Vittoria. Volume 4. George Meredith
or we shall have to make a capture of this little woman to-night.'
'How on earth,' he resumed, while Wilfrid rose savagely and went out with his stiffest bow, 'this opera was permitted to appear, I can't guess! A child could see through it. The stupidity of our civil authorities passes my understanding—it's a miracle! We have stringent orders not to take any initiative, or I would stop the Fraulein Camilla from uttering another note.'
'If you did that, I should be angry with you, General,' said Countess
Anna.
'And I also think the Government cannot do wrong,' Countess Lena joined in.
The General contented himself by saying: 'Well, we shall see.'
Countess Lena talked to Captain Weisspriess in an undertone, referring to what she called his dispute with Carlo Ammiani. The captain was extremely playful in rejoinders.
'You iron man!' she exclaimed.
'Man of steel would be the better phrase,' her sister whispered.
'It will be an assassination, if it happens.'
'No officer can bear with an open insult, Lena.'
'I shall not sit and see harm done to my old playmate, Anna.'
'Beware of betraying yourself for one who detests you.'
A grand duo between Montini and Vittoria silenced all converse. Camilla tells Camillo of her dream. He pledges his oath to discover her mother, if alive; if dead, to avenge her. Camilla says she believes her mother is in the dungeons of Count Orso's castle. The duo tasked Vittoria's execution of florid passages; it gave evidence of her sound artistic powers.
'I was a fool,' thought Antonio-Pericles; 'I flung my bouquet with the herd. I was a fool! I lost my head!'
He tapped angrily at the little ink-flask in his coat-pocket. The first act, after scenes between false Camillo and Michiella, ends with the marriage of Camillo and Camilla;—a quatuor composed of Montini, Vittoria, Irma, and Lebruno. Michiella is in despair; Count Orso is profoundly sonorous with paternity and devotion to the law. He has restored to Camilla a portion of her mother's sequestrated estates. A portion of the remainder will be handed over to her when he has had experience of her husband's good behaviour. The rest he considers legally his own by right of (Treaties), and by right of possession and documents his sword. Yonder castle he must keep. It is the key of all his other territories. Without it, his position will be insecure. (Allusion to the Austrian argument that the plains of Lombardy are the strategic defensive lines of the Alps.)
Agostino, pursued by his terror of anticlimax, ran from the sight of Vittoria when she was called, after the fall of the curtain. He made his way to Rocco Ricci (who had given his bow to the public from his perch), and found the maestro drinking Asti to counteract his natural excitement. Rocco told Agostino, that up to the last moment, neither he nor any soul behind the scenes knew Vittoria would be able to appear, except that she had sent a note to him with a pledge to be in readiness for the call. Irma had come flying in late, enraged, and in disorder, praying to take Camilla's part; but Montini refused to act with the seconda donna as prima donna. They had commenced the opera in uncertainty whether it could go on beyond the situation where Camilla presents herself. 'I was prepared to throw up my baton,' said Rocco, 'and publicly to charge the Government with the rape of our prima donna. Irma I was ready to replace. I could have filled that gap.' He spoke of Vittoria's triumph. Agostino's face darkened. 'Ha!' said he, 'provided we don't fall flat, like your Asti with the cork out. I should have preferred an enthusiasm a trifle more progressive. The notion of travelling backwards is upon me forcibly, after that tempest of acclamation.'
'Or do you think that you have put your best poetry in the first Act?'
Rocco suggested with malice.
'Not a bit of it!' Agostino repudiated the idea very angrily, and puffed and puffed. Yet he said, 'I should not be lamenting if the opera were stopped at once.'
'No!' cried Rocco; 'let us have our one night. I bargain for that.
Medole has played us false, but we go on. We are victims already, my
Agostino.'
'But I do stipulate,' said Agostino, 'that my jewel is not to melt herself in the cup to-night. I must see her. As it is, she is inevitably down in the list for a week's or a month's incarceration.'
Antonio-Pericles had this, in his case, singular piece of delicacy, that he refrained from the attempt to see Vittoria immediately after he had flung his magnificent bouquet of treasure at her feet. In his intoxication with the success which he had foreseen and cradled to its apogee, he was now reckless of any consequences. He felt ready to take patriotic Italy in his arms, provided that it would succeed as Vittoria had done, and on the spot. Her singing of the severe phrases of the opening chant, or hymn, had turned the man, and for a time had put a new heart in him. The consolation was his also, that he had rewarded it the most splendidly—as it were, in golden italics of praise; so that her forgiveness of his disinterested endeavour to transplant her was certain, and perhaps her future implicit obedience or allegiance bought. Meeting General Pierson, the latter rallied him.
'Why, my fine Pericles, your scheme to get this girl out of the way was capitally concerted. My only fear is that on another occasion the Government will take another view of it and you.'
Pericles shrugged. 'The Gods, my dear General, decree. I did my best to lay a case before them; that is all.'
'Ah, well! I am of opinion you will not lay many other cases before the
Gods who rule in Milan.'
'I have helped them to a good opera.'
'Are you aware that this opera consists entirely of political allusions?'
General Pierson spoke offensively, as the urbane Austrian military permitted themselves to do upon occasion when addressing the conquered or civilians.
'To me,' returned Pericles, 'an opera—it is music. I know no more.'
'You are responsible for it,' said the General, harshly. 'It was taken upon trust from you.'
'Brutal Austrians!' Pericles murmured. 'And you do not think much of her voice, General?'
'Pretty fair, sir.'
'What wonder she does not care to open her throat to these swine!' thought the changed Greek.
Vittoria's door was shut to Agostino. No voice within gave answer. He tried the lock of the door, and departed. She sat in a stupor. It was harder for her to make a second appearance than it was to make the first, when the shameful suspicion cruelly attached to her had helped to balance her steps with rebellious pride; and more, the great collected wave of her ambitious years of girlhood had cast her forward to the spot, as in a last effort for consummation. Now that she had won the public voice (love, her heart called it) her eyes looked inward; she meditated upon what she had to do, and coughed nervously. She frightened herself with her coughing, and shivered at the prospect of again going forward in the great nakedness of stagelights and thirsting eyes. And, moreover, she was not strengthened by the character of the music and the poetry of the second Act:—a knowledge of its somewhat inferior quality may possibly have been at the root of Agostino's dread of an anticlimax. The seconda donna had the chief part in it—notably an aria (Rocco had given it to her in compassion) that suited Irma's pure shrieks and the tragic skeleton she could be. Vittoria knew how low she was sinking when she found her soul in the shallows of a sort of jealousy of Irma. For a little space she lost all intimacy with herself; she looked at her face in the glass and swallowed water, thinking that she had strained a dream and confused her brain with it. The silence of her solitary room coming upon the blaze of light the colour and clamour of the house, and the strange remembrance of the recent impersonation of an ideal character, smote her with the sense of her having fallen from a mighty eminence, and that she lay in the dust. All those incense-breathing flowers heaped on her table seemed poisonous, and reproached her as a delusion. She sat crouching alone till her tirewomen called; horrible talkative things! her own familiar maid Giacinta being the worst to bear with.
Now, Michiella, by making love to Leonardo, Camillo's associate, discovers that Camillo is conspiring against her father.