The Cardinal insisted upon the accomplishment of his own predictions, and provided her with the most renowned masters. To inspire her with emulation, his Eminence took her one evening to his own box: it would be something to see the performance, something more to hear the applause lavished upon the glittering signoras she was hereafter to excel! Oh, how gloriously that life of the stage, that fairy world of music and song, dawned upon her! It was the only world that seemed to correspond with her strange childish thoughts. It appeared to her as if, cast hitherto on a foreign shore, she was brought at last to see the forms and hear the language of her native land. Beautiful and true enthusiasm, rich with the promise of genius! Boy or man, thou wilt never be a poet, if thou hast not felt the ideal, the romance, the Calypso’s isle that opened to thee when for the first time the magic curtain was drawn aside, and let in the world of poetry on the world of prose!
And now the initiation was begun. She was to read, to study, to depict by a gesture, a look, the passions she was to delineate on the boards; lessons dangerous, in truth, to some, but not to the pure enthusiasm that comes from art; for the mind that rightly conceives art is but a mirror which gives back what is cast on its surface faithfully only—while unsullied. She seized on nature and truth intuitively. Her recitations became full of unconscious power; her voice moved the heart to tears, or warmed it into generous rage. But this arose from that sympathy which genius ever has, even in its earliest innocence, with whatever feels, or aspires, or suffers.
It was no premature woman comprehending the love or the jealousy that the words expressed; her art was one of those strange secrets which the psychologists may unriddle to us if they please, and tell us why children of the simplest minds and the purest hearts are often so acute to distinguish, in the tales you tell them, or the songs you sing, the difference between the true art and the false, passion and jargon, Homer and Racine—echoing back, from hearts that have not yet felt what they repeat, the melodious accents of the natural pathos. Apart from her studies, Viola was a simple, affectionate, but somewhat wayward child—wayward, not in temper, for that was sweet and docile; but in her moods, which, as I before hinted, changed from sad to gay and gay to sad without an apparent cause. If cause there were, it must be traced to the early and mysterious influences I have referred to, when seeking to explain the effect produced on her imagination by those restless streams of sound that constantly played around it; for it is noticeable that to those who are much alive to the effects of music, airs and tunes often come back, in the commonest pursuits of life, to vex, as it were, and haunt them. The music, once admitted to the soul, becomes also a sort of spirit, and never dies. It wanders perturbedly through the halls and galleries of the memory, and is often heard again, distinct and living as when it first displaced the wavelets of the air. Now at times, then, these phantoms of sound floated back upon her fancy; if gay, to call a smile from every dimple; if mournful, to throw a shade upon her brow—to make her cease from her childishmirth, and sit apart and muse.
Rightly, then, in a typical sense, might this fair creature, so airy in her shape, so harmonious in her beauty, so unfamiliar in her ways and thoughts—rightly might she be called a daughter, less of the musician than the music, a being for whom you could imagine that some fate was reserved, less of actual life than the romance which, to eyes that can see, and hearts that can feel, glides ever along with the actual life, stream by stream, to the Dark Ocean.
And therefore it seemed not strange that Viola herself, even in childhood, and yet more as she bloomed into the sweet seriousness of virgin youth, should fancy her life ordained for a lot, whether of bliss or woe, that should accord with the romance and reverie which made the atmosphere she breathed. Frequently she would climb through the thickets that clothed the neighbouring grotto of Posilipo—the mighty work of the old Cimmerians—and, seated by the haunted Tomb of Virgil, indulge those visions, the subtle vagueness of which no poetry can render palpable and defined; for the Poet that surpasses all who ever sang, is the heart of dreaming youth! Frequently there, too, beside the threshold over which the vine-leaves clung, and facing that dark-blue, waveless sea, she would sit in the autumn noon or summer twilight, and build her castles in the air. Who doth not do the same—not in youth alone, but with the dimmed hopes of age! It is man’s prerogative to dream, the common royalty of peasant and of king. But those day-dreams of hers were more habitual, distinct, and solemn than the greater part of us indulge. They seemed like the Orama of the Greeks—prophets while phantasma.
CHAPTER 1.II.
Fu stupor, fu vaghezza, fu diletto!
“Gerusal. Lib.,” cant. ii. xxi.
(“Desire it was, ‘t was wonder, ‘t was delight.”
Wiffen’s Translation.)
Now at last the education is accomplished! Viola is nearly sixteen. The Cardinal declares that the time is come when the new name must be inscribed in the Libro d’Oro—the Golden Book set apart to the children of Art and Song. Yes, but in what character?—to whose genius is she to give embodiment and form? Ah, there is the secret! Rumours go abroad that the inexhaustible Paisiello, charmed with her performance of his “Nel cor piu non me sento,” and his “Io son Lindoro,” will produce some new masterpiece to introduce the debutante. Others insist upon it that her forte is the comic, and that Cimarosa is hard at work at another “Matrimonia Segreto.” But in the meanwhile there is a check in the diplomacy somewhere. The Cardinal is observed to be out of humour. He has said publicly—and the words are portentous—“The silly girl is as mad as her father; what she asks is preposterous!” Conference follows conference; the Cardinal talks to the poor child very solemnly in his closet—all in vain. Naples is distracted with curiosity and conjecture. The lecture ends in a quarrel, and Viola comes home sullen and pouting: she will not act—she has renounced the engagement.
Pisani, too inexperienced to be aware of all the dangers of the stage, had been pleased at the notion that one, at least, of his name would add celebrity to his art. The girl’s perverseness displeased him. However, he said nothing—he never scolded in words, but he took up the faithful barbiton. Oh, faithful barbiton, how horribly thou didst scold! It screeched, it gabbled, it moaned, it growled. And Viola’s eyes filled with tears, for she understood that language. She stole to her mother, and whispered in her ear; and when Pisani turned from his employment, lo! both mother and daughter were weeping. He looked at them with a wondering stare; and then, as if he felt he had been harsh, he flew again to his Familiar. And now you thought you heard the lullaby which a fairy might sing to some fretful changeling it had adopted and sought to soothe. Liquid, low, silvery, streamed the tones beneath the enchanted bow. The most stubborn grief would have paused to hear; and withal, at times, out came a wild, merry, ringing note, like a laugh, but not mortal laughter. It was one of his most successful airs from his beloved opera—the Siren in the act of charming the waves and the winds to sleep. Heaven knows what next would have come, but his arm was arrested. Viola had thrown herself on his breast, and kissed him, with happy eyes that smiled through her sunny hair. At that very moment the door opened—a message from the Cardinal. Viola must go to his Eminence at once. Her mother went with her. All was reconciled and settled; Viola had her way, and selected her own opera. O ye dull nations of the North, with your broils and debates—your bustling lives of the Pnyx and the Agora!—you cannot guess what a stir throughout musical Naples was occasioned by the rumour of a new opera and a new singer. But whose the opera? No cabinet intrigue