There were several other gentlemen in the room, who talked gaily10 with the Contessa, and amused themselves by eating the bonbons11 and crystallised fruits provided for refreshments12. The last act of the opera had not yet commenced, so Signora Morone sank gracefully13 into a velvet-cushioned chair, and permitted her courtiers to retail14 all the news of the day for her amusement. I am afraid this description sounds somewhat hyperbolical, but indeed it is the only way in which I can describe this woman, whose every movement was full of sinuous15 grace and feline16 treachery. Cat, tigeress, pantheress as she was, her claws were now sheathed17 in her velvet paws, but the claws were there all the same, and would doubtless scratch at the least provocation18.
Some people do not believe in transmigration, but I am a true disciple19 of Pythagoras in that bizarre doctrine20, and I firmly believe that in a former existence the soul of Giulietta Morone had animated21 the body of some tawny22 tigeress who had stolen through the jungle beneath the burning skies of Hindostan, slaying23 and devouring24 her victims in conformity25 with the instincts of her savage26 nature. Now she was a woman--a fair, majestic27 woman--but the instinct of the beast was there, the desire for slaughter28 and the lust29 for blood. What made me indulge still more in this fancy was the colours of the dress she wore black and yellow--all twisted in and out with a curious resemblance to the sleek fur of the beast to which I had likened her. The soft glimmer30 of the pearl strings31 twined in her magnificent red hair seemed out of place as ornaments32 for this woman; but the rubies33 suited her nature well, the red, angry rubies that shot flashes of purple fire from her neck at every heave of her white bosom34. Leaning back in her deep chair with a cruel smile on her full crimson35 lips, the glimmer of pearls, the fire-glint of the fierce-tinted gems36, and the bizarre mixture of amber37 and black in her dress, she slowly waved her sandalwood fan to and fro, diffusing38 a strange, sleepy perfume through the room, and looking what I verily believed her to be, the type of incarnate39 evil in repose40.
While I was thinking in this fanciful fashion, the Contessa was talking to her friends in a slow, rich voice, and Beltrami--well, Beltrami was watching me closely. Do you know that strange sensation of being watched? that uneasy consciousness that some unseen eye is observing the least movement? Yes, of course you do! Every one has felt it, in a more or less degree, according to their nervous susceptibility. At the present time, with all my senses on the alert for unexpected events, it was therefore little to be wondered at that I felt the magnetism41 of Beltrami's gaze, and, on looking up, saw his keen black eyes fixed42 upon me with an enigmatical expression. For the moment I was startled, but immediately that feeling passed away for I well knew the strange nature of the Marchese, which was a peculiar43 mixture of good and evil, of kindness and cruelty, of hate and love, which must have proceeded from some aberration44 of his subtle intellect.
Beltrami's face always put me in mind of that sinister45 countenance46 of Sigismondo Malatesta, which sneers47 so malevolently48 at the curious onlooker49 from the walls of the Duomo at Rimini. He had the same treacherous50 droop51 of the eyelids52, the same thin nose with wide, sensitive nostrils53, and the same malignant54 smile on his thin lips. Yet he was handsome enough, this young Italian; but his face, in spite of my friendship, repelled55 me--in a less degree, it is true, but still it repelled me in the like manner as did that of the Contessa Morone. So he was going to marry her. Well, they were certainly well-matched in every respect, and if the man had not the active wickedness of the woman, still the capability56 of evil was there, and would awaken57 to life when necessary to be exercised. Both Beltrami and his future wife were anachronisms in this nineteenth century, and should have lived, smiled, and died in the time of the Renaissance58, when they would have been fitted companions of those Italian despots of whom Machiavelli gives the typical examples in his book "The Prince."
The Marchese saw my inquiring look, and with an enigmatic smile walked across to where I was standing59 in the warm, yellow light.
"Ebbene! Signor Hugo," he whispered, with a swift glance at the Contessa, "tell me what you think of my choice."
"It does you credit, Marchese. You will have a beautiful wife."
"And a loving one, I hope. Tell me, mon ami, do you not envy me?"
I hesitated a moment before replying, and then blurted60 out the truth,--
"Honestly speaking, Signor Luigi, I do not!"
"Dame61! and why?"
"Well, I can hardly tell you my reasons, but I have them, nevertheless."
Beltrami looked hard at me with an inquisitive62 look in his dark eyes, and a satirical smile on his thin lips.
"You are not complimentary63, my friend," he said, turning away with a supercilious64 laugh.
I laid my hand on his shoulder and explained,--
"Pardon me, Beltrami, you do not understand----"
"Eh! do not apologise! I understand better than you think."
He was evidently not at all offended, and I felt puzzled by his manner. It was true he had candidly65 acknowledged that he was making this marriage for money, but surely he must also love this woman, whose ripe beauty was so attractive to the passionate66 nature of the Italians. Yet, judging from his mode of speech, he evidently had some mistrust--a mistrust for which I could not account. He could know nothing of the affair at the Palazzo Morone, so there certainly could be no reason for suspicion on his part. She was a beautiful woman, a rich woman, an attractive woman, so with this trinity of perfections she decidedly merited a warmer love than Beltrami appeared inclined to give her. Could it be that her evil beauty repelled him, as it did me? No! that was impossible, seeing that, according to my idea, their natures were wonderfully alike. Altogether the whole demeanour of the Marchesa perplexed67 me by its strangeness, and I watched him narrowly as he approached the Contessa, to see if she perceived the lack of warmth on the part of her lover.
To my surprise, as he bent68 over her chair to speak, she shrank away with a gesture of disdain69, and the rubies shot forth70 a red flame, as if to warn the lover that there was danger in pressing upon this woman his unwelcome attentions. Unwelcome, I am sure they were, for as he adjusted her cloak and aided her to rise, in order to return to the box, I saw that she accepted all his politeness with forced civility and cold smiles. So then she did not love him--he had almost openly acknowledged to me that he did not love her, and yet these two people, who had no feeling of love in their hearts, were about to marry. It was most extraordinary, and I marvelled71 greatly at the juxtaposition72 of these two human beings, who evidently hated one another heartily73.
At this moment the Contessa spoke74 of the man she had murdered, and I was horrified75 in the cold, callous76 tones in which she veiled her iniquity77.
"Do you know, gentlemen, if anything has been heard of this lost tenor78?"
Beltrami shot a keen glance at her, then a second at me, and I felt more bewildered than ever by this strange action.
"Nothing has been heard of him, Contessa," he said quickly, before the others could speak; "he has vanished altogether, but no doubt he will appear again."
"Ah, you think so?" observed the Contessa, with a cruel smile.
"I am sure of it!"
She winced80, and looked at him in a startled manner, upon which, impelled81 by some mysterious impulse, I know not what, I joined in the conversation,--
"On the contrary, madame, I do not think Signor Pallanza will ever be seen again."
All present turned round in surprise, and the Contessa darted82 a look at me which seemed to pierce my soul. Only Beltrami was unmoved, and he, with a smile on his face, laid his hand upon my shoulder.
"Eh, Signor Hugo, and why do you think so?"
"A mere83 fancy, Marchese, nothing more."
"Ma foi! and a fancy that may turn out true!"
I was annoyed at having yielded to the impulse and spoken out, as, unless I told all about my adventure, I could not substantiate84 my statement, and I was certainly not going to reveal anything I knew, particularly in the presence of the woman so deeply implicated85 in the affair. Beltrami's mocking manner irritated me fearfully, the more so as it was so very unaccountable, and I was about to make some sharp reply, when the opening chorus of the last act sounded, and all the gentlemen, after making their adieux to the Contessa, left the room.
The Marchese offered his arm to Madame Morone, but she dismissed him with a haughty86 gesture.
"One moment, Marchese--I wish to speak with this Signor for a few minutes."
Beltrami darted one of his enigmatic looks at us both, and with a low bow to conceal87 the smile on his lips, left the room. As soon as he had disappeared, Madame Morone turned round on me with a quick gesture of surprise.
"Signor Hugo, why did you say the tenor Pallanza would never be seen again?"
"I have no reason, Signora," I replied, being determined88 to baffle her curiosity; "I merely spoke on the impulse of the moment."
"Do you know Signor Pallanza?"
"No, madame, I have not the pleasure of his acquaintance."
"Ah!"
She heaved a sigh of relief, and looked at me long and earnestly, as if to see whether I was speaking the truth. Apparently89 she was satisfied with her scrutiny90, for she laughed softly, and placed her hand within my arm.
"Confess now, Signor Hugo, you think me most mysterious, but I will tell you why I speak thus. I heard Pallanza at Rome, when he sang at the Apollo, and I hoped to see him again here, therefore I am annoyed at his disappearance91 and anxious for him to be found. A selfish wish, Signor Hugo, for it is only my desire to hear him sing again. Ecco!"
"I do not think your wish at all selfish, madame, for I hear he is a charming singer."
"Oh, yes! the New Mario they call him in Milan. Will you not hear the rest of the opera in my box?"
"If you will excuse me, madame, I will say no, as I have an engagement."
This was a lie, but I was so fearful of betraying myself to this terrible woman, who had evidently a half-suspicion that I knew something of Pallanza, that I was anxious to get away as soon as possible. She, saying good-night, in a cold, polite manner, re-entered the box, and I was moving away when Beltrami suddenly appeared.
"Eh, Hugo, how cruel! the Contessa tells me you must go?"
"Yes. I will see you again, Marchese!"
"To-morrow then; if not, the next day. Here is my card, and I am always at home in the afternoon. Do not fail to come, mon ami--I wish to speak to you about--about----"
He paused, and I asked curiously,--
"About what?"
"Eh, dame! I forget. I will tell you at our next meeting' A rivederci! Signor Hugo. Don't forget your old friend, or he will quarrel with you."
He nodded, smiled, and vanished, then I took my departure from the theatre, and wandered up and down the street in the moonlight. I felt that to sit out the ballet would be more than I could bear, as I was so excited over the meeting with the Contessa Morone, therefore I strolled up and down the street, smoking and thinking. As time passed on I grew calmer, and thought I would return to the Ezzelino, not to see the ballet, but to catch a glimpse of the Contessa once more.
As I reached the portico92 of the theatre she was just coming down the steps to her carriage, leaning on the arm of Beltrami, and I, hidden in the crowd, could see her looking hither and thither93 as if searching for some one. She could not see me, and in order to satisfy myself in every way as to her identity with the creature of the night I had seen leave the graveyard94, with a sudden inspiration I hummed a few bars of the strange song I had heard in the fatal chamber95.
Being close to me she could hear quite plainly, and gave a kind of gasping96 cry as she fell back into the arms of Beltrami, just as he was helping97 her into the carriage.
"What is the matter, cara?" he asked quickly.
She clutched his arm with so powerful a grasp that it made him wince79, and I heard her mutter with white lips,--
"Pallanza! Pallanza!"
This was all I wanted to hear, and, fearful of discovery, I threaded my way quickly among the crowd, and hastened home to my hotel.
I had recognised Guiseppe, I had found the woman who had slain98 him, but I had yet to discover where she had hidden the body of her victim--and then!--well, my future movements would be guided by circumstances.
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收听单词发音
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1
amiable
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| adj.和蔼可亲的，友善的，亲切的 | |
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suave
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| adj.温和的；柔和的；文雅的 | |
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dread
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| vt.担忧，忧虑；惧怕，不敢；n.担忧，畏惧 | |
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sleek
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| adj.光滑的，井然有序的；v.使光滑，梳拢 | |
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velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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comely
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| adj.漂亮的，合宜的 | |
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caress
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| vt./n.爱抚，抚摸 | |
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inquiries
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| n.调查( inquiry的名词复数 )；疑问；探究；打听 | |
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penetrated
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| adj. 击穿的，鞭辟入里的 动词penetrate的过去式和过去分词形式 | |
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gaily
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| adv.欢乐地，高兴地 | |
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bonbons
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| n.小糖果( bonbon的名词复数 ) | |
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refreshments
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| n.点心,便餐;(会议后的)简单茶点招 待 | |
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gracefully
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| ad.大大方方地；优美地 | |
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retail
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| v./n.零售；adv.以零售价格 | |
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sinuous
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| adj.蜿蜒的，迂回的 | |
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feline
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| adj.猫科的 | |
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sheathed
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| adj.雕塑像下半身包在鞘中的；覆盖的；铠装的；装鞘了的v.将（刀、剑等）插入鞘( sheathe的过去式和过去分词 )；包，覆盖 | |
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provocation
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| n.激怒，刺激，挑拨，挑衅的事物，激怒的原因 | |
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disciple
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| n.信徒，门徒，追随者 | |
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doctrine
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| n.教义；主义；学说 | |
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animated
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| adj.生气勃勃的，活跃的，愉快的 | |
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tawny
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| adj.茶色的，黄褐色的；n.黄褐色 | |
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slaying
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| 杀戮。 | |
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devouring
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| 吞没( devour的现在分词 )； 耗尽； 津津有味地看； 狼吞虎咽地吃光 | |
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conformity
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| n.一致，遵从，顺从 | |
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savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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slaughter
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| n.屠杀，屠宰；vt.屠杀，宰杀 | |
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lust
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| n.性(淫)欲；渴(欲)望；vi.对…有强烈的欲望 | |
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glimmer
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| v.发出闪烁的微光；n.微光，微弱的闪光 | |
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strings
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| n.弦 | |
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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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rubies
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| 红宝石( ruby的名词复数 )； 红宝石色，深红色 | |
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bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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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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gems
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| growth； economy； management； and customer satisfaction 增长 | |
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amber
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| n.琥珀；琥珀色；adj.琥珀制的 | |
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diffusing
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| （使光）模糊，漫射，漫散( diffuse的现在分词 )； （使）扩散； （使）弥漫； （使）传播 | |
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incarnate
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| adj.化身的，人体化的，肉色的 | |
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repose
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| v.(使)休息；n.安息 | |
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magnetism
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| n.磁性，吸引力，磁学 | |
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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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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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aberration
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| n.离开正路，脱离常规，色差 | |
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sinister
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| adj.不吉利的，凶恶的，左边的 | |
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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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47
sneers
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| 讥笑的表情（言语）( sneer的名词复数 ) | |
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48
malevolently
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onlooker
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| n.旁观者，观众 | |
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50
treacherous
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| adj.不可靠的，有暗藏的危险的；adj.背叛的，背信弃义的 | |
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51
droop
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| v.低垂，下垂；凋萎，萎靡 | |
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52
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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53
nostrils
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| 鼻孔( nostril的名词复数 ) | |
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54
malignant
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| adj.恶性的，致命的；恶意的，恶毒的 | |
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55
repelled
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| v.击退( repel的过去式和过去分词 )；使厌恶；排斥；推开 | |
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56
capability
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| n.能力；才能；(pl)可发展的能力或特性等 | |
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57
awaken
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| vi.醒，觉醒；vt.唤醒，使觉醒，唤起，激起 | |
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renaissance
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| n.复活，复兴，文艺复兴 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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blurted
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| v.突然说出，脱口而出( blurt的过去式和过去分词 ) | |
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61
dame
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| n.女士 | |
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inquisitive
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| adj.求知欲强的，好奇的，好寻根究底的 | |
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complimentary
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| adj.赠送的，免费的，赞美的，恭维的 | |
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64
supercilious
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| adj.目中无人的，高傲的；adv.高傲地；n.高傲 | |
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candidly
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| adv.坦率地，直率而诚恳地 | |
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66
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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perplexed
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| adj.不知所措的 | |
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bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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69
disdain
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| n.鄙视，轻视；v.轻视，鄙视，不屑 | |
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70
forth
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| adv.向前；向外，往外 | |
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marvelled
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| v.惊奇，对…感到惊奇( marvel的过去式和过去分词 ) | |
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juxtaposition
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| n.毗邻，并置，并列 | |
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heartily
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| adv.衷心地，诚恳地，十分，很 | |
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74
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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75
horrified
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| a.(表现出)恐惧的 | |
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76
callous
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| adj.无情的，冷淡的，硬结的，起老茧的 | |
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77
iniquity
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| n.邪恶；不公正 | |
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78
tenor
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| n.男高音（歌手），次中音（乐器），要旨，大意 | |
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wince
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| n.畏缩，退避，（因痛苦，苦恼等)面部肌肉抽动；v.畏缩，退缩，退避 | |
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winced
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| 赶紧避开，畏缩( wince的过去式和过去分词 ) | |
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81
impelled
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| v.推动、推进或敦促某人做某事( impel的过去式和过去分词 ) | |
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darted
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| v.投掷，投射( dart的过去式和过去分词 )；向前冲，飞奔 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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substantiate
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| v.证实；证明...有根据 | |
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implicated
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| adj.密切关联的；牵涉其中的 | |
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haughty
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| adj.傲慢的，高傲的 | |
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conceal
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| v.隐藏，隐瞒，隐蔽 | |
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determined
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| adj.坚定的；有决心的 | |
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apparently
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| adv.显然地；表面上，似乎 | |
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scrutiny
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| n.详细检查，仔细观察 | |
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disappearance
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| n.消失，消散，失踪 | |
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portico
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| n.柱廊，门廊 | |
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thither
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| adv.向那里；adj.在那边的，对岸的 | |
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graveyard
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| n.坟场 | |
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chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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gasping
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| adj. 气喘的, 痉挛的 动词gasp的现在分词 | |
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helping
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| n.食物的一份&adj.帮助人的，辅助的 | |
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slain
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| 杀死，宰杀，杀戮( slay的过去分词 )； (slay的过去分词) | |
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