"The d.a.m.ned rascal has given me the slip again!" he cried; and quickly unlocking the door, rushed out of the house with dreadful cries.

That is the end of the story. Oke tried to shoot himself that evening, but merely fractured his jaw, and died a few days later, raving. There were all sorts of legal inquiries, through which I went as through a dream; and whence it resulted that Mr. Oke had killed his wife in a fit of momentary madness. That was the end of Alice Oke. By the way, her maid brought me a locket which was found round her neck, all stained with blood. It contained some very dark auburn hair, not at all the colour of William Oke's. I am quite sure it was Lovelock's.

_A Wicked Voice_

To M.W., IN REMEMBRANCE OF THE LAST SONG AT PALAZZO BARBARO, _Chi ha inteso, intenda._

They have been congratulating me again today upon being the only composer of our days--of these days of deafening orchestral effects and poetical quackery--who has despised the new-fangled nonsense of Wagner, and returned boldly to the traditions of Handel and Gluck and the divine Mozart, to the supremacy of melody and the respect of the human voice.

O cursed human voice, violin of flesh and blood, fashioned with the subtle tools, the cunning hands, of Satan! O execrable art of singing, have you not wrought mischief enough in the past, degrading so much n.o.ble genius, corrupting the purity of Mozart, reducing Handel to a writer of high-cla.s.s singing-exercises, and defrauding the world of the only inspiration worthy of Sophocles and Euripides, the poetry of the great poet Gluck? Is it not enough to have dishonored a whole century in idolatry of that wicked and contemptible wretch the singer, without persecuting an obscure young composer of our days, whose only wealth is his love of n.o.bility in art, and perhaps some few grains of genius?

And then they compliment me upon the perfection with which I imitate the style of the great dead masters; or ask me very seriously whether, even if I could gain over the modern public to this bygone style of music, I could hope to find singers to perform it. Sometimes, when people talk as they have been talking today, and laugh when I declare myself a follower of Wagner, I burst into a paroxysm of unintelligible, childish rage, and exclaim, "We shall see that some day!"

Yes; some day we shall see! For, after all, may I not recover from this strangest of maladies? It is still possible that the day may come when all these things shall seem but an incredible nightmare; the day when _Ogier the Dane_ shall be completed, and men shall know whether I am a follower of the great master of the Future or the miserable singing-masters of the Past. I am but half-bewitched, since I am conscious of the spell that binds me. My old nurse, far off in Norway, used to tell me that were-wolves are ordinary men and women half their days, and that if, during that period, they become aware of their horrid transformation they may find the means to forestall it. May this not be the case with me? My reason, after all, is free, although my artistic inspiration be enslaved; and I can despise and loathe the music I am forced to compose, and the execrable power that forces me.

Nay, is it not because I have studied with the doggedness of hatred this corrupt and corrupting music of the Past, seeking for every little peculiarity of style and every biographical trifle merely to display its vileness, is it not for this presumptuous courage that I have been overtaken by such mysterious, incredible vengeance?

And meanwhile, my only relief consists in going over and over again in my mind the tale of my miseries. This time I will write it, writing only to tear up, to throw the ma.n.u.script unread into the fire. And yet, who knows? As the last charred pages shall crackle and slowly sink into the red embers, perhaps the spell may be broken, and I may possess once more my long-lost liberty, my vanished genius.

It was a breathless evening under the full moon, that implacable full moon beneath which, even more than beneath the dreamy splendor of noon-tide, Venice seemed to swelter in the midst of the waters, exhaling, like some great lily, mysterious influences, which make the brain swim and the heart faint--a moral malaria, distilled, as I thought, from those languishing melodies, those cooing vocalizations which I had found in the musty music-books of a century ago. I see that moonlight evening as if it were present. I see my fellow-lodgers of that little artists' boarding-house. The table on which they lean after supper is strewn with bits of bread, with napkins rolled in tapestry rollers, spots of wine here and there, and at regular intervals chipped pepper-pots, stands of toothpicks, and heaps of those huge hard peaches which nature imitates from the marble-shops of Pisa. The whole _pension_-full is a.s.sembled, and examining stupidly the engraving which the American etcher has just brought for me, knowing me to be mad about eighteenth century music and musicians, and having noticed, as he turned over the heaps of penny prints in the square of San Polo, that the portrait is that of a singer of those days.

Singer, thing of evil, stupid and wicked slave of the voice, of that instrument which was not invented by the human intellect, but begotten of the body, and which, instead of moving the soul, merely stirs up the dregs of our nature! For what is the voice but the Beast calling, awakening that other Beast sleeping in the depths of mankind, the Beast which all great art has ever sought to chain up, as the archangel chains up, in old pictures, the demon with his woman's face? How could the creature attached to this voice, its owner and its victim, the singer, the great, the real singer who once ruled over every heart, be otherwise than wicked and contemptible? But let me try and get on with my story.

I can see all my fellow-boarders, leaning on the table, contemplating the print, this effeminate beau, his hair curled into _ailes de pigeon_, his sword pa.s.sed through his embroidered pocket, seated under a triumphal arch somewhere among the clouds, surrounded by puffy Cupids and crowned with laurels by a bouncing G.o.ddess of fame. I hear again all the insipid exclamations, the insipid questions about this singer:--"When did he live? Was he very famous? Are you sure, Magnus, that this is really a portrait," &c. &c. And I hear my own voice, as if in the far distance, giving them all sorts of information, biographical and critical, out of a battered little volume called _The Theatre of Musical Glory; or, Opinions upon the most Famous Chapel-masters and Virtuosi of this Century_, by Father Prosdocimo Sabatelli, Barnalite, Professor of Eloquence at the College of Modena, and Member of the Arcadian Academy, under the pastoral name of Evander Lilybaean, Venice, 1785, with the approbation of the Superiors. I tell them all how this singer, this Balthasar Cesari, was nick-named Zaffirino because of a sapphire engraved with cabalistic signs presented to him one evening by a masked stranger, in whom wise folk recognized that great cultivator of the human voice, the devil; how much more wonderful had been this Zaffirino's vocal gifts than those of any singer of ancient or modern times; how his brief life had been but a series of triumphs, petted by the greatest kings, sung by the most famous poets, and finally, adds Father Prosdocimo, "courted (if the grave Muse of history may incline her ear to the gossip of gallantry) by the most charming nymphs, even of the very highest quality."

My friends glance once more at the engraving; more insipid remarks are made; I am requested--especially by the American young ladies--to play or sing one of this Zaffirino's favorite songs--"For of course you know them, dear Maestro Magnus, you who have such a pa.s.sion for all old music. Do be good, and sit down to the piano." I refuse, rudely enough, rolling the print in my fingers. How fearfully this cursed heat, these cursed moonlight nights, must have unstrung me! This Venice would certainly kill me in the long-run! Why, the sight of this idiotic engraving, the mere name of that c.o.xcomb of a singer, have made my heart beat and my limbs turn to water like a love-sick hobbledehoy.

After my gruff refusal, the company begins to disperse; they prepare to go out, some to have a row on the lagoon, others to saunter before the _cafes_ at St. Mark's; family discussions arise, gruntings of fathers, murmurs of mothers, peals of laughing from young girls and young men. And the moon, pouring in by the wide-open windows, turns this old palace ballroom, nowadays an inn dining-room, into a lagoon, scintillating, undulating like the other lagoon, the real one, which stretches out yonder furrowed by invisible gondolas betrayed by the red prow-lights. At last the whole lot of them are on the move. I shall be able to get some quiet in my room, and to work a little at my opera of _Ogier the Dane_. But no! Conversation revives, and, of all things, about that singer, that Zaffirino, whose absurd portrait I am crunching in my fingers.

The princ.i.p.al speaker is Count Alvise, an old Venetian with dyed whiskers, a great check tie fastened with two pins and a chain; a threadbare patrician who is dying to secure for his lanky son that pretty American girl, whose mother is intoxicated by all his mooning anecdotes about the past glories of Venice in general, and of his ill.u.s.trious family in particular. Why, in Heaven's name, must he pitch upon Zaffirino for his mooning, this old duffer of a patrician?

"Zaffirino,--ah yes, to be sure! Balthasar Cesari, called Zaffirino,"

snuffles the voice of Count Alvise, who always repeats the last word of every sentence at least three times. "Yes, Zaffirino, to be sure! A famous singer of the days of my forefathers; yes, of my forefathers, dear lady!" Then a lot of rubbish about the former greatness of Venice, the glories of old music, the former Conservatoires, all mixed up with anecdotes of Rossini and Donizetti, whom he pretends to have known intimately. Finally, a story, of course containing plenty about his ill.u.s.trious family:--"My great grand-aunt, the Procuratessa Vendramin, from whom we have inherited our estate of Mistra, on the Brenta"--a hopelessly muddled story, apparently, fully of digressions, but of which that singer Zaffirino is the hero. The narrative, little by little, becomes more intelligible, or perhaps it is I who am giving it more attention.

"It seems," says the Count, "that there was one of his songs in particular which was called the 'Husbands' Air'--_L'Aria dei Marit_--because they didn't enjoy it quite as much as their better-halves.... My grand-aunt, Pisana Renier, married to the Procuratore Vendramin, was a patrician of the old school, of the style that was getting rare a hundred years ago. Her virtue and her pride rendered her unapproachable. Zaffirino, on his part, was in the habit of boasting that no woman had ever been able to resist his singing, which, it appears, had its foundation in fact--the ideal changes, my dear lady, the ideal changes a good deal from one century to another!--and that his first song could make any woman turn pale and lower her eyes, the second make her madly in love, while the third song could kill her off on the spot, kill her for love, there under his very eyes, if he only felt inclined. My grandaunt Vendramin laughed when this story was told her, refused to go to hear this insolent dog, and added that it might be quite possible by the aid of spells and infernal pacts to kill a _gentildonna_, but as to making her fall in love with a lackey--never! This answer was naturally reported to Zaffirino, who piqued himself upon always getting the better of any one who was wanting in deference to his voice. Like the ancient Romans, _parcere subjectis et debellare superbos_. You American ladies, who are so learned, will appreciate this little quotation from the divine Virgil.

While seeming to avoid the Procuratessa Vendramin, Zaffirino took the opportunity, one evening at a large a.s.sembly, to sing in her presence.

He sang and sang and sang until the poor grand-aunt Pisana fell ill for love. The most skilful physicians were kept unable to explain the mysterious malady which was visibly killing the poor young lady; and the Procuratore Vendramin applied in vain to the most venerated Madonnas, and vainly promised an altar of silver, with ma.s.sive gold candlesticks, to Saints Cosmas and Damian, patrons of the art of healing. At last the brother-in-law of the Procuratessa, Monsignor Almor Vendramin, Patriarch of Aquileia, a prelate famous for the sanct.i.ty of his life, obtained in a vision of Saint Justina, for whom he entertained a particular devotion, the information that the only thing which could benefit the strange illness of his sister-in-law was the voice of Zaffirino. Take notice that my poor grand-aunt had never condescended to such a revelation.

"The Procuratore was enchanted at this happy solution; and his lordship the Patriarch went to seek Zaffirino in person, and carried him in his own coach to the Villa of Mistra, where the Procuratessa was residing.

"On being told what was about to happen, my poor grand-aunt went into fits of rage, which were succeeded immediately by equally violent fits of joy. However, she never forgot what was due to her great position.

Although sick almost unto death, she had herself arrayed with the greatest pomp, caused her face to be painted, and put on all her diamonds: it would seem as if she were anxious to affirm her full dignity before this singer. Accordingly she received Zaffirino reclining on a sofa which had been placed in the great ballroom of the Villa of Mistra, and beneath the princely canopy; for the Vendramins, who had intermarried with the house of Mantua, possessed imperial fiefs and were princes of the Holy Roman Empire. Zaffirino saluted her with the most profound respect, but not a word pa.s.sed between them. Only, the singer inquired from the Procuratore whether the ill.u.s.trious lady had received the Sacraments of the Church. Being told that the Procuratessa had herself asked to be given extreme unction from the hands of her brother-in-law, he declared his readiness to obey the orders of His Excellency, and sat down at once to the harpsichord.

"Never had he sung so divinely. At the end of the first song the Procuratessa Vendramin had already revived most extraordinarily; by the end of the second she appeared entirely cured and beaming with beauty and happiness; but at the third air--the _Aria dei Mariti_, no doubt--she began to change frightfully; she gave a dreadful cry, and fell into the convulsions of death. In a quarter of an hour she was dead! Zaffirino did not wait to see her die. Having finished his song, he withdrew instantly, took post-horses, and traveled day and night as far as Munich. People remarked that he had presented himself at Mistra dressed in mourning, although he had mentioned no death among his relatives; also that he had prepared everything for his departure, as if fearing the wrath of so powerful a family. Then there was also the extraordinary question he had asked before beginning to sing, about the Procuratessa having confessed and received extreme unction.... No, thanks, my dear lady, no cigarettes for me. But if it does not distress you or your charming daughter, may I humbly beg permission to smoke a cigar?"

And Count Alvise, enchanted with his talent for narrative, and sure of having secured for his son the heart and the dollars of his fair audience, proceeds to light a candle, and at the candle one of those long black Italian cigars which require preliminary disinfection before smoking.

... If this state of things goes on I shall just have to ask the doctor for a bottle; this ridiculous beating of my heart and disgusting cold perspiration have increased steadily during Count Alvise's narrative.

To keep myself in countenance among the various idiotic commentaries on this c.o.c.k-and-bull story of a vocal c.o.xcomb and a vaporing great lady, I begin to unroll the engraving, and to examine stupidly the portrait of Zaffirino, once so renowned, now so forgotten. A ridiculous a.s.s, this singer, under his triumphal arch, with his stuffed Cupids and the great fat winged kitchenmaid crowning him with laurels. How flat and vapid and vulgar it is, to be sure, all this odious eighteenth century!

But he, personally, is not so utterly vapid as I had thought. That effeminate, fat face of his is almost beautiful, with an odd smile, brazen and cruel. I have seen faces like this, if not in real life, at least in my boyish romantic dreams, when I read Swinburne and Baudelaire, the faces of wicked, vindictive women. Oh yes! he is decidedly a beautiful creature, this Zaffirino, and his voice must have had the same sort of beauty and the same expression of wickedness....

"Come on, Magnus," sound the voices of my fellow-boarders, "be a good fellow and sing us one of the old chap's songs; or at least something or other of that day, and we'll make believe it was the air with which he killed that poor lady."

"Oh yes! the _Aria dei Mariti_, the 'Husbands' Air,'" mumbles old Alvise, between the puffs at his impossible black cigar. "My poor grand-aunt, Pisana Vendramin; he went and killed her with those songs of his, with that _Aria dei Mariti_."

I feel senseless rage overcoming me. Is it that horrible palpitation (by the way, there is a Norwegian doctor, my fellow-countryman, at Venice just now) which is sending the blood to my brain and making me mad? The people round the piano, the furniture, everything together seems to get mixed and to turn into moving blobs of color. I set to singing; the only thing which remains distinct before my eyes being the portrait of Zaffirino, on the edge of that boarding-house piano; the sensual, effeminate face, with its wicked, cynical smile, keeps appearing and disappearing as the print wavers about in the draught that makes the candles smoke and gutter. And I set to singing madly, singing I don't know what. Yes; I begin to identify it: 'tis the _Biondina in Gondoleta_, the only song of the eighteenth century which is still remembered by the Venetian people. I sing it, mimicking every old-school grace; shakes, cadences, languishingly swelled and diminished notes, and adding all manner of buffooneries, until the audience, recovering from its surprise, begins to shake with laughing; until I begin to laugh myself, madly, frantically, between the phrases of the melody, my voice finally smothered in this dull, brutal laughter.... And then, to crown it all, I shake my fist at this long-dead singer, looking at me with his wicked woman's face, with his mocking, fatuous smile.

"Ah! you would like to be revenged on me also!" I exclaim. "You would like me to write you nice roulades and flourishes, another nice _Aria dei Mariti_, my fine Zaffirino!"

That night I dreamed a very strange dream. Even in the big half-furnished room the heat and closeness were stifling. The air seemed laden with the scent of all manner of white flowers, faint and heavy in their intolerable sweetness: tuberoses, gardenias, and jasmines drooping I know not where in neglected vases. The moonlight had transformed the marble floor around me into a shallow, shining, pool. On account of the heat I had exchanged my bed for a big old-fashioned sofa of light wood, painted with little nosegays and sprigs, like an old silk; and I lay there, not attempting to sleep, and letting my thoughts go vaguely to my opera of _Ogier the Dane_, of which I had long finished writing the words, and for whose music I had hoped to find some inspiration in this strange Venice, floating, as it were, in the stagnant lagoon of the past. But Venice had merely put all my ideas into hopeless confusion; it was as if there arose out of its shallow waters a miasma of long-dead melodies, which sickened but intoxicated my soul. I lay on my sofa watching that pool of whitish light, which rose higher and higher, little trickles of light meeting it here and there, wherever the moon's rays struck upon some polished surface; while huge shadows waved to and fro in the draught of the open balcony.

I went over and over that old Norse story: how the Paladin, Ogier, one of the knights of Charlemagne, was decoyed during his homeward wanderings from the Holy Land by the arts of an enchantress, the same who had once held in bondage the great Emperor Caesar and given him King Oberon for a son; how Ogier had tarried in that island only one day and one night, and yet, when he came home to his kingdom, he found all changed, his friends dead, his family dethroned, and not a man who knew his face; until at last, driven hither and thither like a beggar, a poor minstrel had taken compa.s.sion of his sufferings and given him all he could give--a song, the song of the prowess of a hero dead for hundreds of years, the Paladin Ogier the Dane.

The story of Ogier ran into a dream, as vivid as my waking thoughts had been vague. I was looking no longer at the pool of moonlight spreading round my couch, with its trickles of light and looming, waving shadows, but the frescoed walls of a great saloon. It was not, as I recognized in a second, the dining-room of that Venetian palace now turned into a boarding-house. It was a far larger room, a real ballroom, almost circular in its octagon shape, with eight huge white doors surrounded by stucco moldings, and, high on the vault of the ceiling, eight little galleries or recesses like boxes at a theatre, intended no doubt for musicians and spectators. The place was imperfectly lighted by only one of the eight chandeliers, which revolved slowly, like huge spiders, each on its long cord. But the light struck upon the gilt stuccoes opposite me, and on a large expanse of fresco, the sacrifice of Iphigenia, with Agamemnon and Achilles in Roman helmets, lappets, and knee-breeches. It discovered also one of the oil panels let into the moldings of the roof, a G.o.ddess in lemon and lilac draperies, foreshortened over a great green peac.o.c.k. Round the room, where the light reached, I could make out big yellow satin sofas and heavy gilded consoles; in the shadow of a corner was what looked like a piano, and farther in the shade one of those big canopies which decorate the anterooms of Roman palaces. I looked about me, wondering where I was: a heavy, sweet smell, reminding me of the flavor of a peach, filled the place.

Little by little I began to perceive sounds; little, sharp, metallic, detached notes, like those of a mandolin; and there was united to them a voice, very low and sweet, almost a whisper, which grew and grew and grew, until the whole place was filled with that exquisite vibrating note, of a strange, exotic, unique quality. The note went on, swelling and swelling. Suddenly there was a horrible piercing shriek, and the thud of a body on the floor, and all manner of smothered exclamations.

There, close by the canopy, a light suddenly appeared; and I could see, among the dark figures moving to and fro in the room, a woman lying on the ground, surrounded by other women. Her blond hair, tangled, full of diamond-sparkles which cut through the half-darkness, was hanging disheveled; the laces of her bodice had been cut, and her white breast shone among the sheen of jeweled brocade; her face was bent forwards, and a thin white arm trailed, like a broken limb, across the knees of one of the women who were endeavoring to lift her. There was a sudden splash of water against the floor, more confused exclamations, a hoa.r.s.e, broken moan, and a gurgling, dreadful sound.... I awoke with a start and rushed to the window.

Outside, in the blue haze of the moon, the church and belfry of St.

George loomed blue and hazy, with the black hull and rigging, the red lights, of a large steamer moored before them. From the lagoon rose a damp sea-breeze. What was it all? Ah! I began to understand: that story of old Count Alvise's, the death of his grand-aunt, Pisana Vendramin.

Yes, it was about that I had been dreaming.

I returned to my room; I struck a light, and sat down to my writing-table. Sleep had become impossible. I tried to work at my opera. Once or twice I thought I had got hold of what I had looked for so long.... But as soon as I tried to lay hold of my theme, there arose in my mind the distant echo of that voice, of that long note swelled slowly by insensible degrees, that long note whose tone was so strong and so subtle.

There are in the life of an artist moments when, still unable to seize his own inspiration, or even clearly to discern it, he becomes aware of the approach of that long-invoked idea. A mingled joy and terror warn him that before another day, another hour have pa.s.sed, the inspiration shall have crossed the threshold of his soul and flooded it with its rapture. All day I had felt the need of isolation and quiet, and at nightfall I went for a row on the most solitary part of the lagoon. All things seemed to tell that I was going to meet my inspiration, and I awaited its coming as a lover awaits his beloved.

I had stopped my gondola for a moment, and as I gently swayed to and fro on the water, all paved with moonbeams, it seemed to me that I was on the confines of an imaginary world. It lay close at hand, enveloped in luminous, pale blue mist, through which the moon had cut a wide and glistening path; out to sea, the little islands, like moored black boats, only accentuated the solitude of this region of moonbeams and wavelets; while the hum of the insects in orchards hard by merely added to the impression of untroubled silence. On some such seas, I thought, must the Paladin Ogier, have sailed when about to discover that during that sleep at the enchantress's knees centuries had elapsed and the heroic world had set, and the kingdom of prose had come.

While my gondola rocked stationary on that sea of moonbeams, I pondered over that twilight of the heroic world. In the soft rattle of the water on the hull I seemed to hear the rattle of all that armor, of all those swords swinging rusty on the walls, neglected by the degenerate sons of the great champions of old. I had long been in search of a theme which I called the theme of the "Prowess of Ogier;" it was to appear from time to time in the course of my opera, to develop at last into that song of the Minstrel, which reveals to the hero that he is one of a long-dead world. And at this moment I seemed to feel the presence of that theme. Yet an instant, and my mind would be overwhelmed by that savage music, heroic, funereal.

Suddenly there came across the lagoon, cleaving, checkering, and fretting the silence with a lacework of sound even as the moon was fretting and cleaving the water, a ripple of music, a voice breaking itself in a shower of little scales and cadences and trills.

I sank back upon my cushions. The vision of heroic days had vanished, and before my closed eyes there seemed to dance mult.i.tudes of little stars of light, chasing and interlacing like those sudden vocalizations.

"To sh.o.r.e! Quick!" I cried to the gondolier.

But the sounds had ceased; and there came from the orchards, with their mulberry-trees glistening in the moonlight, and their black swaying cypress-plumes, nothing save the confused hum, the monotonous chirp, of the crickets.

I looked around me: on one side empty dunes, orchards, and meadows, without house or steeple; on the other, the blue and misty sea, empty to where distant islets were profiled black on the horizon.

A faintness overcame me, and I felt myself dissolve. For all of a sudden a second ripple of voice swept over the lagoon, a shower of little notes, which seemed to form a little mocking laugh.

Then again all was still. This silence lasted so long that I fell once more to meditating on my opera. I lay in wait once more for the half-caught theme. But no. It was not that theme for which I was waiting and watching with baited breath. I realized my delusion when, on rounding the point of the Giudecca, the murmur of a voice arose from the midst of the waters, a thread of sound slender as a moonbeam, scarce audible, but exquisite, which expanded slowly, insensibly, taking volume and body, taking flesh almost and fire, an ineffable quality, full, pa.s.sionate, but veiled, as it were, in a subtle, downy wrapper. The note grew stronger and stronger, and warmer and more pa.s.sionate, until it burst through that strange and charming veil, and emerged beaming, to break itself in the luminous facets of a wonderful shake, long, superb, triumphant.

There was a dead silence.