by Sarah Dunant
“And what if you drown?”
“I don’t care.” And now suddenly the girl’s voice is calm. “Whatever happens, it is better than slow death in here. Please. I beg you.”
Zuana stands paralyzed. She knows she should move, take hold of her, bring her back, but …
The moment stretches out around them.
The girl smiles. “Thank you,” she says simply.
She turns her attention to the ropes—and as she does so there is sudden movement behind them.
“Get hold of her. Stop her—now!”
It is the voice of the abbess.
Zuana responds involuntarily, throwing herself across the wood, grabbing the girl’s arm, pulling her back while she flails and kicks and yells. Within seconds the abbess is with her, grasping the other arm, wrenching the girl’s fingers off the ropes, and then both of them are dragging her away from the river’s edge, back from the boat toward the open doors, inch by screaming inch, until they cross the storeroom threshold. Anyone within listening distance will be hearing bloody murder now, though being Carnival it might be mistaken for overenthusiastic courtship.
“The keys. Give me the keys, Zuana.”
The abbess lets go of the girl to lock the doors behind them.
“Noooo!” the girl howls in the darkness, breaking free of Zuana again and throwing herself toward that disappearing sliver of freedom between the closing doors. But the abbess is there, blocking her way, and Zuana grabs her again.
“Noooo! Jacopo! Jacopo! Where are you?” The desperation bounces and echoes off the walls.
The door bangs shut, the key turns, and suddenly the outside world is gone: no lapping water, no expanse of night sky, no open air, nothing. Nothing.
“Aaah! No-o-o-o!”
The girl sags, suddenly such a dead weight that Zuana has to let her down onto the floor. The abbess recovers a hooded candle from by the door and, lifting it up, moves over to where the girl is lying, slumped and moaning in Zuana’s arms. She stares at her for a moment, then shakes her head. “It is over,” she says quietly, almost wearily. “It is over.”
But the girl is moaning to herself and does not seem to hear her.
She raises her voice. “You should thank me. You could have waited out there all night and he would still not have come.”
Now she has her attention. “What? What do you mean?”
“I mean he is not here anymore. He left Ferrara two days ago.”
“No! No, you are lying! You don’t know anything about him.”
“On the contrary, I know a great deal. I know for instance that he—Jacopo Bracciolini; that is his name, yes? — is a very fortunate young man. His composing and vocal talents have been recognized, and he has accepted an offer of work in Parma as assistant capella master. You should be happy for him. It means he is saved from the prosecution and imprisonment that would certainly have followed an attempt to kidnap a novice of one of the city’s greatest convents.” She brushes down her skirts, as if this is an ordinary matter of convent business she is now attending to. “Indeed, he is doubly lucky, since I cannot imagine any other employer would have taken him, given that he was dismissed from his last post for the attempted rape of one of his noble pupils.”
“No-o-o-o,” the girl moans.
The abbess waits. She looks at Zuana and shakes her head slightly. While there are things they must talk about, this is clearly not the time.
She bends down and offers the girl her hand. “Come. It would be best if you walked back yourself rather than having to be carried.”
But the girl recoils fiercely from her.
“You think me cruel, no doubt.” And her voice now is almost friendly. “But I am less cruel than he has been. You should know it was not hard to persuade him to abandon you. He does not really care, you see. He may say he does, he may have sworn everlasting love—I am sure he did; you were fruit ripe for picking, and had he been able to trick your father into marriage there would have been money in it for him. But in the end you are not worth the trouble you would cause him. The trouble you would cause all of them. Do you understand?”
But the girl does not answer, just moans quietly to herself.
“The truth is that God cares for you much more than any man ever will. And so will we—however much you might hate us now.”
Now the girl looks up. “You’re wrong. You’re wrong about him. He loves me. He wouldn’t just leave.”
The abbess sighs. “Believe that if you will. But believe this also.” Her tone is harder now. “For the welfare of your family and the convent, this—what happened here tonight—never took place. Is that clear? And if one word of it should become gossip, I will make sure that, however good his voice, Jacopo Bracciolini will spend the rest of his life rotting in a castle prison for gross indecency.” The girl stares at her. “I think you know by now that I can do this.”
She gets up, making a gesture to Zuana to do the same, leaving the girl curled on the ground like a broken doll.
They move quickly into the outer storeroom.
“I must return to the refectory. I have been away too long. You will have to get her back to the cloisters on your own.”
Zuana nods, though it may be too dark for it to be seen.
“Take her to her cell and stay with her until I decide what to do. Can you do that?”
It is only a short pause, nowhere near as long as the one when Zuana had stood paralyzed on the dock, with the abbess somewhere in the room behind her. But now, as then, the air is too gloomy to know for certain what anyone could have seen. Or heard.
“Yes,” she says flatly.
“Good.” The abbess moves out into the gardens, the door swinging behind her.
But inside, on the floor of the inner storeroom, the girl has already made her own decision.
While the two women have been talking, Serafina has had her fingers inside the pocket of her skirts. She has drawn out a glass vial and removed its stopper, careful not to lose a drop of the liquid as she takes it out. By the time Zuana turns back to her she has it to her mouth and is gulping greedily.
Zuana reaches her fast and smashes the bottle out of her hand so that it jumps and clatters on the stone, the glass too thick to shatter. Immediately she is on her hands and knees feeling for it, a barrage of images instantly assaulting her. She is standing in the dispensary mixing cochinilla and water, a fever cooking her brain—and there is something strange about the arrangement on the shelves in front of her. Yet when she is well and upright again and studies them more carefully, there is nothing missing; every ingredient is in its rightful place and there is no reason for her to check the level on each and every bottle.
Her fingers close around the glass. She brings it to her nose. God help us now. The ground is dry and the bottle is empty. She crawls back over to the girl, grabs her by the shoulders, and pulls her up, bringing her face so close to her own that she has to look at her. “How much, Serafina? How much was in there?”
But in answer the girl only licks her lips to make sure there is no drop left.
“Tell me!”
She shakes her head. “It’s one of the ingredients they give to those who are going to be tortured to death. Isn’t that what you told me that night?”
“Oh, Heavenly Father,” Zuana says under her breath. “What have we done to deserve this?”
She puts out her hand and strokes back the hair from the girl’s face. She looks so tired and worn. Too much youth. Too much emotion. The lunar madness that can strike some young women at the onset of menstruation. This is how it started all those months ago. Please God, don’t let it be how it finishes. “Come,” she says gently. “Come. Let’s take you somewhere more comfortable.” She picks the girl up and hauls her to her feet, noting as she does so how thin her body feels beneath the robes, so much lighter than when she lifted her up from the floor of her cell all those months ago, and she wonders how this weight loss will affect her susceptibility to the drug. But non
e of this shows in her voice, which is kind, loving almost. “So, Serafina, can you help me? Can you walk with me?”
The girl nods and starts to move her feet obediently. In the gloom she offers up what seems a crooked half smile. “I think it was enough not to feel pain. I hope so.”
CHAPTER TWENTY-NINE
THE VOMITING AND the evacuation go on through that night and into the next day.
Because Zuana has no idea how much poppy syrup the girl has drunk, she must assume the vial was full. The dose of hellebore she gives must be enough to empty her stomach but not so much that it will kill her. It is a balance no apothecary however experienced, can be sure of.
At least she is given the freedom of a night without interruption to start the process.
With the visitors gone, the abbess brings her flock together. She congratulates them on the wondrous performances of the day and the glory they have brought to Santa Caterina and announces that tonight of all nights they have earned a rest that will not be disturbed, even by prayer, so there will be no service of Matins. The convent bell will remain silent until dawn. It is a popular dispensation, for now that the excitement is over they are exhausted; indeed, a few of the younger ones even weep a little at the news. If the novice mistress does not entirely approve of the decision, she is as tired as everyone else and says nothing against it.
As the convent slides into a satisfied deep sleep, the abbess and the dispensary mistress meet in the corner cell of the main cloister, where one of them holds open a young woman’s mouth while the other pours into it a draft of poison made from pulped apple saturated with white hellebore root.
It does not take long for the first spasm to hit. Though by now she is almost unconscious, the agony is sharp enough to wake her; she opens her eyes in a kind of drugged terror and an unholy groan comes out of her mouth. Together they drag her from the bed to the floor. For the next however many hours they must keep her sitting up with her head bowed over, to facilitate the evacuation but also to stop her from drowning in her own vomit. It might be better if they could pray and the abbess is quick enough to find the right psalm on her behalf.
“O God, rebuke me not in Thine indignation, neither chasten me in Thy wrath, for I am weak and my soul is in anguish. ”
But once the spasms start in earnest, they are so violent and frequent that there is no time for speech, let alone prayer. It is physically exhausting work. The bowls Zuana brings fill and refill. When the diarrhea begins, the girl’s body is racked by double agony. The stench fast becomes almost unbearable. They roll up their sleeves and tuck their habits into their belts to avoid the worst of the contamination. They strip her down to her shift so she will soil herself as little as possible and wrap her hair in a piece of material to keep it from falling over her face into the vomit. But they can do nothing about the sweat that pours off her or the way her limbs shake uncontrollably from the spasms that crack through her body.
There are those who swear to the efficacy of hellebore as an aid to exorcism, since any demon trying to bury itself deeper to escape the burns inflicted by holy water will find its hold on the body severed from within. While Zuana has never had cause to use it in such a way, she has seen it work enough to understand what that might look like: the torso so gripped by spasm that it can go as rigid as wood, lifting the backbone high off the bed as if some spiteful spirit is controlling it from within. But what she has never witnessed before is its effect on top of such a powerful soporific. The battle between a body wanting to let go and the eruptions seizing it from within is truly terrible to watch, so that there are times when the girl feels like a rag doll held between the teeth of a great dog that shakes her to and fro before flinging her down on the ground, only to pick her up and start the whole thing again minutes later.
“Don’t be frightened, Serafina,” she finds herself whispering, as they lift her back up in anticipation of the next wave. “Remember how we said that sometimes one must use a poison to cure a poison? It will not last forever.”
But the poppy and the hellebore have her too deeply in their grip, and it feels as if there is no reaching her. Across the girl’s body, Zuana meets the abbess’s eyes and sees in them a look of such unashamed admiration that she feels almost shy. On the wall above the bed the figure of Christ looks down from a wooden crucifix. Suffering upon suffering. Who is to know how much is enough? Which sins can be forgiven and which remain?
As she falls backward into Zuana’s arms again, the girl murmurs something.
“Srree—m srree.”
Zuana puts her head close to her mouth to try to hear more but it is gone, swallowed up in a long growl of pain as her insides contract again.
Somewhere toward the end of the night the abbess leaves. She will have to appear at Lauds, and before then she must return the stolen costume to the props cupboard, cleanse and dress herself, and get at least some sleep. By now the spasms have become less frequent, and for a while Zuana wonders if the worst may be over. But almost immediately a new wave of vomiting begins, and it is all she can do to manage the girl on her own.
They had pulled the mattress down on the floor to give the girl some respite from the hard stone, and once the spasm has passed she lies flattened on it, her breathing fast and shallow, her skin covered in a mist of sweat that returns however many times Zuana mops her. How successful the hellebore has been will only become clear when the spasms finally stop and she becomes conscious again. But Zuana has no idea if—no, she will not hear that word—when that will happen.
“Out of the deep I have called unto Thee, O God. Lord, hear my voice. Let Thine ears be attentive to the voice of my supplication. ”
Outside, rain starts to fall, gentle at first, then much fiercer, with a wind driving the water. Whoever is still out after the madness of Carnival will be chased home by it. Our Lord is washing the streets clean in time for the beginning of Lent. Tomorrow the city will wake with a collective hangover and turn its face to abstinence and repentance. And if the repentance is sincere, then surely He will listen.
“If Thou, O God, shall mark iniquities, then who shall stand unaccused? Yet there is pardon of sin with Thee, that Thou mayest be feared.”
The downpour is so relentless that soon she can hear water from the roof gushing out in streams through gargoyle mouths onto the flagstones in the courtyard beneath. She has a sudden desire to be out in it, to be standing in the middle of the deluge, drowning in its freshness.
The cloth of her habit is stiff with vomit and traces of feces, and the smell is so pungent that the girl’s condition will surely become obvious to everyone as soon as they wake. She turns her on her side in case another spasm should take her and quickly slips out of the cell into the courtyard, taking the bowls with her. She puts them on the ground and the water hammers down into them. She washes them out as best she can and lets them fill again as she lifts her face to the rain. The night is black, the half-moon that was there before engulfed in thick cloud. Within minutes she is soaked, gasping with the cold. But she is also awake. On the river the wind will be smashing the rowboat against the dock, the convent doors behind closed and locked. But then nothing happened there tonight, did it? Did it? She will not think about that now.
She goes back into the cell with the fresh water and washes the girl as best she can.
“Purge Thou me with hyssop and I shall be clean; wash Thou me, and I shall be whiter than snow. Turn Thy face from my sins and wipe out all my misdeeds, make Thou unto me a clean heart, O Lord, and renew a right spirit within me. ”
There are a dozen other psalms she could recite: verses of supplication, cries of shame and guilt, calls for repentance, for forgiveness, for God’s boundless mercy. But sitting over the novice’s unconscious body, she is suddenly no longer sure about their efficacy; while the words are fine enough, none of them say what really needs to be said here.
The truth is that forgiveness can come only to those who are repentant. Yet the girl lying on the pallet is s
ixteen years old, in love, and incarcerated against her will. What if, when she wakes and finds herself back in her cell for the rest of her life, she is not sorry for what she has done, only sorry that she has failed in the doing of it? The list of her sins is long: deceit, cunning, rage, lies, lust, disobedience. But the worst is surely despair. Sworn to silence now, where will she go for relief? Without the intervention of God’s grace as well as His penance, what reason will she have not to fall prey to desperation?
“Forgive me, Lord, for not seeing what was in front of my eyes. ”
The girl is not the only one in need of grace and forgiveness. Zuana bows her head on her own behalf.
“Forgive me for not recognizing her despair. For thinking only of my own sadness when I should have been listening to that of others. For not keeping guard over the poppy syrup in the dispensary. For my loss of concentration during the play. Forgive me for being too proud or too blind or too busy. For all these sins send me penance and, in Your infinite mercy, if it be possible, save this young woman from further torment.”
After a while she notices a muddy line of light under the door of the cell; dawn has come, muted this morning by the rain. She hears the bell for Lauds, followed by the watch sister’s steps and the slapping of sandals on the soaked stone. She sits back against the wall and closes her eyes.
She has no idea of how long she sleeps. The day has already begun when the sound of groaning and the smell of fresh feces wake her.
Outside, the sisters go about their daily business, moving quietly around them. The news has traveled fast. Santa Caterina’s songbird has been taken ill with sudden fitting and from where a lovely voice once came, now there is only a river of vomit. Her condition is grave. There is talk of how the cell itself is cursed; of how its predecessor, Suora Tommasa, had been healthy—and sweet-voiced also—until one day she was found throwing up her life all over the walls. This story is given more credence by the fact that the cell, even the cloister corridor close to it, has been placed strictly out of bounds, as if there were indeed some hideous contagion at work there.