“As you will; I have done.”
“Let me speak frankly—your conversation last night interested and perplexed me.”
“I know it: minds like yours are attracted by mystery.”
Glyndon was piqued at these words, though in the tone in which they were spoken there was no contempt.
“I see you do not consider me worthy of your friendship. Be it so. Good-day!”
Zanoni coldly replied to the salutation; and as the Englishman rode on, returned to his botanical employment.
The same night, Glyndon went, as usual, to the theatre. He was standing behind the scenes watching Viola, who was on the stage in one of her most brilliant parts. The house resounded with applause. Glyndon was transported with a young man’s passion and a young man’s pride: “This glorious creature,” thought he, “may yet be mine.”
He felt, while thus wrapped in delicious reverie, a slight touch upon his shoulder; he turned, and beheld Zanoni. “You are in danger,” said the latter. “Do not walk home to-night; or if you do, go not alone.”
Before Glyndon recovered from his surprise, Zanoni disappeared; and when the Englishman saw him again, he was in the box of one of the Neapolitan nobles, where Glyndon could not follow him.
Viola now left the stage, and Glyndon accosted her with an unaccustomed warmth of gallantry. But Viola, contrary to her gentle habit, turned with an evident impatience from the address of her lover. Taking aside Gionetta, who was her constant attendant at the theatre, she said, in an earnest whisper—
“Oh, Gionetta! He is here again!—the stranger of whom I spoke to thee!—and again, he alone, of the whole theatre, withholds from me his applause.”
“Which is he, my darling?” said the old woman, with fondness in her voice. “He must indeed be dull—not worth a thought.”
The actress drew Gionetta nearer to the stage, and pointed out to her a man in one of the boxes, conspicuous amongst all else by the simplicity of his dress, and the extraordinary beauty of his features.
“Not worth a thought, Gionetta!” repeated Viola—“Not worth a thought! Alas, not to think of him, seems the absence of thought itself!”
The prompter summoned the Signora Pisani. “Find out his name, Gionetta,” said she, moving slowly to the stage, and passing by Glyndon, who gazed at her with a look of sorrowful reproach.
The scene on which the actress now entered was that of the final catastrophe, wherein all her remarkable powers of voice and art were pre-eminently called forth. The house hung on every word with breathless worship; but the eyes of Viola sought only those of one calm and unmoved spectator; she exerted herself as if inspired. Zanoni listened, and observed her with an attentive gaze, but no approval escaped his lips; no emotion changed the expression of his cold and half-disdainful aspect. Viola, who was in the character of one who loved, but without return, never felt so acutely the part she played. Her tears were truthful; her passion that of nature: it was almost too terrible to behold. She was borne from the stage exhausted and insensible, amidst such a tempest of admiring rapture as Continental audiences alone can raise. The crowd stood up, handkerchiefs waved, garlands and flowers were thrown on the stage—men wiped their eyes, and women sobbed aloud.
“By heavens!” said a Neapolitan of great rank, “She has fired me beyond endurance. To-night—this very night—she shall be mine! You have arranged all, Mascari?”
“All, signor. And the young Englishman?”
“The presuming barbarian! As I before told thee, let him bleed for his folly. I will have no rival.”
“But an Englishman! There is always a search after the bodies of the English.”
“Fool! is not the sea deep enough, or the earth secret enough, to hide one dead man? Our ruffians are silent as the grave itself; and I!—who would dare to suspect, to arraign the Prince di—? See to it—this night. I trust him to you. Robbers murder him, you understand—the country swarms with them; plunder and strip him, the better to favour such report. Take three men; the rest shall be my escort.”
Mascari shrugged his shoulders, and bowed submissively.
The streets of Naples were not then so safe as now, and carriages were both less expensive and more necessary. The vehicle which was regularly engaged by the young actress was not to be found. Gionetta, too aware of the beauty of her mistress and the number of her admirers to contemplate without alarm the idea of their return on foot, communicated her distress to Glyndon, and he besought Viola, who recovered but slowly, to accept his own carriage. Perhaps before that night she would not have rejected so slight a service. Now, for some reason or other, she refused. Glyndon, offended, was retiring sullenly, when Gionetta stopped him. “Stay, signor,” said she, coaxingly: “the dear signora is not well—do not be angry with her; I will make her accept your offer.”
Glyndon stayed, and after a few moments spent in expostulation on the part of Gionetta, and resistance on that of Viola, the offer was accepted. Gionetta and her charge entered the carriage, and Glyndon was left at the door of the theatre to return home on foot. The mysterious warning of Zanoni then suddenly occurred to him; he had forgotten it in the interest of his lover’s quarrel with Viola. He thought it now advisable to guard against danger foretold by lips so mysterious. He looked round for some one he knew: the theatre was disgorging its crowds; they hustled, and jostled, and pressed upon him; but he recognised no familiar countenance. While pausing irresolute, he heard Mervale’s voice calling on him, and, to his great relief, discovered his friend making his way through the throng.
“I have secured you,” said he, “a place in the Count Cetoxa’s carriage. Come along, he is waiting for us.”
“How kind in you! how did you find me out?”
“I met Zanoni in the passage—‘Your friend is at the door of the theatre,’ said he; ‘do not let him go home on foot to-night; the streets of Naples are not always safe.’ I immediately remembered that some of the Calabrian bravos had been busy within the city the last few weeks, and suddenly meeting Cetoxa—but here he is.”
Further explanation was forbidden, for they now joined the count. As Glyndon entered the carriage and drew up the glass, he saw four men standing apart by the pavement, who seemed to eye him with attention.
“Cospetto!” cried one; “that is the Englishman!” Glyndon imperfectly heard the exclamation as the carriage drove on. He reached home in safety.
The familiar and endearing intimacy which always exists in Italy between the nurse and the child she has reared, and which the “Romeo and Juliet” of Shakespeare in no way exaggerates, could not but be drawn yet closer than usual, in a situation so friendless as that of the orphan-actress. In all that concerned the weaknesses of the heart, Gionetta had large experience; and when, three nights before, Viola, on returning from the theatre, had wept bitterly, the nurse had succeeded in extracting from her a confession that she had seen one—not seen for two weary and eventful years—but never forgotten, and who, alas! had not evinced the slightest recognition of herself. Gionetta could not comprehend all the vague and innocent emotions that swelled this sorrow; but she resolved them all, with her plain, blunt understanding, to the one sentiment of love. And here, she was well fitted to sympathise and console. Confidante to Viola’s entire and deep heart she never could be—for that heart never could have words for all its secrets. But such confidence as she could obtain, she was ready to repay by the most unreproving pity and the most ready service.
“Have you discovered who he is?” asked Viola, as she was now alone in the carriage with Gionetta.
“Yes; he is the celebrated Signor Zanoni, about whom all the great ladies have gone mad. They say he is so rich!—oh! so much richer than any of the Inglesi!—not but what the Signor Glyndon—”
“Cease!”