Che difesa miglior ch’ usbergo e scudo,
E la santa innocenza al petto ignudo!
“Ger. Lib.,” c. viii. xli.
(Better defence than shield or breastplate is holy innocence1 to the naked breast.)
And they buried the musician and his barbiton together, in the same coffin2. That famous Steiner — primeval Titan of the great Tyrolese race — often hast thou sought to scale the heavens, and therefore must thou, like the meaner children of men, descend3 to the dismal4 Hades! Harder fate for thee than thy mortal master. For THY soul sleeps with thee in the coffin. And the music that belongs to HIS, separate from the instrument, ascends6 on high, to be heard often by a daughter’s pious7 ears when the heaven is serene8 and the earth sad. For there is a sense of hearing that the vulgar know not. And the voices of the dead breathe soft and frequent to those who can unite the memory with the faith.
And now Viola is alone in the world,— alone in the home where loneliness had seemed from the cradle a thing that was not of nature. And at first the solitude10 and the stillness were insupportable. Have you, ye mourners, to whom these sibyl leaves, weird12 with many a dark enigma13, shall be borne, have you not felt that when the death of some best-loved one has made the hearth14 desolate15,— have you not felt as if the gloom of the altered home was too heavy for thought to bear?— you would leave it, though a palace, even for a cabin. And yet,— sad to say,— when you obey the impulse, when you fly from the walls, when in the strange place in which you seek your refuge nothing speaks to you of the lost, have ye not felt again a yearning16 for that very food to memory which was just before but bitterness and gall17? Is it not almost impious and profane18 to abandon that dear hearth to strangers? And the desertion of the home where your parents dwelt, and blessed you, upbraids19 your conscience as if you had sold their tombs.
Beautiful was the Etruscan superstition20 that the ancestors become the household gods. Deaf is the heart to which the Lares call from the desolate floors in vain. At first Viola had, in her intolerable anguish21, gratefully welcomed the refuge which the house and family of a kindly22 neighbour, much attached to her father, and who was one of the orchestra that Pisani shall perplex no more, had proffered23 to the orphan24. But the company of the unfamiliar25 in our grief, the consolation26 of the stranger, how it irritates the wound! And then, to hear elsewhere the name of father, mother, child,— as if death came alone to you,— to see elsewhere the calm regularity27 of those lives united in love and order, keeping account of happy hours, the unbroken timepiece of home, as if nowhere else the wheels were arrested, the chain shattered, the hands motionless, the chime still! No, the grave itself does not remind us of our loss like the company of those who have no loss to mourn. Go back to thy solitude, young orphan,— go back to thy home: the sorrow that meets thee on the threshold can greet thee, even in its sadness, like the smile upon the face of the dead. And there, from thy casement28, and there, from without thy door, thou seest still the tree, solitary29 as thyself, and springing from the clefts30 of the rock, but forcing its way to light,— as, through all sorrow, while the seasons yet can renew the verdure and bloom of youth, strives the instinct of the human heart! Only when the sap is dried up, only when age comes on, does the sun shine in vain for man and for the tree.
Weeks and months — months sad and many — again passed, and Naples will not longer suffer its idol31 to seclude32 itself from homage33. The world ever plucks us back from ourselves with a thousand arms. And again Viola’s voice is heard upon the stage, which, mystically faithful to life, is in nought34 more faithful than this, that it is the appearances that fill the scene; and we pause not to ask of what realities they are the proxies35. When the actor of Athens moved all hearts as he clasped the burial urn11, and burst into broken sobs36; how few, there, knew that it held the ashes of his son! Gold, as well as fame, was showered upon the young actress; but she still kept to her simple mode of life, to her lowly home, to the one servant whose faults, selfish as they were, Viola was too inexperienced to perceive. And it was Gionetta who had placed her when first born in her father’s arms! She was surrounded by every snare37, wooed by every solicitation38 that could beset39 her unguarded beauty and her dangerous calling. But her modest virtue40 passed unsullied through them all. It is true that she had been taught by lips now mute the maiden41 duties enjoined42 by honour and religion. And all love that spoke43 not of the altar only shocked and repelled44 her. But besides that, as grief and solitude ripened45 her heart, and made her tremble at times to think how deeply it could feel, her vague and early visions shaped themselves into an ideal of love. And till the ideal is found, how the shadow that it throws before it chills us to the actual! With that ideal, ever and ever, unconsciously, and with a certain awe46 and shrinking, came the shape and voice of the warning stranger. Nearly two years had passed since he had appeared at Naples. Nothing had been heard of him, save that his vessel47 had been directed, some months after his departure, to sail for Leghorn. By the gossips of Naples, his existence, supposed so extraordinary, was wellnigh forgotten; but the heart of Viola was more faithful. Often he glided48 through her dreams, and when the wind sighed through that fantastic tree, associated with his remembrance, she started with a tremor49 and a blush, as if she had heard him speak.
But amongst the train of her suitors was one to whom she listened more gently than to the rest; partly because, perhaps, he spoke in her mother’s native tongue; partly because in his diffidence there was little to alarm and displease50; partly because his rank, nearer to her own than that of lordlier wooers, prevented his admiration51 from appearing insult; partly because he himself, eloquent52 and a dreamer, often uttered thoughts that were kindred to those buried deepest in her mind. She began to like, perhaps to love him, but as a sister loves; a sort of privileged familiarity sprung up between them. If in the Englishman’s breast arose wild and unworthy hopes, he had not yet expressed them. Is there danger to thee here, lone9 Viola, or is the danger greater in thy unfound ideal?
And now, as the overture53 to some strange and wizard spectacle, closes this opening prelude54. Wilt55 thou hear more? Come with thy faith prepared. I ask not the blinded eyes, but the awakened56 sense. As the enchanted57 Isle58, remote from the homes of men,—
“Ove alcun legno Rado, o non mai va dalle nostre sponde,”
(Where ship seldom or never comes from our coasts.)
is the space in the weary ocean of actual life to which the Muse60 or Sibyl (ancient in years, but ever young in aspect), offers thee no unhallowed sail,—
“Quinci ella in cima a una montagna ascende
Disabitata, e d’ ombre oscura e bruna;
E par5 incanto a lei nevose rende
Le spalle e i fianchi; e sensa neve alcuna
Gli lascia il capo verdeggiante e vago;
E vi fonda un palagio appresso un lago.”
(There, she a mountain’s lofty peak ascends,
Unpeopled, shady, shagg’d with forests brown,
Whose sides, by power of magic, half-way down
She heaps with slippery ice and frost and snow,
But sunshiny and verdant61 leaves the crown
With orange-woods and myrtles,— speaks, and lo!
Rich from the bordering lake a palace rises slow.
Wiffin’s “Translation.”)
1 innocence | |
n.无罪;天真;无害 | |
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2 coffin | |
n.棺材,灵柩 | |
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3 descend | |
vt./vi.传下来,下来,下降 | |
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4 dismal | |
adj.阴沉的,凄凉的,令人忧郁的,差劲的 | |
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5 par | |
n.标准,票面价值,平均数量;adj.票面的,平常的,标准的 | |
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6 ascends | |
v.上升,攀登( ascend的第三人称单数 ) | |
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7 pious | |
adj.虔诚的;道貌岸然的 | |
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8 serene | |
adj. 安详的,宁静的,平静的 | |
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9 lone | |
adj.孤寂的,单独的;唯一的 | |
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10 solitude | |
n. 孤独; 独居,荒僻之地,幽静的地方 | |
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11 urn | |
n.(有座脚的)瓮;坟墓;骨灰瓮 | |
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12 weird | |
adj.古怪的,离奇的;怪诞的,神秘而可怕的 | |
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13 enigma | |
n.谜,谜一样的人或事 | |
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14 hearth | |
n.壁炉炉床,壁炉地面 | |
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15 desolate | |
adj.荒凉的,荒芜的;孤独的,凄凉的;v.使荒芜,使孤寂 | |
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16 yearning | |
a.渴望的;向往的;怀念的 | |
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17 gall | |
v.使烦恼,使焦躁,难堪;n.磨难 | |
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18 profane | |
adj.亵神的,亵渎的;vt.亵渎,玷污 | |
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19 upbraids | |
v.责备,申斥,谴责( upbraid的第三人称单数 ) | |
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20 superstition | |
n.迷信,迷信行为 | |
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21 anguish | |
n.(尤指心灵上的)极度痛苦,烦恼 | |
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22 kindly | |
adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
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23 proffered | |
v.提供,贡献,提出( proffer的过去式和过去分词 ) | |
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24 orphan | |
n.孤儿;adj.无父母的 | |
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25 unfamiliar | |
adj.陌生的,不熟悉的 | |
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26 consolation | |
n.安慰,慰问 | |
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27 regularity | |
n.规律性,规则性;匀称,整齐 | |
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28 casement | |
n.竖铰链窗;窗扉 | |
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29 solitary | |
adj.孤独的,独立的,荒凉的;n.隐士 | |
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30 clefts | |
n.裂缝( cleft的名词复数 );裂口;cleave的过去式和过去分词;进退维谷 | |
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31 idol | |
n.偶像,红人,宠儿 | |
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32 seclude | |
vi.使隔离,使孤立,使隐退 | |
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33 homage | |
n.尊敬,敬意,崇敬 | |
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34 nought | |
n./adj.无,零 | |
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35 proxies | |
n.代表权( proxy的名词复数 );(测算用的)代替物;(对代理人的)委托书;(英国国教教区献给主教等的)巡游费 | |
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36 sobs | |
啜泣(声),呜咽(声)( sob的名词复数 ) | |
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37 snare | |
n.陷阱,诱惑,圈套;(去除息肉或者肿瘤的)勒除器;响弦,小军鼓;vt.以陷阱捕获,诱惑 | |
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38 solicitation | |
n.诱惑;揽货;恳切地要求;游说 | |
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39 beset | |
v.镶嵌;困扰,包围 | |
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40 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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41 maiden | |
n.少女,处女;adj.未婚的,纯洁的,无经验的 | |
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42 enjoined | |
v.命令( enjoin的过去式和过去分词 ) | |
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43 spoke | |
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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44 repelled | |
v.击退( repel的过去式和过去分词 );使厌恶;排斥;推开 | |
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45 ripened | |
v.成熟,使熟( ripen的过去式和过去分词 ) | |
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46 awe | |
n.敬畏,惊惧;vt.使敬畏,使惊惧 | |
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47 vessel | |
n.船舶;容器,器皿;管,导管,血管 | |
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48 glided | |
v.滑动( glide的过去式和过去分词 );掠过;(鸟或飞机 ) 滑翔 | |
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49 tremor | |
n.震动,颤动,战栗,兴奋,地震 | |
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50 displease | |
vt.使不高兴,惹怒;n.不悦,不满,生气 | |
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51 admiration | |
n.钦佩,赞美,羡慕 | |
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52 eloquent | |
adj.雄辩的,口才流利的;明白显示出的 | |
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53 overture | |
n.前奏曲、序曲,提议,提案,初步交涉 | |
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54 prelude | |
n.序言,前兆,序曲 | |
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55 wilt | |
v.(使)植物凋谢或枯萎;(指人)疲倦,衰弱 | |
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56 awakened | |
v.(使)醒( awaken的过去式和过去分词 );(使)觉醒;弄醒;(使)意识到 | |
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57 enchanted | |
adj. 被施魔法的,陶醉的,入迷的 动词enchant的过去式和过去分词 | |
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58 isle | |
n.小岛,岛 | |
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59 cant | |
n.斜穿,黑话,猛扔 | |
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60 muse | |
n.缪斯(希腊神话中的女神),创作灵感 | |
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61 verdant | |
adj.翠绿的,青翠的,生疏的,不老练的 | |
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