Massimilla Doni, Honoré de Balzac [best book recommendations .txt] 📗

God of armies is on the side of these people. How full of feeling are these strains of thanksgiving! The imagery of the Bible rises up in our mind; this glorious musical _scena_ enables us to realize one of the grandest dramas of that ancient and solemn world. The religious form given to some of the voice parts, and the way in which they come in, one by one, to group with the others, express all we have ever imagined of the sacred marvels of that early age of humanity.

"And yet this fine concerted piece is no more than a development of the theme of the march into all its musical outcome. That theme is the inspiring element alike for the orchestra and the voices, for the air, and for the brilliant instrumentation that supports it.

"Elcia now comes to join the crowd; and to give shade to the rejoicing spirit of this number, Rossini has made her utter her regrets. Listen to her _duettino_ with Amenofi. Did blighted love ever express itself in lovelier song? It is full of the grace of a _notturno_, of the secret grief of hopeless love. How sad! how sad! The Desert will indeed be a desert to her!

"After this comes the fierce conflict of the Egyptians and the Hebrews. All their joy is spoiled, their march stopped by the arrival of the Egyptians. Pharaoh's edict is proclaimed in a musical phrase, hollow and dread, which is the leading _motif_ of the _finale_; we could fancy that we hear the tramp of the great Egyptian army, surrounding the sacred phalanx of the true God, curling round it, like a long African serpent enveloping its prey. But how beautiful is the lament of the duped and disappointed Hebrews! Though, in truth, it is more Italian than Hebrew. What a superb passage introduces Pharaoh's arrival, when his presence brings the two leaders face to face, and all the moving passions of the drama. The conflict of sentiments in that sublime _ottetto_, where the wrath of Moses meets that of the two Pharaohs, is admirable. What a medley of voices and of unchained furies!

"No grander subject was ever wrought out by a composer. The famous _finale_ of _Don Giovanni_, after all, only shows us a libertine at odds with his victims, who invoke the vengeance of Heaven; while here earth and its dominions try to defeat God. Two nations are here face to face. And Rossini, having every means at his command, has made wonderful use of them. He has succeeded in expressing the turmoil of a tremendous storm as a background to the most terrible imprecations, without making it ridiculous. He has achieved it by the use of chords repeated in triple time--a monotonous rhythm of gloomy musical emphasis--and so persistent as to be quite overpowering. The horror of the Egyptians at the torrent of fire, the cries of vengeance from the Hebrews, needed a delicate balance of masses; so note how he has made the development of the orchestral parts follow that of the chorus. The _allegro assai_ in C minor is terrible in the midst of that deluge of fire.

"Confess now," said Massimilla, at the moment when Moses, lifting his rod, brings down the rain of fire, and when the composer puts forth all his powers in the orchestra and on the stage, "that no music ever more perfectly expressed the idea of distress and confusion."

"They have spread to the pit," remarked the Frenchman.

"What is it now? The pit is certainly in great excitement," said the Duchess.

In the _finale_, Genovese, his eyes fixed on la Tinti, had launched into such preposterous flourishes, that the pit, indignant at this interference with their enjoyment, were at a height of uproar. Nothing could be more exasperating to Italian ears than this contrast of good and bad singing. The manager went so far as to appear on the stage, to say that in reply to his remarks to his leading singer, Signor Genovese had replied that he knew not how or by what offence he had lost the countenance of the public, at the very moment when he was endeavoring to achieve perfection in his art.

"Let him be as bad as he was yesterday--that was good enough for us!" roared Capraja, in a rage.

This suggestion put the house into a good humor again.

Contrary to Italian custom, the ballet was not much attended to. In every box the only subject of conversation was Genovese's strange behavior, and the luckless manager's speech. Those who were admitted behind the scenes went off at once to inquire into the mystery of this performance, and it was presently rumored that la Tinti had treated her colleague Genovese to a dreadful scene, in which she had accused the tenor of being jealous of her success, of having hindered it by his ridiculous behavior, and even of trying to spoil her performance by acting passionate devotion. The lady was shedding bitter tears over this catastrophe. She had been hoping, she said, to charm her lover, who was somewhere in the house, though she had failed to discover him.

Without knowing the peaceful course of daily life in Venice at the present day, so devoid of incident that a slight altercation between two lovers, or the transient huskiness of a singer's voice becomes a subject of discussion, regarded of as much importance as politics in England, it is impossible to conceive of the excitement in the theatre and at the Cafe Florian. La Tinti was in love; la Tinti had been hindered in her performance; Genovese was mad or purposely malignant, inspired by the artist's jealousy so familiar to Italians! What a mine of matter for eager discussion!

The whole pit was talking as men talk at the Bourse, and the result was such a clamor as could not fail to amaze a Frenchman accustomed to the quiet of the Paris theatres. The boxes were in a ferment like the stir of swarming bees.

One man alone remained passive in the turmoil. Emilio Memmi, with his back to the stage and his eyes fixed on Massimilla with a melancholy expression, seemed to live in her gaze; he had not once looked round at the prima donna.

"I need not ask you, _caro carino_, what was the result of my negotiation," said Vendramin to Emilio. "Your pure and pious Massimilla has been supremely kind--in short, she has been la Tinti?"

The Prince's reply was a shake of his head, full of the deepest melancholy.

"Your love has not descended from the ethereal spaces where you soar," said Vendramin, excited by opium. "It is not yet materialized. This morning, as every day for six months--you felt flowers opening their scented cups under the dome of your skull that had expanded to vast proportions. All your blood moved to your swelling heart that rose to choke your throat. There, in there,"--and he laid his hand on Emilio's breast,--"you felt rapturous emotions. Massimilla's voice fell on your soul in waves of light; her touch released a thousand imprisoned joys which emerged from the convolutions of your brain to gather about you in clouds, to waft your etherealized body through the blue air to a purple glow far above the snowy heights, to where the pure love of angels dwells. The smile, the kisses of her lips wrapped you in a poisoned robe which burnt up the last vestiges of your earthly nature. Her eyes were twin stars that turned you into shadowless light. You knelt together on the palm-branches of heaven, waiting for the gates of Paradise to be opened; but they turned heavily on their hinges, and in your impatience you struck at them, but could not reach them. Your hand touched nothing but clouds more nimble than your desires. Your radiant companion, crowned with white roses like a bride of Heaven, wept at your anguish. Perhaps she was murmuring melodious litanies to the Virgin, while the demoniacal cravings of the flesh were haunting you with their shameless clamor, and you disdained the divine fruits of that ecstasy in which I live, though shortening my life."

"Your exaltation, my dear Vendramin," replied Emilio, calmly, "is still beneath reality. Who can describe that purely physical exhaustion in which we are left by the abuse of a dream of pleasure, leaving the soul still eternally craving, and the spirit in clear possession of its faculties?

"But I am weary of this torment, which is that of Tantalus. This is my last night on earth. After one final effort, our Mother shall have her child again--the Adriatic will silence my last sigh--"

"Are you idiotic?" cried Vendramin. "No; you are mad; for madness, the crisis we despise, is the memory of an antecedent condition acting on our present state of being. The genius of my dreams has taught me that, and much else! You want to make one of the Duchess and la Tinti; nay, dear Emilio, take them separately; it will be far wiser. Raphael alone ever united form and idea. You want to be the Raphael of love; but chance cannot be commanded. Raphael was a 'fluke' of God's creation, for He foreordained that form and idea should be antagonistic; otherwise nothing could live. When the first cause is more potent than the outcome, nothing comes of it. We must live either on earth or in the skies. Remain in the skies; it is always too soon to come down to earth."

"I will take the Duchess home," said the Prince, "and make a last attempt--afterwards?"

"Afterwards," cried Vendramin, anxiously, "promise to call for me at Florian's."

"I will."

This dialogue, in modern Greek, with which Vendramin and Emilio were familiar, as many Venetians are, was unintelligible to the Duchess and to the Frenchman. Although he was quite outside the little circle that held the Duchess, Emilio and Vendramin together--for these three understood each other by means of Italian glances, by turns arch and keen, or veiled and sidelong--the physician at last discerned part of the truth. An earnest entreaty from the Duchess had prompted Vendramin's suggestion to Emilio, for Massimilla had begun to suspect the misery endured by her lover in that cold empyrean where he was wandering, though she had no suspicions of la Tinti.

"These two young men are mad!" said the doctor.

"As to the Prince," said the Duchess, "trust me to cure him. As to Vendramin, if he cannot understand this sublime music, he is perhaps incurable."

"If you would but tell me the cause of their madness, I could cure them," said the Frenchman.

"And since when have great physicians ceased to read men's minds?" said she, jestingly.

The ballet was long since ended; the second act of _Mose_ was beginning. The pit was perfectly attentive. A rumor had got abroad that Duke Cataneo had lectured Genovese, representing to him what injury he was doing to Clarina, the _diva_ of the day. The second act would certainly be magnificent.

"The Egyptian Prince and his father are on the stage," said the Duchess. "They have yielded once more, though insulting the Hebrews, but they are trembling with rage. The father congratulates himself on his son's approaching marriage, and the son is in despair at this fresh obstacle, though it only increases his love, to which everything is opposed. Genovese and Carthagenova are singing admirably. As you see, the tenor is making his peace with the house. How well he brings out the beauty of the music! The phrase given out by the son on the tonic, and repeated by the father on the dominant, is all in character with the simple, serious scheme which prevails throughout the score; the sobriety of it makes the endless