook himself free from his friend.
"I will not bear this, Nicolo," he exclaimed, "I must not suffer it without another effort, though it be the last."
"What would you do, Giovanni," demanded his kinsman, grasping him by the wrist as he spoke, and arresting his movement.
"Shall I see her thus sacrificed – delivered to misery and the grave! Never! they shall not so lord it over true affections to their loss and mine. Francesca was mine – is mine – even now, in the very sight of Heaven. How often hath she vowed it! Her glance avows it now. My lips shall as boldly declare it again; and as Heaven has heard our vows, the church shall hear them. The Patriarch shall hear. Hearts must not be wronged – Heaven must not thus be defrauded. That selfish, vain woman, her mother – that mercenary monster, miscalled her father, have no better rights than mine – none half so good. They shall hear me. Stand by me, Nicolo, while I speak!"
This was the language of a passion, which, however true, was equally unmeasured and imprudent. The friend of the unhappy lover would have held him back.
"It is all in vain, Giovanni! Think! my friend, you can do nothing now. It is too late; nor is there any power to prevent this consummation. Their names have been long since written in the 'Book of Gold,' and the Doge himself may not alter the destiny!"
"The Book of Gold!" exclaimed the other. "Ay, the 'Bride of Gold!' but we shall see!" And he again started forward. His kinsman clung to him.
"Better that we leave this place, Giovanni. It was wrong that you should come. Let us go. You will only commit some folly to remain."
"Ay! it is folly to be wronged, and to submit to it, I know! folly to have felt and still to feel! folly, surely, to discover, and to live after the discovery, that the very crown that made life precious is lost to you forever! What matter if I should commit this folly! Well, indeed, if they who laugh at the fool, taste none of the wrath that they provoke."
"This is sheer madness, Giovanni."
"Release me, Nicolo."
The kinsman urged in vain. The dialogue, which was carried on in under tones, now enforced by animated action, began to attract attention. The procession was moving forward. The high anthem began to swell, and Giovanni, wrought to the highest