To this dialogue, however, the officials put a speedy conclusion; Schedoni was led back to his cell, and Vivaldi was soon after ordered to his former close confinement.
But Paulo became again outrageous, when he was about to be separated from his master, till the latter, having petitioned the tribunal, that his servant might accompany him to his prison, and received an absolute refusal, endeavoured to calm the violence of his despair. He fell at his master’s feet, and shed tears, but he uttered no further complaints. When he rose, he turned his eyes in silence upon Vivaldi, and they seemed to say, “Dear master! I shall never see you more!” and with this sad expression, he continued to gaze on him till he had left the hall.
Vivaldi, notwithstanding the various subjects of his distress, could not bear to meet the piteous looks of this poor man, and he withdrew his eyes; yet, at every other step he took, they constantly returned to his faithful servant, till the doors solded him from sight.
When he had quitted the hall, Vivaldi pleaded, however hopelessly, to the officials, in favour of Paulo, entreating that they would speak to the persons, who kept guard over him, and prevail with them to shew him every allowable indulgence.
“No indulgence can be allowed him,” replied one of the men, “except bread and water, and the liberty of walking in his cell.”
“No other!” said Vivaldi.
“None,” repeated the official. “This prisoner has been near getting one of his guards into a scrape already, for, somehow or other, he so talked him over, and won upon him, (for he is but a young one here) that the man let him have a light, and a pen and ink; but, luckily, it was found out, before any harm was done.”
“And what became of this honest fellow?” inquired Vivaldi.
“Honest! he was none so honest, either, Signor, if he could not mind his duty.”
“Was he punished, then?”
“No, Signor,” replied the man, pausing, and looking back upon the long avenue they were passing, to inquire whether he was observed to hold this conversation with a prisoner: “no, Signor, he was a younker, so they let him off for once, and sent him to guard a man, who was not so sull of his coaxing ways.”
“Paulo made him merry, perhaps?” asked Vivaldi. “What were the coaxing ways you spoke of?”
“Merry, Signor! no! he made him cry, and that was as bad.”
“Indeed!” said Vivaldi. “The man must have been here, then, a very short time.”
“Not more than a month, or so, Signor.”
“But the coaxing ways you talked of,” repeated Vivaldi, “what were they? — a ducat, or so?”
“A ducat!” exclaimed the man, “no! not a paolo!”
“Are you sure of that?” cried Vivaldi, shrewdly.
“Aye, sure enough, Signor. This fellow is not worth a ducat in the world!”
“But his master is, friend,” observed Vivaldi, in a very low voice, while he put some money into his hand.
The officer made no answer, but concealed the money, and nothing further was said.
Vivaldi had given this as a bribe, to procure some kindness for his servant, not from any consideration of himself, for his own critical situation had ceased at this time to be a subject of anxiety with him. His mind was at present strangely agitated between emotions the most opposite in their nature, the joy which a discovery of Ellena’s safety inspired, and the horrible suspicion that Schedoni’s assurances of relationship occasioned. That his Ellena was the daughter of a murderer, that the father of Ellena should be brought to ignominious death, and that he himself, however unintentionally, should have assisted to this event, were considerations almost too horrible to be sustained! Vivaldi sought refuge from them in various conjectures as to the motive, which might have induced Schedoni to assert a falshood in this instance; but that of revenge alone appeared plausible; and even this surmise was weakened, when he considered that the Confessor had assured him of Ellena’s safety, an assurance which, as Vivaldi did not detect the selfish policy connected with it, he believed Schedoni would not have given, had his general intent towards him been malicious. But it was possible, that this very information, on which all his comfort reposed, might be false, and had been given only for the purpose of inflicting the anguish a discovery of the truth must lead to! With an anxiety so intense, as almost to overcome his faculty of judging, he examined every minute probability relative to this point, and concluded with believing that Schedoni had, in this last instance, at least, spoken honestly.
Whether he had done so in his first assertion was a question, which had raised in Vivaldi’s mind a tempest of conjecture and of horror; for, while the subject of it was too astonishing to be fully believed, it was, also, too dreadful, not to be apprehended even as a possibility.
Chapter 29
O holy nun! why bend the mournful head?
Why fall those tears from lids uplift in pray’r?
Why o’er thy pale cheek steals the feeble blush,
Then fades, and leaves it wan as the lily
On which a moonbeam falls?
While these events were passing in the prisons of the Inquisition at Rome, Ellena, in the sanctuary of Our Lady of Pity, remained ignorant of Schedoni’s arrest, and of Vivaldi’s situation. She understood that the Confessor was preparing to acknowledge her for his daughter, and believed that she comprehended also the motive for his absence; but, though he had forbidden her to expect a visit from him till his arrangement should be completed, he had promised to write in the mean time, and inform her of all the present circumstances of Vivaldi; his unexpected silence had excited, therefore, apprehensions as various, though not so terrible, as those which Vivaldi had suffered for her; nor did the silence of Vivaldi himself appear less extraordinary.
“His confinement must be severe indeed,” said the afflicted Ellena, “since he cannot relieve my anxiety by a single line of intelligence. Or, perhaps, harassed by unceasing opposition, he has submitted to the command of his family, and has consented to forget me. Ah! why did I leave the opportunity for that command to his family; why did I not enforce it myself!”
Yet, while she uttered this self-reproach, the tears she shed contradicted the pride which had suggested it; and a conviction lurking in her heart that Vivaldi could not so resign her, soon dissipated those tears. But other conjectures recalled them; it was possible that he was ill — that he was dead!
In such vague and gloomy surmise her days passed away; employment could no longer withdraw her from herself, nor music, even for a moment, charm away the sense of sorrow; yet she regularly partook of the various occupations of the nuns; and was so far from permitting herself to indulge in any useless expression of anxiety, that she had never once disclosed the sacred subject of it; so that, though she could not assume an air of cheerfulness, she never appeared otherwise than tranquil. Her most soothing, yet perhaps most melancholy hour, was when about sun-set she could withdraw unnoticed, to the terrace among the rocks, that overlooked the convent, and formed a part of its domain. There, alone and relieved from all the ceremonial restraints of the society, her very thoughts seemed more at liberty. As, from beneath the light foliage of the accacias, or the more majestic shade of the plane-trees that waved their branches over the many-coloured cliffs of this terrace, Ellena looked down upon the magnificent scenery of the bay, it brought back to memory, in sad yet pleasing detail, the many happy days she had passed on those blue waters, or on the shores, in the society of Vivaldi and her departed relative Bianchi; and every point of the prospect marked by such remembrance, which the veiling distance stole, was rescued by imagination, and pictured by affection in tints more animated than those of brightest nature.
One evening Ellena had lingered on the terrace later than usual. She had watched the rays retiring from the highest points of the horizon, and the fading imagery of the lower scene, till, the sun having sunk into the waves, all colouring was withdrawn, except an empurpling and reposing hue, which overspread the waters and the heavens, and blended i
n soft confusion every feature of the landscape The roofs and slender spires of the Santa della Pieta, with a single tower of the church rising loftily over every other part of the buildings that composed the convent, were fading fast from the eye; but the solemn tint that invested them accorded so well with their style, that Ellena was unwilling to relinquish this interesting object. Suddenly she perceived through the dubious light an unusual number of moving figures in the court of the great cloister, and listening, she fancied she could distinguish the murmuring of many voices. The white drapery of the nuns rendered them conspicuous as they moved, but it was impossible to ascertain who were the individuals engaged in this bustle. Presently the assemblage dispersed; and Ellena, curious to understand the occasion of what she had observed, prepared to descend to the convent.
She had left the terrace, and was about to enter a long avenue of chesnuts that extended to a part of the convent, communicating immediately with the great court, when she heard approaching steps, and, on turning into the walk, perceived several persons advancing in the shady distance. Among the voices, as they drew nearer, she distinguished one whose interesting tone engaged all her attention, and began also to awaken memory. She listened, wondered, doubted, hoped, and feared! It spoke again! Ellena thought she could not be deceived in those tender accents, so full of intelligence, so expressive of sensibility and refinement. She proceeded with quicker steps, yet faltered as she drew near the group, and paused to discern whether among them was any figure that might accord with the voice and justify her hopes.
The voice spoke again; it pronounced her name; pronounced it with the tremblings of tenderness and impatience, and Ellena scarcely dared to trust her senses, when she beheld Olivia, the nun of San Stefano, in the cloisters of the Della Pieta!
Ellena could find no words to express her joy and surprise on beholding her preserver in safety, and in these quiet groves; but Olivia repaid all the affectionate caresses of her young friend, and, while she promised to explain the circumstance that had led to her present appearance here, she, in her turn, made numerous inquiries relative to Ellena’s adventures after she had quitted San Stefano. They were now, however, surrounded by too many auditors to allow of unreserved conversation; Ellena, therefore, led the nun to her apartment, and Olivia then explained her reasons for having left the convent of San Stefano, which were indeed sufficient to justify, even with the most rigid devotee, her conduct as to the change. This unfortunate recluse, it appeared, persecuted by the suspicions of the abbess, who understood that she had assisted in the liberation of Ellena, had petitioned the bishop of her diocese for leave to remove to the Santa della Pieta. The abbess had not proof to proceed formally against her, as an accomplice in the escape of a novice, for though Jeronimo could have supplied the requisite evidence, he was too deeply implicated in this adventure to do so without betraying his own conduct. From his having withheld such proof, it appears, however, that accident rather than design had occasioned his failure on the evening of Ellena’s departure from the monastery. But, though the abbess had not testimony enough for legal punishment, she was acquainted with circumstances sufficient to justify suspicion, and had both the inclination and the power to render Olivia very miserable.
In her choice of the Santa della Pieta, the nun was influenced by many considerations, some of which were the consequence of conversations she had held with Ellena respecting the state of that society. Her design she had been unable to disclose to her friend, lest, by a discovery of such correspondence, the abbess of San Stefano should obtain grounds on which to proceed against her. Even in her appeal to the bishop the utmost caution and secrecy had been necessary, till the order for her removal, procured not without considerable delay and difficulty, arrived, and when it came, the jealous anger of the superior rendered an immediate departure necessary.
Olivia, during many years, had been unhappy in her local circumstances, but it is probable she would have concluded her days within the walls of San Stefano, had not the aggravated oppression of the abbess aroused her courage and activity, and dissipated the despondency, with which severe misfortune had obscured her views.
Ellena was particular in her inquiries whether any person of the monastery had suffered for the assistance they had given her; but learned that not one, except Olivia, had been suspected of befriending her; and then understood, that the venerable friar, who had dared to unfasten the gate which restored her with Vivaldi to liberty, had not been involved by his kindness.
“It is an embarrassing and rather an unusual circumstance,” concluded Olivia, “to change one’s convent; but you perceive the strong reasons which determined me upon a removal. I was, however, perhaps, the more impatient of severe treatment, since you, my sister, had described to me the society of Our Lady of Pity, and since I believed it possible that you might form a part of it. When, on my arrival here, I learned that my wishes had not deceived me on this point, I was impatient to see you once more, and as soon as the ceremonies attending an introduction to the superior were over, I requested to be conducted to you, and was in search of you when we met in the avenue. It is unnecessary for me to insist upon the satisfaction, which this meeting gives me; but you may not, perhaps, understand how much the manners of our lady abbess, and of the sisterhood in general, as far as a first interview will allow me to judge of them, have reanimated me. The gloom, which has long hung over my prospects, seems now to open, and a distant gleam promises to light up the evening of my stormy day.”
Olivia paused and appeared to recollect herself; this was the first time she had made so direct a reference to her own misfortunes; and, while Ellena silently remarked it, and observed the dejection, which was already stealing upon the expressive countenance of the nun, she wished, yet feared to lead her back towards the subject of them.
Endeavouring to dismiss some painful remembrance, and assuming a smile of languid gaiety, Olivia said, “Now that I have related the history of my removal; and sufficiently indulged my egotism, will you let me hear what adventures have be fallen you, my young friend, since the melancholy adieu you gave me in the gardens of San Stefano.”
This was a task, to which Ellena’s spirits, though revived by the presence of Olivia, were still unequal. Over the scenes of her past distress Time had not yet drawn his shadowing veil; the colours were all too fresh and garish for the meek dejection of her eye, and the subject was too intimately connected with that of her present anxiety, to be reviewed without very painful feelings. She therefore requested Olivia to spare her from a detail of particulars, which she could not recollect but with extreme reluctance; and, scrupulously observing the injunction of Schedoni, she merely mentioned her separation from Vivaldi upon the banks of the Celano, and that a variety of distressing circumstances had intervened before she could regain the sanctuary of the della Pieta.
Olivia understood too well the kind of feelings, from which Ellena was desirous of escaping, willingly to subject her to a renewal of them; and felt too much generous compassion for her sufferings not to endeavour to soothe the sense of them by an exertion of those delicate and nameless arts which, while they mock detection, fascinate the weary spirit as by a charm of magic!
The friends continued in conversation, till a chime from a chapel of the convent summoned them to the last vespers; and, when the service had concluded, they separated for the night.
With the society of the Santa della Pieta, Olivia had thus found an asylum such as till lately she had never dared to hope for; but, though she frequently expressed her sense of this blessing, it was seldom without tears; and Ellena observed, with some surprise and more disappointment, within a very few days after her arrival, a cloud of melancholy spreading again over her mind.
But a nearer interest soon withdrew Ellena’s attention from Olivia to fix it upon Vivaldi; and, when she saw her infirm old servant, Beatrice, enter a chamber of the convent, she anticipated that the knowledge of some extraordinary, and probably unhappy, event had brought her. She knew too
well the circumspection of Schedoni to believe that Beatrice came commissioned from him; and as the uncertain situation of Vivaldi was so constantly the subject of her anxiety, she immediately concluded that her servant came to announce some evil relative to him. — His indisposition, perhaps his actual confinement in the Inquisition, which lately she had sometimes been inclined to think might not have been a mere menace to Vivaldi, though it had proved to be no more to herself; — or possibly she came to tell of his death — his death in those prisons! This last was a possibility that almost incapacitated her for inquiring what was the errand of Beatrice.
The old servant, trembling and wan, either from the fatigue of her walk, or from a consciousness of disastrous intelligence, seated herself without speaking, and some moments elapsed before she could be prevailed with to answer the repeated inquiries of Ellena.
“O Signora!” said she, at length, “you do not know what it is to walk up hill such a long way, at my age! Well! heaven protect you, I hope you never will!”
“I perceive you bring ill news,” said Ellena; “I am prepared for it, and you need not fear to tell me all you know.”
“Holy San Marco!” exclaimed Beatrice, “if death be ill news, you have guessed right, Signora, for I do bring news of that, it is certain. How came you, Lady, to know my errand? They have been beforehand with me, I see, though I have not walked so fast up hill this many a day, as I have now, to tell you what has happened.”
She stopped on observing the changing countenance of Ellena, who tremulously called upon her to explain what had happened — who was dead; and entreated her to relate the particulars as speedily as possible.
Delphi Complete Works of Ann Radcliffe (Illustrated) Page 211