As soon as the procession of the Senator had passed, the merry-makers resumed their antics with fresh spirit, and the artillery11 of bouquets12 and sugar plums, suspended for a moment, began anew. The sculptor himself, being probably the most anxious and unquiet spectator there, was especially a mark for missiles from all quarters, and for the practical jokes which the license14 of the Carnival15 permits. In fact, his sad and contracted brow so ill accorded with the scene, that the revellers might be pardoned for thus using him as the butt16 of their idle mirth, since he evidently could not otherwise contribute to it.
Fantastic figures, with bulbous heads, the circumference17 of a bushel, grinned enormously in his face. Harlequins struck him with their wooden swords, and appeared to expect his immediate18 transformation19 into some jollier shape. A little, long-tailed, horned fiend sidled up to him and suddenly blew at him through a tube, enveloping20 our poor friend in a whole harvest of winged seeds. A biped, with an ass’s snout, brayed21 close to his ear, ending his discordant22 uproar23 with a peal24 of human laughter. Five strapping25 damsels—so, at least, their petticoats bespoke26 them, in spite of an awful freedom in the flourish of their legs—joined hands, and danced around him, inviting28 him by their gestures to perform a hornpipe in the midst. Released from these gay persecutors, a clown in motley rapped him on the back with a blown bladder, in which a handful of dried peas rattled30 horribly.
Unquestionably, a care-stricken mortal has no business abroad, when the rest of mankind are at high carnival; they must either pelt31 him and absolutely martyr32 him with jests, and finally bury him beneath the aggregate33 heap; or else the potency34 of his darker mood, because the tissue of human life takes a sad dye more readily than a gay one, will quell35 their holiday humors, like the aspect of a death’s-head at a banquet. Only that we know Kenyon’s errand, we could hardly forgive him for venturing into the Corso with that troubled face.
Even yet, his merry martyrdom was not half over. There came along a gigantic female figure, seven feet high, at least, and taking up a third of the street’s breadth with the preposterously36 swelling37 sphere of her crinoline skirts. Singling out the sculptor, she began to make a ponderous38 assault upon his heart, throwing amorous39 glances at him out of her great goggle40 eyes, offering him a vast bouquet13 of sunflowers and nettles41, and soliciting42 his pity by all sorts of pathetic and passionate43 dumb-show. Her suit meeting no favor, the rejected Titaness made a gesture of despair and rage; then suddenly drawing a huge pistol, she took aim right at the obdurate44 sculptor’s breast, and pulled the trigger. The shot took effect, for the abominable45 plaything went off by a spring, like a boy’s popgun, covering Kenyon with a cloud of lime dust, under shelter of which the revengeful damsel strode away.
Hereupon, a whole host of absurd figures surrounded him, pretending to sympathize in his mishap46. Clowns and party-colored harlequins; orang-outangs; bear-headed, bull-headed, and dog-headed individuals; faces that would have been human, but for their enormous noses; one terrific creature, with a visage right in the centre of his breast; and all other imaginable kinds of monstrosity and exaggeration. These apparitions47 appeared to be investigating the case, after the fashion of a coroner’s jury, poking49 their pasteboard countenances50 close to the sculptor’s with an unchangeable grin, that gave still more ludicrous effect to the comic alarm and sorrow of their gestures. Just then, a figure came by, in a gray wig52 and rusty53 gown, with an inkhorn at his buttonhole and a pen behind his ear; he announced himself as a notary54, and offered to make the last will and testament55 of the assassinated56 man. This solemn duty, however, was interrupted by a surgeon, who brandished57 a lancet, three feet long, and proposed to him to let him take blood.
The affair was so like a feverish58 dream, that Kenyon resigned himself to let it take its course. Fortunately the humors of the Carnival pass from one absurdity59 to another, without lingering long enough on any, to wear out even the slightest of them. The passiveness of his demeanor60 afforded too little scope for such broad merriment as the masqueraders sought. In a few moments they vanished from him, as dreams and spectres do, leaving him at liberty to pursue his quest, with no impediment except the crowd that blocked up the footway.
He had not gone far when the peasant and the contadina met him. They were still hand in hand, and appeared to be straying through the grotesque61 and animated62 scene, taking as little part in it as himself. It might be because he recognized them, and knew their solemn secret, that the sculptor fancied a melancholy63 emotion to be expressed by the very movement and attitudes of these two figures; and even the grasp of their hands, uniting them so closely, seemed to set them in a sad remoteness from the world at which they gazed.
“I rejoice to meet you,” said Kenyon. But they looked at him through the eye-holes of their black masks, without answering a word.
“Pray give me a little light on the matter which I have so much at heart,” said he; “if you know anything of Hilda, for Heaven’s sake, speak!”
Still they were silent; and the sculptor began to imagine that he must have mistaken the identity of these figures, there being such a multitude in similar costume. Yet there was no other Donatello, no other Miriam. He felt, too, that spiritual certainty which impresses us with the presence of our friends, apart from any testimony64 of the senses.
“You are unkind,” resumed he,—“knowing the anxiety which oppresses me, —not to relieve it, if in your power.”
“We gave you all the light we could,” said she. “You are yourself unkind, though you little think how much so, to come between us at this hour. There may be a sacred hour, even in carnival time.”
In another state of mind, Kenyon could have been amused by the impulsiveness65 of this response, and a sort of vivacity66 that he had often noted67 in Miriam’s conversation. But he was conscious of a profound sadness in her tone, overpowering its momentary68 irritation69, and assuring him that a pale, tear-stained face was hidden behind her mask.
“Forgive me!” said he.
Donatello here extended his hand,—not that which was clasping Miriam’s,—and she, too, put her free one into the sculptor’s left; so that they were a linked circle of three, with many reminiscences and forebodings flashing through their hearts. Kenyon knew intuitively that these once familiar friends were parting with him now.
“Farewell!” they all three said, in the same breath.
No sooner was the word spoken, than they loosed their hands; and the uproar of the Carnival swept like a tempestuous70 sea over the spot which they had included within their small circle of isolated71 feeling.
By this interview, the sculptor had learned nothing in reference to Hilda; but he understood that he was to adhere to the instructions already received, and await a solution of the mystery in some mode that he could not yet anticipate. Passing his hands over his eyes, and looking about him,—for the event just described had made the scene even more dreamlike than before,—he now found himself approaching that broad piazza72 bordering on the Corso, which has for its central object the sculptured column of Antoninus. It was not far from this vicinity that Miriam had bid him wait. Struggling onward73 as fast as the tide of merrymakers, setting strong against him, would permit, he was now beyond the Palazzo Colonna, and began to count the houses. The fifth was a palace, with a long front upon the Corso, and of stately height, but somewhat grim with age.
Over its arched and pillared entrance there was a balcony, richly hung with tapestry74 and damask, and tenanted, for the time, by a gentleman of venerable aspect and a group of ladies. The white hair and whiskers of the former, and the winter roses in his cheeks, had an English look; the ladies, too, showed a fair-haired Saxon bloom, and seemed to taste the mirth of the Carnival with the freshness of spectators to whom the scene was new. All the party, the old gentleman with grave earnestness, as if he were defending a rampart, and his young companions with exuberance75 of frolic, showered confetti inexhaustibly upon the passers-by.
In the rear of the balcony, a broad-brimmed, ecclesiastical beaver76 was visible. An abbate, probably an acquaintance and cicerone of the English family, was sitting there, and enjoying the scene, though partially78 withdrawn79 from view, as the decorum for his order dictated81.
There seemed no better nor other course for Kenyon than to keep watch at this appointed spot, waiting for whatever should happen next. Clasping his arm round a lamp-post, to prevent being carried away by the turbulent stream of wayfarers82, he scrutinized83 every face, with the idea that some one of them might meet his eyes with a glance of intelligence. He looked at each mask,—harlequin, ape, bulbous-headed monster, or anything that was absurdest,—not knowing but that the messenger might come, even in such fantastic guise84. Or perhaps one of those quaint77 figures, in the stately ruff, the cloak, tunic85, and trunk-hose of three centuries ago, might bring him tidings of Hilda, out of that long-past age. At times his disquietude took a hopeful aspect; and he fancied that Hilda might come by, her own sweet self, in some shy disguise which the instinct Of his love would be sure to penetrate86. Or, she might be borne past on a triumphal car, like the one just now approaching, its slow-moving wheels encircled and spoked87 with foliage88, and drawn80 by horses, that were harnessed and wreathed with flowers. Being, at best, so far beyond the bounds of reasonable conjecture89, he might anticipate the wildest event, or find either his hopes or fears disappointed in what appeared most probable.
The old Englishman and his daughters, in the opposite balcony, must have seen something unutterably absurd in the sculptor’s deportment, poring into this whirlpool of nonsense so earnestly, in quest of what was to make his life dark or bright. Earnest people, who try to get a reality out of human existence, are necessarily absurd in the view of the revellers and masqueraders. At all events, after a good deal of mirth at the expense of his melancholy visage, the fair occupants of the balcony favored Kenyon with a salvo of confetti, which came rattling90 about him like a hailstorm. Looking up instinctively91, he was surprised to see the abbate in the background lean forward and give a courteous92 sign of recognition.
It was the same old priest with whom he had seen Hilda, at the confessional; the same with whom he had talked of her disappearance93 on meeting him in the street.
Yet, whatever might be the reason, Kenyon did not now associate this ecclesiastical personage with the idea of Hilda. His eyes lighted on the old man, just for an instant, and then returned to the eddying94 throng2 of the Corso, on his minute scrutiny95 of which depended, for aught he knew, the sole chance of ever finding any trace of her. There was, about this moment, a bustle96 on the other side of the street, the cause of which Kenyon did not see, nor exert himself to discover. A small party of soldiers or gendarmes97 appeared to be concerned in it; they were perhaps arresting some disorderly character, who, under the influence of an extra flask98 of wine, might have reeled across the mystic limitation of carnival proprieties99.
The sculptor heard some people near him talking of the incident.
“That contadina, in a black mask, was a fine figure of a woman.”
“She was not amiss,” replied a female voice; “but her companion was far the handsomer figure of the two. Could they be really a peasant and a contadina, do you imagine?”
“No, no,” said the other. “It is some frolic of the Carnival, carried a little too far.”
This conversation might have excited Kenyon’s interest; only that, just as the last words were spoken, he was hit by two missiles, both of a kind that were flying abundantly on that gay battlefield. One, we are ashamed to say, was a cauliflower, which, flung by a young man from a passing carriage, came with a prodigious100 thump101 against his shoulder; the other was a single rosebud102, so fresh that it seemed that moment gathered. It flew from the opposite balcony, smote103 gently on his lips, and fell into his hand. He looked upward, and beheld104 the face of his lost Hilda!
She was dressed in a white domino, and looked pale and bewildered, and yet full of tender joy. Moreover, there was a gleam of delicate mirthfulness in her eyes, which the sculptor had seen there only two or three times in the course of their acquaintance, but thought it the most bewitching and fairylike of all Hilda’s expressions. That soft, mirthful smile caused her to melt, as it were, into the wild frolic of the Carnival, and become not so strange and alien to the scene, as her unexpected apparition48 must otherwise have made her.
Meanwhile, the venerable Englishman and his daughters were staring at poor Hilda in a way that proved them altogether astonished, as well as inexpressibly shocked, by her sudden intrusion into their private balcony. They looked,—as, indeed, English people of respectability would, if an angel were to alight in their circle, without due introduction from somebody whom they knew, in the court above,—they looked as if an unpardonable liberty had been taken, and a suitable apology must be made; after which, the intruder would be expected to withdraw.
The abbate, however, drew the old gentleman aside, and whispered a few words that served to mollify him; he bestowed105 on Hilda a sufficiently106 benignant, though still a perplexed107 and questioning regard, and invited her, in dumb-show, to put herself at her ease.
But, whoever was in fault, our shy and gentle Hilda had dreamed of no intrusion. Whence she had come, or where she had been hidden, during this mysterious interval108, we can but imperfectly surmise109, and do not mean, at present, to make it a matter of formal explanation with the reader. It is better, perhaps, to fancy that she had been snatched away to a land of picture; that she had been straying with Claude in the golden light which he used to shed over his landscapes, but which he could never have beheld with his waking eyes till he awoke in the better clime. We will imagine that, for the sake of the true simplicity110 with which she loved them, Hilda had been permitted, for a season, to converse111 with the great, departed masters of the pencil, and behold112 the diviner works which they have painted in heavenly colors. Guido had shown her another portrait of Beatrice Cenci, done from the celestial113 life, in which that forlorn mystery of the earthly countenance51 was exchanged for a radiant joy. Perugino had allowed her a glimpse at his easel, on which she discerned what seemed a woman’s face, but so divine, by the very depth and softness of its womanhood, that a gush114 of happy tears blinded the maiden’s eyes before she had time to look. Raphael had taken Hilda by the hand, that fine, forcible hand which Kenyon sculptured,—and drawn aside the curtain of gold-fringed cloud that hung before his latest masterpiece. On earth, Raphael painted the Transfiguration. What higher scene may he have since depicted115, not from imagination, but as revealed to his actual sight!
Neither will we retrace116 the steps by which she returned to the actual world. For the present, be it enough to say that Hilda had been summoned forth117 from a secret place, and led we know not through what mysterious passages, to a point where the tumult118 of life burst suddenly upon her ears. She heard the tramp of footsteps, the rattle29 of wheels, and the mingled119 hum of a multitude of voices, with strains of music and loud laughter breaking through. Emerging into a great, gloomy hall, a curtain was drawn aside; she found herself gently propelled into an open balcony, whence she looked out upon the festal street, with gay tapestries120 flaunting121 over all the palace fronts, the windows thronged with merry faces, and a crowd of maskers rioting upon the pavement below.
Immediately she seemed to become a portion of the scene. Her pale, large-eyed, fragile beauty, her wondering aspect and bewildered grace, attracted the gaze of many; and there fell around her a shower of bouquets and bonbons—freshest blossoms and sweetest sugar plums, sweets to the sweet—such as the revellers of the Carnival reserve as tributes to especial loveliness. Hilda pressed her hand across her brow; she let her eyelids122 fall, and, lifting them again, looked through the grotesque and gorgeous show, the chaos123 of mad jollity, in quest of some object by which she might assure herself that the whole spectacle was not an illusion.
Beneath the balcony, she recognized a familiar and fondly remembered face. The spirit of the hour and the scene exercised its influence over her quick and sensitive nature; she caught up one of the rosebuds124 that had been showered upon her, and aimed it at the sculptor; It hit the mark; he turned his sad eyes upward, and there was Hilda, in whose gentle presence his own secret sorrow and the obtrusive125 uproar of the Carnival alike died away from his perception.
That night, the lamp beneath the Virgin’s shrine126 burned as brightly as if it had never been extinguished; and though the one faithful dove had gone to her melancholy perch127, she greeted Hilda rapturously the next morning, and summoned her less constant companions, whithersoever they had flown, to renew their homage128.
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1
sculptor
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| n.雕刻家，雕刻家 | |
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throng
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| n.人群，群众；v.拥挤，群集 | |
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thronged
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| v.成群，挤满( throng的过去式和过去分词 ) | |
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scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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beads
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| n.（空心）小珠子( bead的名词复数 )；水珠；珠子项链 | |
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earrings
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| n.耳环( earring的名词复数 )；耳坠子 | |
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curiously
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| adv.有求知欲地；好问地；奇特地 | |
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wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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mosaic
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| n./adj.镶嵌细工的，镶嵌工艺品的，嵌花式的 | |
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10
glossy
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| adj.平滑的；有光泽的 | |
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artillery
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| n.(军)火炮，大炮；炮兵(部队) | |
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bouquets
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| n.花束( bouquet的名词复数 )；（酒的）芳香 | |
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bouquet
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| n.花束，酒香 | |
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license
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| n.执照，许可证，特许；v.许可，特许 | |
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carnival
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| n.嘉年华会，狂欢，狂欢节，巡回表演 | |
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butt
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| n.笑柄；烟蒂；枪托；臀部；v.用头撞或顶 | |
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circumference
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| n.圆周，周长，圆周线 | |
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immediate
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| adj.立即的；直接的，最接近的；紧靠的 | |
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transformation
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| n.变化；改造；转变 | |
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enveloping
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| v.包围，笼罩，包住( envelop的现在分词 ) | |
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brayed
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| v.发出驴叫似的声音( bray的过去式和过去分词 )；发嘟嘟声；粗声粗气地讲话（或大笑）；猛击 | |
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discordant
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| adj.不调和的 | |
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uproar
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| n.骚动，喧嚣，鼎沸 | |
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peal
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| n.钟声；v.鸣响 | |
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strapping
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| adj. 魁伟的, 身材高大健壮的 n. 皮绳或皮带的材料, 裹伤胶带, 皮鞭 动词strap的现在分词形式 | |
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bespoke
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| adj.（产品）订做的；专做订货的v.预定( bespeak的过去式 )；订（货）；证明；预先请求 | |
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spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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inviting
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| adj.诱人的，引人注目的 | |
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rattle
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| v.飞奔，碰响；激怒；n.碰撞声；拨浪鼓 | |
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rattled
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| 慌乱的，恼火的 | |
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pelt
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| v.投掷，剥皮，抨击，开火 | |
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martyr
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| n.烈士，殉难者；vt.杀害，折磨，牺牲 | |
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aggregate
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| adj.总计的，集合的；n.总数；v.合计；集合 | |
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potency
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| n. 效力，潜能 | |
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quell
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| v.压制，平息，减轻 | |
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preposterously
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| adv.反常地；荒谬地；荒谬可笑地；不合理地 | |
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swelling
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| n.肿胀 | |
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ponderous
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| adj.沉重的，笨重的，(文章)冗长的 | |
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amorous
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| adj.多情的；有关爱情的 | |
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goggle
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| n.瞪眼，转动眼珠，护目镜；v.瞪眼看，转眼珠 | |
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nettles
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| n.荨麻( nettle的名词复数 ) | |
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soliciting
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| v.恳求( solicit的现在分词 )；（指娼妇）拉客；索求；征求 | |
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passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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obdurate
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| adj.固执的，顽固的 | |
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abominable
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| adj.可厌的，令人憎恶的 | |
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mishap
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| n.不幸的事，不幸；灾祸 | |
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apparitions
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| n.特异景象( apparition的名词复数 )；幽灵；鬼；（特异景象等的）出现 | |
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apparition
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| n.幽灵，神奇的现象 | |
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poking
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| n. 刺，戳，袋 vt. 拨开，刺，戳 vi. 戳，刺，捅，搜索，伸出，行动散慢 | |
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50
countenances
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| n.面容( countenance的名词复数 )；表情；镇静；道义支持 | |
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countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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wig
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| n.假发 | |
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rusty
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| adj.生锈的；锈色的；荒废了的 | |
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notary
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| n.公证人，公证员 | |
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testament
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| n.遗嘱；证明 | |
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assassinated
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| v.暗杀( assassinate的过去式和过去分词 )；中伤；诋毁；破坏 | |
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brandished
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| v.挥舞( brandish的过去式和过去分词 )；炫耀 | |
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feverish
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| adj.发烧的，狂热的，兴奋的 | |
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absurdity
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| n.荒谬，愚蠢；谬论 | |
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demeanor
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| n.行为；风度 | |
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61
grotesque
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| adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物） | |
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62
animated
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| adj.生气勃勃的，活跃的，愉快的 | |
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63
melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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64
testimony
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| n.证词；见证，证明 | |
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65
impulsiveness
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| n.冲动 | |
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66
vivacity
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| n.快活，活泼，精神充沛 | |
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67
noted
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| adj.著名的，知名的 | |
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68
momentary
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| adj.片刻的，瞬息的；短暂的 | |
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69
irritation
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| n.激怒，恼怒，生气 | |
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70
tempestuous
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| adj.狂暴的 | |
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71
isolated
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| adj.与世隔绝的 | |
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72
piazza
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| n.广场；走廊 | |
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73
onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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74
tapestry
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| n.挂毯，丰富多采的画面 | |
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75
exuberance
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| n.丰富；繁荣 | |
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76
beaver
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| n.海狸，河狸 | |
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77
quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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78
partially
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| adv.部分地，从某些方面讲 | |
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79
withdrawn
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| vt.收回；使退出；vi.撤退，退出 | |
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80
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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81
dictated
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| v.大声讲或读( dictate的过去式和过去分词 )；口授；支配；摆布 | |
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82
wayfarers
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| n.旅人，（尤指）徒步旅行者( wayfarer的名词复数 ) | |
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83
scrutinized
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| v.仔细检查，详审( scrutinize的过去式和过去分词 ) | |
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84
guise
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| n.外表，伪装的姿态 | |
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85
tunic
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| n.束腰外衣 | |
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86
penetrate
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| v.透(渗)入；刺入，刺穿；洞察，了解 | |
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87
spoked
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| 辐条 | |
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foliage
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| n.叶子，树叶，簇叶 | |
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conjecture
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| n./v.推测，猜测 | |
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90
rattling
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| adj. 格格作响的, 活泼的, 很好的 adv. 极其, 很, 非常 动词rattle的现在分词 | |
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instinctively
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| adv.本能地 | |
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92
courteous
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| adj.彬彬有礼的，客气的 | |
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disappearance
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| n.消失，消散，失踪 | |
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eddying
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| 涡流，涡流的形成 | |
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scrutiny
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| n.详细检查，仔细观察 | |
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bustle
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| v.喧扰地忙乱，匆忙，奔忙；n.忙碌；喧闹 | |
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gendarmes
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| n.宪兵，警官( gendarme的名词复数 ) | |
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flask
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| n.瓶，火药筒，砂箱 | |
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proprieties
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| n.礼仪，礼节；礼貌( propriety的名词复数 )；规矩；正当；合适 | |
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prodigious
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| adj.惊人的，奇妙的；异常的；巨大的；庞大的 | |
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101
thump
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| v.重击，砰然地响；n.重击，重击声 | |
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102
rosebud
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| n.蔷薇花蕾，妙龄少女 | |
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103
smote
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| v.猛打，重击，打击( smite的过去式 ) | |
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104
beheld
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| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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105
bestowed
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| 赠给，授予( bestow的过去式和过去分词 ) | |
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106
sufficiently
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| adv.足够地，充分地 | |
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107
perplexed
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| adj.不知所措的 | |
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108
interval
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| n.间隔，间距；幕间休息，中场休息 | |
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109
surmise
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| v./n.猜想，推测 | |
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110
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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111
converse
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| vi.谈话，谈天，闲聊；adv.相反的，相反 | |
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112
behold
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| v.看，注视，看到 | |
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113
celestial
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| adj.天体的；天上的 | |
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114
gush
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| v.喷，涌；滔滔不绝(说话)；n.喷，涌流；迸发 | |
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115
depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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116
retrace
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| v.折回；追溯，探源 | |
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117
forth
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| adv.向前；向外，往外 | |
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118
tumult
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| n.喧哗；激动，混乱；吵闹 | |
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119
mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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120
tapestries
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| n.挂毯( tapestry的名词复数 )；绣帷，织锦v.用挂毯（或绣帷）装饰( tapestry的第三人称单数 ) | |
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121
flaunting
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| adj.招摇的，扬扬得意的，夸耀的v.炫耀，夸耀( flaunt的现在分词 )；有什么能耐就施展出来 | |
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122
eyelids
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| n.眼睑( eyelid的名词复数 )；眼睛也不眨一下；不露声色；面不改色 | |
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123
chaos
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| n.混乱，无秩序 | |
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124
rosebuds
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| 蔷薇花蕾，妙龄少女，初入社交界的少女( rosebud的名词复数 ) | |
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125
obtrusive
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| adj.显眼的；冒失的 | |
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126
shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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127
perch
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| n.栖木，高位，杆；v.栖息，就位，位于 | |
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128
homage
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| n.尊敬，敬意，崇敬 | |
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