Morley Court was a queer old building—very large and very irregular. The main part of the dwelling2, and what appeared to be the original nucleus3, upon which after-additions had grown like fantastic incrustations, was built of deep-red brick, with many recesses4 and projections6 and gables, and tall and grotesquely-shaped chimneys, and having broad, jutting7, heavily-sashed windows, such as belonged to Henry the Eighth's time, to which period the origin of the building was, with sufficient probability, referred. The great avenue, which extended in a direct line to more than the long half of an Irish mile, led through double rows of splendid old lime-trees, some thirty paces apart, and arching in a vast and shadowy groining overhead, to the front of the building. To the rearward extended the rambling8 additions which necessity or caprice had from time to time suggested, as the place, in the lapse9 of years, passed into the hands of different masters. One of these excrescences, a quaint10 little prominence11, with a fanciful gable and chimney of its own, jutted12 pleasantly out upon the green sward, courting the friendly shelter of the wild and graceful13 trees, and from its casement14 commanding through the parting boughs15 no views but those of quiet fields, distant woodlands, and the far-off blue hills. This portion of the building contained in the upper story one small room, to the full as oddly shaped as the outer casing of fantastic masonry16 in which it was inclosed—the door opened upon a back staircase which led from the lower apartments to Sir Richard's dressing-room; and partly owing to this convenient arrangement, and partly perhaps to the comfort and seclusion17 of the chamber18 itself, it had been long appropriated to the exclusive occupation of Signor Jacopo Parucci, Sir Richard's valet and confidential19 servant. This man was, as his name would imply, an Italian. Sir Richard had picked him up, some thirty years before the period at which we have dated our story, in Naples, where it was said the baronet had received from him very important instructions in the inner mysteries of that golden science which converts chance into certainty—a science in which Sir Richard was said to have become a masterly proficient21; and indeed so loudly had fame begun to bruit22 his excellence23 therein, that he found it at last necessary, or at least highly advisable, to forego the fascinations24 of the gaming-table, and to bid to the worship of fortune an eternal farewell, just at the moment when the fickle25 goddess promised with golden profusion26 to reward his devotion.
Whatever his reason was, Sir Richard had been to this man a good master; he had, it was said, and not without reason, enriched him; and, moreover, it was a strange fact, that in all his capricious and savage27 moods, from whose consequences not only his servants but his own children had no exemption28, he had never once treated this person otherwise than with the most marked civility. What the man's services had actually been, and to what secret influence he owed the close and confidential terms upon which he unquestionably stood with Sir Richard, these things were mysteries, and, of course, furnished inexhaustible matter of scandalous speculation29 among the baronet's dependents and most intimate friends.
The room of which we speak was Parucci's snuggery. It contained in a recess5 behind the door that gentleman's bed—a plain, low, uncurtained couch; and variously disposed about the apartment an abundance of furniture of much better kind; the recess of the window was filled by a kind of squat30 press, which was constructed in the lower part, and which contained, as certain adventurous31 chambermaids averred32, having peeped into its dim recesses when some precious opportunity presented itself, among other shadowy shapes, the forms of certain flasks34 and bottles with long necks, and several tall glasses of different dimensions. Two or three tables of various sizes of dark shining wood, with legs after the fashion of the nether35 limbs of hippogriffs and fauns, seemed about to walk from their places, and to stamp and claw at random36 about the floor. A large, old press of polished oak, with spiral pillars of the same flanking it in front, contained the more precious articles of Signor Parucci's wardrobe. Close beside it, in a small recess, stood a set of shelves, on which were piled various matters, literary and otherwise, among which perhaps none were disturbed twice in the year, with the exception of six or eight packs of cards, with which, for old associations' sake, Signor Jacopo used to amuse himself now and again in his solitary38 hours.
On one of the tables stood two blocks supporting each a flowing black peruke, which it was almost the only duty of the tenant39 of this interesting sanctuary40 to tend, and trim, and curl. Upon the dusky tapestry41 were pinned several coloured prints, somewhat dimmed by time, but evidently of very equivocal morality. A birding-piece and a fragment of a fishing-rod covered with dust, neither of which Signor Parucci had ever touched for the last twenty years, were suspended over the mantelpiece; and upon the side of the recess, and fully43 lighted by the window, in attestation44 of his gentler and more refined pursuits, hung a dingy45 old guitar apparently46 still in use, for the strings47, though a good deal cobbled and knotted, were perfect in number. A huge, high-backed, well-stuffed chair, in which a man might lie as snugly48 as a kernel49 in its shell, was placed at the window, and in it reclined the presiding genius of the place himself, with his legs elevated so as to rest upon the broad window-sill, formed by the roof of the mysterious press which we have already mentioned. The Italian was a little man, very slight, with long hair, a good deal grizzled, flowing upon his shoulders; he had a sallow complexion50 and thin hooked nose, piercing black eyes, lean cheeks, and sharp chin—and altogether a lank37, attenuated51, and somewhat intellectual cast of face, with, however, a certain expression of malice52 and cunning about the leer of his eye, as well as in the character of his thin and colourless lip, which made him by no means a very pleasant object to look upon.
"Fine weather—almost Italy," said the little man, lazily pushing open the casement with his foot. "I am surprise, good, dear, sweet Sir Richard, his bell is stop so long quiet. Why is it not go ding, ding, dingeri, dingeri, ding-a-ding, ding, as usual. Damnation! what do I care he ring de bell and I leesten. We are not always young, and I must be allow to be a leetle deaf when he is allow to be a leetle gouty. Gode blace my body, how hot is de sun. Come down here, leer of Apollo—come to my arm, meestress of my heart—Orpheus' leer, come queekly." This was addressed to the ancient instrument of music which we have already mentioned, and the invitation was accompanied by an appropriate elevation53 of his two little legs, which he raised until he gently closed his feet upon the sides of the "leer of Apollo," which, with a good deal of dexterity54, he unhung from its peg55, and conveyed within reach of his hand. He cast a look of fond admiration56 at its dingy and time-dried face, and forthwith, his heels still resting upon the window-sill, he was soon thrumming a tinkling58 symphony, none of the most harmonious59, and then, with uncommon60 zeal61, he began, to his own accompaniment, to sing some ditty of Italian love. While engaged in this refined and touching62 employment, he espied63, with unutterable indignation, a young urchin64, who, attracted by the sounds of his amorous65 minstrelsy, and with a view to torment66 the performer, who was an extremely unpopular personage, had stationed himself at a little distance before the casement, and accompanied the vocal42 performance of the Italian with the most hideous67 grimaces68, and the most absurd and insulting gesticulations.
Signor Parucci would have given a good round sum to have had the engaging boy by the ears; but this he knew was out of the question; he therefore (for he was a philosopher) played and sung on without evincing the smallest consciousness of what was going forward. His plans of vengeance69 were, however, speedily devised and no less quickly executed. There lay upon the window-sill a fragment of biscuit, which in the course of an ecstatic flourish the little man kicked carelessly over. The bait had hardly touched the ground beneath the casement when Jacopo, continuing to play and sing the while, and apparently unconscious of anything but his own music, to his infinite delight beheld70 the boy first abate71 his exertions72, and finally put an end to his affronting73 pantomime altogether, and begin to manœuvre in the direction of the treacherous74 windfall. The youth gradually approached it, and just at the moment when it was within his grasp, Signor Parucci, with another careless touch of his foot, sent over a large bow-pot well stored with clay, which stood upon the window-block. The descent of this ponderous75 missile was followed by a most heart-stirring acclamation from below; and good Mr. Parucci, clambering along the window-sill, and gazing downward, was regaled by the spectacle of the gesticulating youth stamping about the grass among what appeared to be the fragments of a hundred flower-pots, writhing76 and bellowing77 in transports of indignation and bodily torment.
"Povero ragazzo—Carissimo figlio," exclaimed the valet, looking out with an expression of infinite sweetness, "my dear child and charming boy, how 'av you broke my flower-pote, and when 'av you come here. Ah! per Bacco, I think I 'av see you before. Ah! yees, you are that sweetest leetel boy that was leestening at my music—so charming just now. How much clay is on your back! a cielo! amiable78 child, you might 'av keel yourself. Sacro numine, what an escape! Say your prayer, and thank heaven you are safe, my beautiful, sweetest, leetel boy. God blace you. Now rone away very fast, for fear you pool the other two flower-potes on your back, sweetest child. Gode bless you, amiable boy—they are very large and very heavy."
The youth took the hint, and having had quite enough of Mr. Parucci's music for the evening, withdrew under the combined influences of fury and lumbago. The little man threw himself back in his chair, and hugged his shins in sheer delight, grinning and chattering79 like a delirious80 monkey, and rolling himself about, and laughing with the most exquisite81 relish82. At length, after this had gone on for some time, with the air of a man who has had enough of trifling83, and must now apply himself to matters of graver importance, he arose, hung up his guitar, sent his chair, which was upon casters, rolling to the far end of the room, and proceeded to arrange the curls of one of the two magnificent perukes, on which it was his privilege to operate. After having applied84 himself with uncommon attention to this labour of taste for some time in silence, he retired85 a few paces to contemplate86 the effect of his performance—whereupon he fell into a musing87 mood, and began after his fashion to soliloquize with a good deal of energy and volubility in that dialect which had become more easy to him than his mother tongue.
"Corpo di Bacco! what thing is life! who would believe thirty years ago I should be here now in a barbaroose island to curl the wig of an old gouty blackguard—but what matter. I am a philosopher—damnation—it is very well as it is—per Bacco! I can go way when I like. I am reech leetle fellow, and with Sir Richard, good Sir Richard, I do always whatever I may choose. Good Sir Richard," he continued, addressing the block on which hung the object of his tasteful labours, as if it had been the baronet in person—"good Sir Richard, why are you so kind to me, when you are so cross as the old devil in hell with all the rest of the world?—why, why, why? Shall I say to you the reason, good, kind Sir Richard? Well, I weel. It is because you dare not—dare not—dare not-da-a-a-are not vaix me. I am, you know, dear Sir Richard, a poor, leetle foreigner, who is depending on your goodness. I 'ave nothing but your great pity and good charity—oh, no! I am nothing at all; but still you dare not vaix me—you moste not be angry—note at all—but very quiet—you moste not go in a passion—oh! never—weeth me—even if I was to make game of you, and to insult you, and to pool your nose."
Here the Italian seized, with the tongs88 which he had in his hand, upon that prominence in the wooden block which corresponded in position with the nose, which at other times the peruke overshadowed, and with a grin of infinite glee pinched and twisted the iron instrument until the requirements of his dramatic fancy were satisfied, when he delivered two or three sharp knocks on the smooth face of the block, and resumed his address.
"No, no—you moste not be angry, fore20 it would be great misfortune—oh, it would—if you and I should quarrel together; but tell me now, old truffatore—tell me, I say, am I not very quiet, good-nature, merciful, peetying faylow? Ah, yees—very, very—Madre di Dio—very moche; and dear, good Sir Richard, shall I tell you why I am so very good-nature? It is because I love you joste as moche as you love me—it is because, most charitable patron, it is my convenience to go on weeth you quietly and 'av no fighting yet—bote you are going to get money. Oh! so coning89 you are, you think I know nothing—you think I am asleep—bote I know it—I know it quite well. You think I know nothing about the land you take from Miss Mary. Ah! you are very coning—oh! very; but I 'av hear it all, and I tell you—and I swear per sangue di D——, when you get that money I shall, and will, and moste—mo-ooste 'av a very large, comfortable, beeg handful—do you hear me? Oh, you very coning old rascal90; and if you weel not geeve it, oh, my dear Sir Richard, echellent master, I am so moche afaid we will 'av a fight between us—a quarrel—that will spoil our love and friendship, and maybe, helas! horte your reputation—shoking—make the gentlemen spit on you, and avoid you, and call you all the ogly names—oh! shoking."
Here he was interrupted by a loud ringing in Sir Richard's chamber.
"There he is to pool his leetle bell—damnation, what noise. I weel go up joste now—time enough, dear, good, patient Sir Richard—time enough—oh, plainty, plainty."
The little man then leisurely91 fumbled92 in his pocket until he brought forth57 a bunch of keys, from which, having selected one, he applied it to the lock of the little press which we have already mentioned, whence he deliberately93 produced one of the flasks which we have hinted at, along with a tall glass with a spiral stem, and filling himself a bumper94 of the liquor therein contained, he coolly sipped95 it to the bottom, accompanied throughout the performance by the incessant96 tinkling of Sir Richard's hand-bell.
"Ah, very good, most echellent—thank you, Sir Richard, you 'av give me so moche time and so moche music, I 'av drunk your very good health."
So saying, he locked up the flask33 and glass again, and taking the block which had just represented Sir Richard in the imaginary colloquy97 in his hand, he left his own chamber, and ran upstairs to the baronet's dressing-room. He found his master alone.
"Ah, Jacopo," exclaimed the baronet, looking somewhat flushed, but speaking, nevertheless, in a dulcet98 tone enough, "I have been ringing for nearly ten minutes; but I suppose you did not hear me."
"Joste so as you 'av say," replied the man. "Your signoria is very seldom wrong. I was so charmed with my work I could not hear nothing."
"Parucci," rejoined Sir Richard, after a slight pause, "you know I keep no secrets from you."
"Ah, you flatter me, Signor—you flatter me—indeed you do," said the valet, with ironical99 humility100.
"The fact is, Jacopo," continued Sir Richard, "you already know so many of my secrets, that I have now no motive102 in excluding you from any."
"Goode, kind—oh, very kind," ejaculated the valet.
"In short," continued his master, who felt a little uneasy under the praises of his attendant—"in short, to speak plainly, I want your assistance. I know your talents well. You can imitate any handwriting you please to copy with perfect accuracy. You must copy, in the handwriting of this manuscript, the draft of a letter which I will hand you this evening. You require some little time to study the character; so take the letter with you, and be in my room at ten to-night. I will then hand you the draft of what I want written. You understand?"
"Understand! To be sure—most certilly I weel do it," replied the Italian, "so that the great devil himself will not tell the writing of the two, l'un dall' altro, one from the other. Never fear—geeve me the letter. I must learn the writing. I weel be here to-night before you are arrive, and I weel do it very fast, and so like—bote you know how well I can copy. Ah! yees; you know it, Signor. I need not tell."
"No more at present," said the baronet, with a gesture of caution. "Assist me to dress."
The Italian accordingly was soon deep in the mysteries of his elaborate functions, where we shall leave him and his master for the present.
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1
wig
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| n.假发 | |
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2
dwelling
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| n.住宅，住所，寓所 | |
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nucleus
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| n.核，核心，原子核 | |
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4
recesses
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| n.壁凹( recess的名词复数 )；（工作或业务活动的）中止或暂停期间；学校的课间休息；某物内部的凹形空间v.把某物放在墙壁的凹处( recess的第三人称单数 )；将（墙）做成凹形，在（墙）上做壁龛；休息，休会，休庭 | |
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5
recess
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| n.短期休息，壁凹（墙上装架子，柜子等凹处） | |
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projections
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| 预测( projection的名词复数 )； 投影； 投掷； 突起物 | |
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7
jutting
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| v.（使）突出( jut的现在分词 )；伸出；（从…）突出；高出 | |
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8
rambling
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| adj.[建]凌乱的，杂乱的 | |
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9
lapse
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| n.过失，流逝，失效，抛弃信仰，间隔；vi.堕落，停止，失效，流逝；vt.使失效 | |
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10
quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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prominence
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| n.突出；显著；杰出；重要 | |
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12
jutted
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| v.（使）突出( jut的过去式和过去分词 )；伸出；（从…）突出；高出 | |
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13
graceful
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| adj.优美的，优雅的；得体的 | |
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14
casement
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| n.竖铰链窗；窗扉 | |
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15
boughs
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| 大树枝( bough的名词复数 ) | |
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masonry
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| n.砖土建筑；砖石 | |
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seclusion
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| n.隐遁，隔离 | |
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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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confidential
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| adj.秘（机）密的，表示信任的，担任机密工作的 | |
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fore
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| adv.在前面；adj.先前的；在前部的；n.前部 | |
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proficient
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| adj.熟练的，精通的；n.能手，专家 | |
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bruit
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| v.散布；n.（听诊时所听到的）杂音；吵闹 | |
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excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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fascinations
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| n.魅力( fascination的名词复数 )；有魅力的东西；迷恋；陶醉 | |
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fickle
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| adj.(爱情或友谊上)易变的，不坚定的 | |
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profusion
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| n.挥霍；丰富 | |
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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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exemption
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| n.豁免，免税额，免除 | |
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speculation
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| n.思索，沉思；猜测；投机 | |
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squat
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| v.蹲坐，蹲下；n.蹲下；adj.矮胖的，粗矮的 | |
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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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averred
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| v.断言( aver的过去式和过去分词 )；证实；证明…属实；作为事实提出 | |
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flask
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| n.瓶，火药筒，砂箱 | |
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flasks
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| n.瓶，长颈瓶， 烧瓶( flask的名词复数 ) | |
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nether
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| adj.下部的，下面的；n.阴间；下层社会 | |
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random
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| adj.随机的；任意的；n.偶然的(或随便的)行动 | |
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lank
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| adj.瘦削的；稀疏的 | |
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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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tenant
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| n.承租人；房客；佃户；v.租借，租用 | |
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sanctuary
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| n.圣所，圣堂，寺庙；禁猎区，保护区 | |
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tapestry
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| n.挂毯，丰富多采的画面 | |
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vocal
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| adj.直言不讳的；嗓音的；n.[pl.]声乐节目 | |
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43
fully
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| adv.完全地，全部地，彻底地；充分地 | |
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attestation
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| n.证词 | |
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dingy
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| adj.昏暗的，肮脏的 | |
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46
apparently
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| adv.显然地；表面上，似乎 | |
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strings
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| n.弦 | |
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snugly
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| adv.紧贴地；贴身地；暖和舒适地；安适地 | |
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49
kernel
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| n.(果实的)核，仁；(问题)的中心，核心 | |
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50
complexion
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| n.肤色；情况，局面；气质，性格 | |
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51
attenuated
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| v.（使）变细( attenuate的过去式和过去分词 )；（使）变薄；（使）变小；减弱 | |
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52
malice
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| n.恶意，怨恨，蓄意；[律]预谋 | |
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53
elevation
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| n.高度；海拔；高地；上升；提高 | |
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54
dexterity
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| n.(手的)灵巧，灵活 | |
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55
peg
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| n.木栓，木钉；vt.用木钉钉，用短桩固定 | |
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56
admiration
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| n.钦佩，赞美，羡慕 | |
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57
forth
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| adv.向前；向外，往外 | |
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58
tinkling
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| n.丁当作响声 | |
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59
harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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60
uncommon
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| adj.罕见的，非凡的，不平常的 | |
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zeal
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| n.热心，热情，热忱 | |
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touching
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| adj.动人的，使人感伤的 | |
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espied
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| v.看到( espy的过去式和过去分词 ) | |
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urchin
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| n.顽童；海胆 | |
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amorous
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| adj.多情的；有关爱情的 | |
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torment
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| n.折磨；令人痛苦的东西(人)；vt.折磨；纠缠 | |
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hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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grimaces
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| n.（表蔑视、厌恶等）面部扭曲，鬼脸( grimace的名词复数 )v.扮鬼相，做鬼脸( grimace的第三人称单数 ) | |
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vengeance
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| n.报复，报仇，复仇 | |
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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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71
abate
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| vi.(风势，疼痛等)减弱，减轻，减退 | |
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exertions
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| n.努力( exertion的名词复数 )；费力；（能力、权力等的）运用；行使 | |
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affronting
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| v.勇敢地面对( affront的现在分词 )；相遇 | |
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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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ponderous
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| adj.沉重的，笨重的，(文章)冗长的 | |
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writhing
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| （因极度痛苦而）扭动或翻滚( writhe的现在分词 ) | |
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bellowing
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| v.发出吼叫声，咆哮（尤指因痛苦）( bellow的现在分词 )；（愤怒地）说出（某事），大叫 | |
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amiable
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| adj.和蔼可亲的，友善的，亲切的 | |
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chattering
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| n. （机器振动发出的）咔嗒声，(鸟等)鸣，啁啾 adj. 喋喋不休的，啾啾声的 动词chatter的现在分词形式 | |
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80
delirious
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| adj.不省人事的，神智昏迷的 | |
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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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82
relish
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| n.滋味，享受，爱好，调味品；vt.加调味料，享受，品味；vi.有滋味 | |
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trifling
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| adj.微不足道的；没什么价值的 | |
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applied
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| adj.应用的；v.应用，适用 | |
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retired
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| adj.隐退的，退休的，退役的 | |
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contemplate
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| vt.盘算，计议；周密考虑；注视，凝视 | |
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musing
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| n. 沉思，冥想 adj. 沉思的, 冥想的 动词muse的现在分词形式 | |
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88
tongs
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| n.钳；夹子 | |
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89
coning
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| 形成圆锥形；舌进；堆锥四分取样法；水舌形成 | |
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rascal
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| n.流氓；不诚实的人 | |
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leisurely
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| adj.悠闲的；从容的，慢慢的 | |
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fumbled
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| （笨拙地）摸索或处理（某事物）( fumble的过去式和过去分词 )； 乱摸，笨拙地弄； 使落下 | |
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deliberately
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| adv.审慎地；蓄意地；故意地 | |
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bumper
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| n.(汽车上的)保险杠；adj.特大的，丰盛的 | |
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sipped
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| v.小口喝，呷，抿( sip的过去式和过去分词 ) | |
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incessant
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| adj.不停的，连续的 | |
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colloquy
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| n.谈话，自由讨论 | |
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dulcet
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| adj.悦耳的 | |
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ironical
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| adj.讽刺的，冷嘲的 | |
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100
humility
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| n.谦逊，谦恭 | |
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101
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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102
motive
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| n.动机，目的；adv.发动的，运动的 | |
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