The Court chapel16 and the Court dinner are over. We are in the Opera-house of Reisenburg; and, of course, rise as the Royal party enters. The house, which is of moderate size, was fitted up with splendour: we hardly know whether we should say with great taste; for, although not merely the scenery, but indeed every part of the house, was painted by eminent17 artists, the style of the ornaments18 was rather patriotic20 than tasteful. The house had been built immediately after the war, at a period when Reisenburg, flushed with the success of its thirty thousand men, imagined itself to be a great military nation. Trophies21, standards, cannon22, eagles, consequently appeared in every corner of the Opera-house; and quite superseded23 lyres, and timbrels, and tragic24 daggers25, and comic masks. The royal box was constructed in the form of a tent, and held nearly fifty persons. It was exactly in the centre of the house, its floor over the back of the pit, and its roof reaching to the top of the second circle; its crimson27 hangings were restrained by ropes of gold, and the whole was surmounted28 by a large and radiant crown. The house was merely lighted by a chandelier from the centre.
The Opera for the evening was Rossini’s Otello. As soon as the Grand Duke entered the overture29 commenced, his Royal Highness coming forward to the front of the box and himself directing the musicians, keeping time earnestly with his right hand, in which was a long black opera-glass. This he occasionally used, but merely to look at the orchestra, not, assuredly, to detect a negligent30 or inefficient31 performer; for in the schooled orchestra of Reisenburg it would have been impossible even for the eagle eye of his Royal Highness, assisted as it was by his long black opera-glass, or for his fine ear, matured as it was by the most complete study, to discover there either inattention or feebleness. The house was perfectly32 silent; for when the Monarch33 directs the orchestra the world goes to the Opera to listen. Perfect silence at Reisenburg, then, was etiquette34 and the fashion. Between the acts of the Opera, however, the Ballet was performed; and then everybody might talk, and laugh, and remark as much as they chose.
The Grand Duke prided himself as much upon the accuracy of his scenery and dresses and decorations as upon the exquisite35 skill of his performers. In truth, an Opera at Reisenburg was a spectacle which could not fail to be interesting to a man of taste. When the curtain drew up the first scene presented a view of old Brabantio’s house. It was accurately36 copied from one of the sumptuous37 structures of Scamozzi, or Sansovino, or Palladio, which adorn38 the Grand Canal of Venice. In the distance rose the domes5 of St. Mark and the lofty Campanile. Vivian could not fail to be delighted with this beautiful work of art, for such indeed it should be styled. He was more surprised, however, but not less pleased, on the entrance of Othello himself. In England we are accustomed to deck this adventurous39 Moor40 in the costume of his native country; but is this correct? The Grand Duke of Reisenburg thought not. Othello was an adventurer; at an early age he entered, as many foreigners did, into the service of Venice. In that service be rose to the highest dignities, became General of her armies and of her fleets, and finally the Viceroy of her favourite kingdom. Is it natural to suppose that such a man should have retained, during his successful career, the manners and dress of his original country? Ought we not rather to admit that, had he done so his career would, in fact, not have been successful? In all probability, he imitated to affectation the manners of the country which he had adopted. It is not probable that in such or in any age the turbaned Moor would have been treated with great deference41 by the common Christian42 soldier of Venice; or, indeed, that the scandal of a heathen leading the armies of one of the most powerful of European States would have been tolerated for an instant by indignant Christendom. If Shylock even, the Jew merchant, confined to his quarter, and herding43 with his own sect44, were bearded on the Rialto, in what spirit would the Venetians have witnessed their doge and nobles, whom they ranked above kings, holding equal converse45, and loading with the most splendid honours of the Republic a follower46 of Mahound? Such were the sentiments of the Grand Duke of Reisenburg on this subject, a subject interesting to Englishmen; and I confess I think that they are worthy15 of attention. In accordance with his opinions, the actor who performed Othello appeared in the full dress of a Venetian magnifico of the middle ages; a fit companion for Cornaro, or Grimani, or Barberigo, or Foscari.
The first act of the Opera was finished. The Baroness47 expressed to Vivian her great delight at its being over, as she was extremely desirous of learning the story of the ballet, which she had not yet been able to acquire. His translation of yesterday had greatly interested her. Vivian shortly gave her the outline of the story of Conrad. She listened with much attention, but made no remark.
The ballet at Reisenburg was not merely a vehicle for the display of dancing. It professed48 by gesture and action, aided by music, to influence the minds of the spectators not less than the regular drama. Of this exhibition dancing was a casual ornament19, as it is of life. It took place therefore only on fitting occasions, and grew out, in a natural manner, from some event in the history represented. For instance, suppose the story of Othello the subject of the ballet. The dancing, in all probability, would be introduced at a grand entertainment given in celebration of the Moor’s arrival at Cyprus. All this would be in character. Our feelings would not be outraged49 by a husband chassezing forward to murder his wife, or by seeing the pillow pressed over the innocent Desdemona by the impulse of a pirouette. In most cases, therefore, the chief performers in this species of spectacle are not even dancers. This, however, may not always be the case. If Diana be the heroine, poetical50 probability will not be offended by the goddess joining in the chaste51 dance with her huntress nymphs; and were the Baiadere of Goethe made the subject of a ballet, the Indian dancing girl would naturally be the heroine both of the drama and the poem. There are few performances more affecting than the serious pantomime of a master. In some of the most interesting situations it is in fact even more natural than the oral drama, logically it is more perfect; for the soliloquy is actually thought before us, and the magic of the representation not destroyed by the sound of the human voice at a moment when we all know man never speaks.
The curtain again rises. Sounds of revelry and triumph are heard from the Pirate Isle52. They celebrate recent success. Various groups, accurately attired53 in the costume of the Greek islands, are seated on the rocky foreground. On the left rises Medora’s tower, on a craggy steep; and on the right gleams the blue Aegean. A procession of women enters. It heralds54 the presence of Conrad and Medora; they honour the festivity of their rude subjects. The pirates and the women join in the national dance; and afterwards eight warriors55, completely armed, move in a warlike measure, keeping time to the music with their bucklers and clattering56 sabres. Suddenly the dance ceases; a sail is in sight. The nearest pirates rush to the strand57, and assist the disembarkation of their welcome comrades. The commander of the vessel58 comes forward with an agitated59 step and gloomy countenance60. He kneels to Conrad and delivers him a scroll61, which the chieftain reads with suppressed agitation62. In a moment the faithful Juan is at his side, the contents of the scroll revealed, the dance broken up, and preparations made to sail in an hour’s time to the city of the Pacha. The stage is cleared, and Conrad and Medora are alone. The mysterious leader is wrapt in the deepest abstraction. He stands with folded arms, and eyes fixed63 on the yellow sand. A gentle pressure on his arm calls him back to recollection; he starts, and turns to the intruder with a gloomy brow. He sees Medora, and his frown sinks into a sad smile. “And must we part again! this hour, this very hour; it cannot be!” She clings to him with agony, and kneels to him with adoration64. No hope, no hope! a quick return promised with an air of foreboding fate. His stern arm encircles her waist. He chases the heavy tear from her fair cheek, and while he bids her be glad in his absence with her handmaids peals65 the sad thunder of the signal gun. She throws herself upon him. The frantic66 quickness of her motion strikingly contrasts with the former stupor67 of her appearance. She will not part. Her face is buried in his breast; her long fair hair floats over his shoulders. He is almost unnerved; but at this moment the ship sails on; the crew and their afflicted68 wives enter; the page brings to Lord Conrad his cloak, his carbine, and his bugle69. He tears himself from her embrace, and without daring to look behind him bounds over the rocks, and is in the ship. The vessel moves, the wives of the pirates continue on the beach, waving their scarfs to their desolate70 husbands. In the foreground Medora, motionless, stands rooted to the strand, and might have inspired Phidias with a personification of Despair.
In a hall of unparalleled splendour stern Seyd reclines on innumerable pillows, placed on a carpet of golden cloth. His bearded chiefs are ranged around. The chambers71 are brilliantly illuminated72, and an opening at the farther end of the apartments exhibits a portion of the shining city and the glittering galleys73. Gulnare, covered with a silver veil, which reaches even to her feet, is ushered74 into the presence of the Pacha. Even the haughty75 Seyd rises to honour his beautiful favourite. He draws the precious veil from her blushing features and places her on his right hand. The dancing girls now appear, and then are introduced the principal artists. Now takes place the scientific part of the ballet; and here might Bias76, or Noblet, or Ronzi Vestris, or her graceful77 husband, or the classical Albert, or the bounding Paul, vault78 without stint79, and attitudinise without restraint, and not in the least impair80 the effect of the tragic tale. The Dervise, of course, appears; the galleys, of course, are fired; and Seyd, of course, retreats. A change in the scenery gives us the blazing Harem, the rescue of its inmates81, the deliverance of Gulnare, the capture of Conrad.
It is the prison scene. On a mat, covered with irons, lies the forlorn Conrad. The flitting flame of a solitary82 lamp hardly reveals the heavy bars of the huge grate that forms the entrance to its cell. For some minutes nothing stirs. The mind of the spectator is allowed to become fully83 aware of the hopeless misery84 of the hero. His career is ended, secure is his dungeon85, trusty his guards, overpowering his chains. To-morrow he wakes to be impaled86. A gentle noise, so gentle that the spectator almost deems it unintentional, is now heard. A white figure appears behind the dusky gate; is it a guard or a torturer? The gate softly opens, and a female conies forward. Gulnare was represented by a girl with the body of a Peri and the soul of a poetess. The Harem Queen advances with an agitated step; she holds in her left hand a lamp, and in the girdle of her light dress is a dagger26. She reaches with a soundless step the captive. He is asleep! Ay! he sleeps, while thousands are weeping over his ravage87 or his ruin; and she, in restlessness, is wandering here! A thousand thoughts are seen coursing over her flushed brow; she looks to the audience, and her dark eye asks why this Corsair is so dear to her. She turns again, and raises the lamp with her long white arm, that the light may fall on the captive’s countenance. She gazes, without moving, on the sleeper88, touches the dagger with a slow and tremulous hand, and starts from the contact with terror. She again touches it; it is drawn89 from her vest; it falls to the ground. He wakes; he stares with wonder; he sees a female not less fair than Medora. Confused, she tells him her station; she tells him that her pity is as certain as his doom90. He avows91 his readiness to die; he appears undaunted, he thinks of Medora, he buries his face in his hands. She grows pale as he avows he loves — another. She cannot conceal92 her own passion. He, wondering, confesses that he supposed her love was his enemy’s, was Seyd’s. Gulnare shudders93 at the name; she draws herself up to her full stature94, she smiles in bitterness:
My love stern Seyd’s! Oh, no, no, not my love!
The acting95 was perfect. The house burst into unusual shouts of admiration96. Madame Carolina applauded with her little finger on her fan. The Grand Duke himself gave the signal for applause. Vivian never felt before that words were useless. His hand was suddenly pressed. He turned round; it was the Baroness. She was leaning back in her chair; and though she did her utmost to conceal her agitated countenance, a tear coursed down her cheek big as the miserable97 Medora’s!
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1
fiddling
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| 微小的 | |
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2
trumpets
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| 喇叭( trumpet的名词复数 )； 小号； 喇叭形物； （尤指）绽开的水仙花 | |
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harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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euphonious
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| adj.好听的，悦耳的，和谐的 | |
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domes
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| n.圆屋顶( dome的名词复数 )；像圆屋顶一样的东西；圆顶体育场 | |
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enjoyment
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| n.乐趣；享有；享用 | |
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perspiring
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| v.出汗，流汗( perspire的现在分词 ) | |
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exertion
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| n.尽力，努力 | |
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neatly
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| adv.整洁地，干净地，灵巧地，熟练地 | |
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catching
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| adj.易传染的，有魅力的，迷人的，接住 | |
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subdued
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| adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词 | |
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sentimental
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| adj.多愁善感的，感伤的 | |
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flute
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| n.长笛；v.吹笛 | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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chapel
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| n.小教堂，殡仪馆 | |
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eminent
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| adj.显赫的，杰出的，有名的，优良的 | |
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ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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patriotic
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| adj.爱国的，有爱国心的 | |
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trophies
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| n.（为竞赛获胜者颁发的）奖品( trophy的名词复数 )；奖杯；（尤指狩猎或战争中获得的）纪念品；（用于比赛或赛跑名称）奖 | |
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cannon
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| n.大炮，火炮；飞机上的机关炮 | |
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superseded
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| [医]被代替的，废弃的 | |
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tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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daggers
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| 匕首，短剑( dagger的名词复数 ) | |
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dagger
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| n.匕首，短剑，剑号 | |
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crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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28
surmounted
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| 战胜( surmount的过去式和过去分词 )； 克服（困难）； 居于…之上； 在…顶上 | |
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29
overture
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| n.前奏曲、序曲，提议，提案，初步交涉 | |
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negligent
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| adj.疏忽的；玩忽的；粗心大意的 | |
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inefficient
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| adj.效率低的，无效的 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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monarch
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| n.帝王，君主，最高统治者 | |
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etiquette
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| n.礼仪，礼节；规矩 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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accurately
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| adv.准确地，精确地 | |
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sumptuous
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| adj.豪华的，奢侈的，华丽的 | |
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adorn
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| vt.使美化，装饰 | |
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adventurous
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| adj.爱冒险的；惊心动魄的，惊险的，刺激的 | |
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moor
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| n.荒野，沼泽；vt.(使)停泊；vi.停泊 | |
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41
deference
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| n.尊重，顺从；敬意 | |
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42
Christian
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| adj.基督教徒的；n.基督教徒 | |
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43
herding
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| 中畜群 | |
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sect
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| n.派别，宗教，学派，派系 | |
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45
converse
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| vi.谈话，谈天，闲聊；adv.相反的，相反 | |
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follower
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| n.跟随者；随员；门徒；信徒 | |
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baroness
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| n.男爵夫人，女男爵 | |
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professed
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| 公开声称的，伪称的，已立誓信教的 | |
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outraged
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| a.震惊的，义愤填膺的 | |
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50
poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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51
chaste
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| adj.贞洁的；有道德的；善良的；简朴的 | |
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52
isle
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| n.小岛，岛 | |
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53
attired
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| adj.穿着整齐的v.使穿上衣服，使穿上盛装( attire的过去式和过去分词 ) | |
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54
heralds
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| n.使者( herald的名词复数 )；预报者；预兆；传令官v.预示( herald的第三人称单数 )；宣布（好或重要） | |
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warriors
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| 武士，勇士，战士( warrior的名词复数 ) | |
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56
clattering
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| 发出咔哒声（clatter的现在分词形式） | |
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57
strand
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| vt.使（船）搁浅，使（某人）困于（某地） | |
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vessel
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| n.船舶；容器，器皿；管，导管，血管 | |
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agitated
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| adj.被鼓动的，不安的 | |
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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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scroll
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| n.卷轴，纸卷；(石刻上的)漩涡 | |
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agitation
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| n.搅动；搅拌；鼓动，煽动 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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adoration
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| n.爱慕，崇拜 | |
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peals
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| n.（声音大而持续或重复的）洪亮的响声( peal的名词复数 )；隆隆声；洪亮的钟声；钟乐v.（使）（钟等）鸣响，（雷等）发出隆隆声( peal的第三人称单数 ) | |
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frantic
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| adj.狂乱的，错乱的，激昂的 | |
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stupor
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| v.昏迷；不省人事 | |
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afflicted
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| 使受痛苦，折磨( afflict的过去式和过去分词 ) | |
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bugle
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| n.军号，号角，喇叭；v.吹号，吹号召集 | |
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desolate
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| adj.荒凉的，荒芜的；孤独的，凄凉的；v.使荒芜，使孤寂 | |
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71
chambers
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| n.房间( chamber的名词复数 )；（议会的）议院；卧室；会议厅 | |
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illuminated
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| adj.被照明的；受启迪的 | |
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galleys
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| n.平底大船，战舰( galley的名词复数 )；（船上或航空器上的）厨房 | |
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ushered
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| v.引，领，陪同( usher的过去式和过去分词 ) | |
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haughty
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| adj.傲慢的，高傲的 | |
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bias
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| n.偏见，偏心，偏袒；vt.使有偏见 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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vault
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| n.拱形圆顶，地窖，地下室 | |
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stint
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| v.节省，限制，停止；n.舍不得化，节约，限制；连续不断的一段时间从事某件事 | |
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impair
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| v.损害，损伤；削弱，减少 | |
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inmates
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| n.囚犯( inmate的名词复数 ) | |
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solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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misery
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| n.痛苦，苦恼，苦难；悲惨的境遇，贫苦 | |
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dungeon
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| n.地牢，土牢 | |
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impaled
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| 钉在尖桩上( impale的过去式和过去分词 ) | |
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ravage
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| vt.使...荒废，破坏...；n.破坏，掠夺，荒废 | |
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sleeper
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| n.睡眠者，卧车，卧铺 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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doom
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| n.厄运，劫数；v.注定，命定 | |
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avows
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| v.公开声明，承认( avow的第三人称单数 ) | |
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conceal
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| v.隐藏，隐瞒，隐蔽 | |
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shudders
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| n.颤动，打颤，战栗( shudder的名词复数 )v.战栗( shudder的第三人称单数 )；发抖；（机器、车辆等）突然震动；颤动 | |
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stature
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| n.（高度）水平，（高度）境界，身高，身材 | |
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acting
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| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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