Part 3

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_ Marianna sat down again, but without raising her eyes to Andrea, who hesitated before speaking.

"And will not Signor Gambara's confidence entitle me to his wife's?" he said in agitated tones. "Can the fair Marianna refuse to tell me the story of her life?"

"My life!" said Marianna. "It is the life of the ivy. If you wish to know the story of my heart, you must suppose me equally destitute of pride and of modesty if you can ask me to tell it after what you have just heard."

"Of whom, then, can I ask it?" cried the Count, in whom passion was blinding his wits.

"Of yourself," replied Marianna. "Either you understand me by this time, or you never will. Try to ask yourself."

"I will, but you must listen. And this hand, which I am holding, is to lie in mine as long as my narrative is truthful."

"I am listening," said Marianna.

"A woman's life begins with her first passion," said Andrea. "And my dear Marianna began to live only on the day when she first saw Paolo Gambara. She needed some deep passion to feed upon, and, above all, some interesting weakness to shelter and uphold. The beautiful woman's nature with which she is endowed is perhaps not so truly passion as maternal love.

"You sigh, Marianna? I have touched one of the aching wounds in your heart. It was a noble part for you to play, so young as you were, --that of protectress to a noble but wandering intellect. You said to yourself: 'Paolo will be my genius; I shall be his common sense; between us we shall be that almost divine being called an angel,--the sublime creature that enjoys and understands, reason never stifling love.'

"And then, in the first impetus of youth, you heard the thousand voices of nature which the poet longed to reproduce. Enthusiasm clutched you when Paolo spread before you the treasures of poetry, while seeking to embody them in the sublime but restricted language of music; you admired him when delirious rapture carried him up and away from you, for you liked to believe that all this devious energy would at last come down and alight as love. But you knew not the tyrannous and jealous despotism of the ideal over the minds that fall in love with it. Gambara, before meeting you, had given himself over to the haughty and overbearing mistress, with whom you have struggled for him to this day.

"Once, for an instant, you had a vision of happiness. Paolo, tumbling from the lofty sphere where his spirit was constantly soaring, was amazed to find reality so sweet; you fancied that his madness would be lulled in the arms of love. But before long Music again clutched her prey. The dazzling mirage which had cheated you into the joys of reciprocal love made the lonely path on which you had started look more desolate and barren.

"In the tale your husband has just told me, I could read, as plainly as in the contrast between your looks and his, all the painful secrets of that ill-assorted union, in which you have accepted the sufferer's part. Though your conduct has been unfailingly heroical, though your firmness has never once given way in the exercise of your painful duties, perhaps, in the silence of lonely nights, the heart that at this moment is beating so wildly in your breast, may, from time to time, have rebelled. Your husband's superiority was in itself your worst torment. If he had been less noble, less single-minded, you might have deserted him; but his virtues upheld yours; you wondered, perhaps, whether his heroism or your own would be the first to give way.

"You clung to your really magnanimous task as Paolo clung to his chimera. If you had had nothing but a devotion to duty to guide and sustain you, triumph might have seemed easier; you would only have had to crush your heart, and transfer your life into the world of abstractions; religion would have absorbed all else, and you would have lived for an idea, like those saintly women who kill all the instincts of nature at the foot of the altar. But the all-pervading charm of Paolo, the loftiness of his mind, his rare and touching proofs of tenderness, constantly drag you down from that ideal realm where virtue would fain maintain you; they perennially revive in you the energies you have exhausted in contending with the phantom of love. You never suspected this! The faintest glimmer of hope led you on in pursuit of the sweet vision.

"At last the disappointments of many years have undermined your patience,--an angel would have lost it long since,--and now the apparition so long pursued is no more than a shade without substance. Madness that is so nearly allied to genius can know no cure in this world. When this thought first struck you, you looked back on your past youth, sacrificed, if not wasted; you then bitterly discerned the blunder of nature that had given you a father when you looked for a husband. You asked yourself whether you had not gone beyond the duty of a wife in keeping yourself wholly for a man who was bound up in his science. Marianna, leave your hand in mine; all I have said is true. And you looked about you--but now you were in Paris, not in Italy, where men know how to love----"

"Oh! Let me finish the tale," cried Marianna. "I would rather say things myself. I will be honest; I feel that I am speaking to my truest friend. Yes, I was in Paris when all you have expressed so clearly took place in my mind; but when I saw you I was saved, for I had never met with the love I had dreamed of from my childhood. My poor dress and my dwelling-place had hidden me from the eyes of men of your class. A few young men, whose position did not allow of their insulting me, were all the more intolerable for the levity with which they treated me. Some made game of my husband, as if he were merely a ridiculous old man; others basely tried to win his good graces to betray me; one and all talked of getting me away from him, and none understood the devotion I feel for a soul that is so far away from us only because it is so near heaven, for that friend, that brother, whose handmaid I will always be.

"You alone understood, did you not? the tie that binds me to him. Tell me that you feel a sincere and disinterested regard for my Paolo--"

"I gladly accept your praises," Andrea interrupted; "but go no further; do not compel me to contradict you. I love you, Marianna, as we love in the beautiful country where we both were born, I love you with all my soul and with all my strength; but before offering you that love, I will be worthy of yours. I will make a last attempt to give back to you the man you have loved so long and will love forever. Till success or defeat is certain, accept without any shame the modest ease I can give you both. We will go to-morrow and choose a place where he may live.

"Have you such regard for me as will allow you to make me the partner in your guardianship?"

Marianna, surprised at such magnanimity, held out her hand to the Count, who went away, trying to evade the civilities of Giardini and his wife.

On the following day Giardini took the Count up to the room where the Gambaras lodged. Though Marianna fully knew her lover's noble soul, --for there are natures which quickly enter into each other's spirit, --Marianna was too good a housewife not to betray her annoyance at receiving such a fine gentleman in so humble a room. Everything was exquisitely clean. She had spent the morning in dusting her motley furniture, the handiwork of Signor Giardini, who had put it together, at odd moments of leisure, out of the fragments of the instruments rejected by Gambara.

Andrea had never seen anything quite so crazy. To keep a decent countenance he turned away from a grotesque bed, contrived by the ingenious cook in the case of an old harpsichord, and looked at Marianna's narrow couch, of which the single mattress was covered with a white muslin counterpane, a circumstance that gave rise in his mind to some sad but sweet thoughts.

He wished to speak of his plans and of his morning's work; but Gambara, in his enthusiasm, believing that he had at last met with a willing listener, took possession of him, and compelled him to listen to the opera he had written for Paris.

"In the first place, monsieur," said the composer, "allow me to explain the subject in a few words. Here, the hearers receiving a musical impression do not work it out in themselves, as religion bids us work out the texts of Scripture in prayer. Hence it is very difficult to make them understand that there is in nature an eternal melody, exquisitely sweet, a perfect harmony, disturbed only by revolutions independent of the divine will, as passions are uncontrolled by the will of men.

"I, therefore, had to seek a vast framework in which effect and cause might both be included; for the aim of my music is to give a picture of the life of nations from the loftiest point of view. My opera, for which I myself wrote the _libretto_, for a poet would never have fully developed the subject, is the life of Mahomet,--a figure in whom the magic of Sabaeanism combined with the Oriental poetry of the Hebrew Scriptures to result in one of the greatest human epics, the Arab dominion. Mahomet certainly derived from the Hebrews the idea of a despotic government, and from the religion of the shepherd tribes or Sabaeans the spirit of expansion which created the splendid empire of the Khalifs. His destiny was stamped on him in his birth, for his father was a heathen and his mother a Jewess. Ah! my dear Count to be a great musician a man must be very learned. Without knowledge he can get no local color and put no ideas into his music. The composer who sings for singing's sake is an artisan, not an artist.

"This magnificent opera is the continuation of the great work I projected. My first opera was called _The Martyrs_, and I intend to write a third on Jerusalem delivered. You perceive the beauty of this trilogy and what a variety of motives it offers,--the Martyrs, Mahomet, the Deliverance of Jerusalem: the God of the West, the God of the East, and the struggle of their worshipers over a tomb. But we will not dwell on my fame, now for ever lost.

"This is the argument of my opera." He paused. "The first act," he went on, "shows Mahomet as a porter to Kadijah, a rich widow with whom his uncle placed him. He is in love and ambitious. Driven from Mecca, he escapes to Medina, and dates his era from his flight, the _Hegira_. In the second act he is a Prophet, founding a militant religion. In the third, disgusted with all things, having exhausted life, Mahomet conceals the manner of his death in the hope of being regarded as a god,--last effort of human pride.

"Now you shall judge of my way of expressing in sound a great idea, for which poetry could find no adequate expression in words."

Gambara sat down to the piano with an absorbed gaze, and his wife brought him the mass of papers forming his score; but he did not open them.

"The whole opera," said he, "is founded on a bass, as on a fruitful soil. Mahomet was to have a majestic bass voice, and his wife necessarily had a contralto. Kadijah was quite old--twenty! Attention! This is the overture. It begins with an _andante_ in C major, triple time. Do you hear the sadness of the ambitious man who is not satisfied with love? Then, through his lamentation, by a transition to the key of E flat, _allegro_, common time, we hear the cries of the epileptic lover, his fury and certain warlike phrases, for the mighty charms of the one and only woman give him the impulse to multiplied loves which strikes us in _Don Giovanni_. Now, as you hear these themes, do you not catch a glimpse of Mahomet's Paradise?

"And next we have a _cantabile_ (A flat major, six-eight time), that might expand the soul that is least susceptible to music. Kadijah has understood Mahomet! Then Kadijah announces to the populace the Prophet's interviews with the Angel Gabriel (_maestoso sostenuto_ in F Major). The magistrates and priests, power and religion, feeling themselves attacked by the innovator, as Christ and Socrates also attacked effete or worn-out powers and religions, persecute Mahomet and drive him out of Mecca (_stretto_ in C major). Then comes my beautiful dominant (G major, common time). Arabia now harkens to the Prophet; horsemen arrive (G major, E flat, B flat, G minor, and still common time). The mass of men gathers like an avalanche; the false Prophet has begun on a tribe the work he will achieve over a world (G major).

"He promises the Arabs universal dominion, and they believe him because he is inspired. The _crescendo_ begins (still in the dominant). Here come some flourishes (in C major) from the brass, founded on the harmony, but strongly marked, and asserting themselves as an expression of the first triumphs. Medina has gone over to the Prophet, and the whole army marches on Mecca (an explosion of sound in C major). The whole power of the orchestra is worked up like a conflagration; every instrument is employed; it is a torrent of harmony.

"Suddenly the _tutti_ is interrupted by a flowing air (on the minor third). You hear the last strain of devoted love. The woman who had upheld the great man dies concealing her despair, dies at the moment of triumph for him in whom love has become too overbearing to be content with one woman; and she worships him enough to sacrifice herself to the greatness of the man who is killing her. What a blaze of love!

"Then the Desert rises to overrun the world (back to C major). The whole strength of the orchestra comes in again, collected in a tremendous quintet grounded on the fundamental bass--and he is dying! Mahomet is world-weary; he has exhausted everything. Now he craves to die a god. Arabia, in fact, worships and prays to him, and we return to the first melancholy strain (C minor) to which the curtain rose.

"Now, do you not discern," said Gambara, ceasing to play, and turning to the Count, "in this picturesque and vivid music--abrupt, grotesque, or melancholy, but always grand--the complete expression of the life of an epileptic, mad for enjoyment, unable to read or write, using all his defects as stepping-stones, turning every blunder and disaster into a triumph? Did not you feel a sense of his fascination exerted over a greedy and lustful race, in this overture, which is an epitome of the opera?"

At first calm and stern, the maestro's face, in which Andrea had been trying to read the ideas he was uttering in inspired tones, though the chaotic flood of notes afforded no clue to them, had by degrees glowed with fire and assumed an impassioned force that infected Marianna and the cook. Marianna, too, deeply affected by certain passages in which she recognized a picture of her own position, could not conceal the expression of her eyes from Andrea.

Gambara wiped his brow, and shot a glance at the ceiling of such fierce energy that he seemed to pierce it and soar to the very skies.

"You have seen the vestibule," said he; "we will now enter the palace. The opera begins:--

"Act I. Mahomet, alone on the stage, begins with an air (F natural, common time), interrupted by a chorus of camel-drivers gathered round a well at the back of the stage (they sing in contrary time --twelve-eight). What majestic woe! It will appeal to the most frivolous women, piercing to their inmost nerves if they have no heart. Is not this the very expression of crushed genius?"

To Andrea's great astonishment,--for Marianna was accustomed to it, --Gambara contracted his larynx to such a pitch that the only sound was a stifled cry not unlike the bark of a watch-dog that has lost its voice. A slight foam came to the composer's lips and made Andrea shudder.

"His wife appears (A minor). Such a magnificent duet! In this number I have shown that Mahomet has the will and his wife the brains. Kadijah announces that she is about to devote herself to an enterprise that will rob her of her young husband's love. Mahomet means to conquer the world; this his wife has guessed, and she supports him by persuading the people of Mecca that her husband's attacks of epilepsy are the effect of his intercourse with the angels (chorus of the first followers of Mahomet, who come to promise him their aid, C sharp minor, _sotto voce_). Mahomet goes off to seek the Angel Gabriel (_recitative_ in F major). His wife encourages the disciples (_aria_, interrupted by the chorus, gusts of chanting support Kadijah's broad and majestic air, A major).

"Abdallah, the father of Ayesha,--the only maiden Mahomet has found really innocent, wherefore he changed the name of Abdallah to Abubekir (the father of the virgin),--comes forward with Ayesha and sings against the chorus, in strains which rise above the other voices and supplement the air sung by Kadijah in contrapuntal treatment. Omar, the father of another maiden who is to be Mahomet's concubine, follows Abubekir's example; he and his daughter join in to form a quintette. The girl Ayesha is first soprano, Hafsa second soprano; Abubekir is a bass, Omar a baritone.

"Mahomet returns, inspired. He sings his first _bravura_ air, the beginning of the _finale_ (E major), promising the empire of the world to those who believe in him. The Prophet seeing the two damsels, then, by a gentle transition (from B major to G major), addresses them in amorous tones. Ali, Mahomet's cousin, and Khaled, his greatest general, both tenors, now arrive and announce the persecution; the magistrates, the military, and the authorities have all proscribed the Prophet (_recitative_). Mahomet declares in an invocation (in C) that the Angel Gabriel is on his side, and points to a pigeon that is seen flying away. The chorus of believers responds in accents of devotion (on a modulation to B major). The soldiers, magistrates, and officials then come on (_tempo di marcia_, common time, B major). A chorus in two divisions (_stretto_ in E major). Mahomet yields to the storm (in a descending phrase of diminished sevenths) and makes his escape. The fierce and gloomy tone of this _finale_ is relieved by the phrases given to the three women who foretell Mahomet's triumph, and these motives are further developed in the third act in the scene where Mahomet is enjoying his splendor."

The tears rose to Gambara's eyes, and it was only upon controlling his emotion that he went on.

"Act II. The religion is now established. The Arabs are guarding the Prophet's tent while he speaks with God (chorus in A minor). Mahomet appears (a prayer in F). What a majestic and noble strain is this that forms the bass of the voices, in which I have perhaps enlarged the borders of melody. It was needful to express the wonderful energy of this great human movement which created an architecture, a music, a poetry of its own, a costume and manners. As you listen, you are walking under the arcades of the Generalife, the carved vaults of the Alhambra. The runs and trills depict that delicate mauresque decoration, and the gallant and valorous religion which was destined to wage war against the gallant and valorous chivalry of Christendom. A few brass instruments awake in the orchestra, announcing the Prophet's first triumph (in a broken _cadenza_). The Arabs adore the Prophet (E flat major), and the Khaled, Amru, and Ali arrive (_tempo di marcia_). The armies of the faithful have taken many towns and subjugated the three Arabias. Such a grand recitative!--Mahomet rewards his generals by presenting them with maidens.

"And here," said Gambara, sadly, "there is one of those wretched ballets, which interrupt the thread of the finest musical tragedies! But Mahomet elevates it once more by his great prophetic scene, which poor Monsieur Voltaire begins with these words:

"Arabia's time at last has come!

"He is interrupted by a chorus of triumphant Arabs (twelve-eight time, _accelerando_). The tribes arrive in crowds; the horns and brass reappear in the orchestra. General rejoicings ensue, all the voices joining in by degrees, and Mahomet announces polygamy. In the midst of all this triumph, the woman who has been of such faithful service to Mahomet sings a magnificent air (in B major). 'And I,' says she, 'am I no longer loved?' 'We must part. Thou art but a woman, and I am a Prophet; I may still have slaves but no equal.' Just listen to this duet (G sharp minor). What anguish! The woman understands the greatness her hands have built up; she loves Mahomet well enough to sacrifice herself to his glory; she worships him as a god, without criticising him,--without murmuring. Poor woman! His first dupe and his first victim!

"What a subject for the _finale_ (in B major) is her grief, brought out in such sombre hues against the acclamations of the chorus, and mingling with Mahomet's tones as he throws his wife aside as a tool of no further use, still showing her that he can never forget her! What fireworks of triumph! what a rush of glad and rippling song go up from the two young voices (first and second soprano) of Ayesha and Hafsa, supported by Ali and his wife, by Omar and Abubekir! Weep!--rejoice! --Triumph and tears! Such is life."

Marianna could not control her tears, and Andrea was so deeply moved that his eyes were moist. The Neapolitan cook was startled by the magnetic influence of the ideas expressed by Gambara's convulsive accents.

The composer looked round, saw the group, and smiled.

"At last you understand me!" said he.

No conqueror, led in pomp to the Capitol under the purple beams of glory, as the crown was placed on his head amid the acclamations of a nation, ever wore such an expression. The composer's face was radiant, like that of a holy martyr. No one dispelled the error. A terrible smile parted Marianna's lips. The Count was appalled by the guilelessness of this mania.

"Act III," said the enchanted musician, reseating himself at the piano. "(_Andantino, solo_.) Mahomet in his seraglio, surrounded by women, but not happy. Quartette of Houris (A major). What pompous harmony, what trills as of ecstatic nightingales! Modulation (into F sharp minor). The theme is stated (on the dominant E and repeated in F major). Here every delight is grouped and expressed to give effect to the contrast of the gloomy _finale_ of the first act. After the dancing, Mahomet rises and sings a grand _bravura_ air (in F minor), repelling the perfect and devoted love of his first wife, but confessing himself conquered by polygamy. Never has a musician had so fine a subject! The orchestra and the chorus of female voices express the joys of the Houris, while Mahomet reverts to the melancholy strain of the opening. Where is Beethoven," cried Gambara, "to appreciate this prodigious reaction of my opera on itself? How completely it all rests on the bass.

"It is thus that Beethoven composed his E minor symphony. But his heroic work is purely instrumental, whereas here, my heroic phrase is worked out on a sextette of the finest human voices, and a chorus of the faithful on guard at the door of the sacred dwelling. I have every resource of melody and harmony at my command, an orchestra and voices. Listen to the utterance of all these phases of human life, rich and poor;--battle, triumph, and exhaustion!

"Ali arrives, the Koran prevails in every province (duet in D minor). Mahomet places himself in the hands of his two fathers-in-law; he will abdicate his rule and die in retirement to consolidate his work. A magnificent sextette (B flat major). He takes leave of all (solo in F natural). His two fathers-in-law, constituted his vicars or Khalifs, appeal to the people. A great triumphal march, and a prayer by all the Arabs kneeling before the sacred house, the Kasbah, from which a pigeon is seen to fly away (the same key). This prayer, sung by sixty voices and led by the women (in B flat), crowns the stupendous work expressive of the life of nations and of man. Here you have every emotion, human and divine." _

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