massimilla doni-第8章

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〃I　do　love　him　with　all　my　might；〃　replied　the　Duchess。

〃Then　why　does　not　he　look　happy？〃

Massimilla's　reply　was　a　little　shrug　of　her　shoulders。

We　in　FranceFrance　as　the　growing　mania　for　English　proprieties　has
made　itcan　form　no　idea　of　the　serious　interest　taken　in　this　affair
by　Venetian　society。

Vendramini　alone　knew　Emilio's　secret；　which　was　carefully　kept
between　two　men　who　had；　for　private　pleasure；　combined　their　coats　of
arms　with　the　motto　/Non　amici；　frates/。



The　opening　night　of　the　opera　season　is　an　event　at　Venice；　as　in
every　capital　in　Italy。　The　/Fenice/　was　crowded。

The　five　hours　of　the　night　that　are　spent　at　the　theatre　fill　so
important　a　place　in　Italian　life　that　it　is　well　to　give　an　account
of　the　customs　that　have　risen　from　this　manner　of　spending　time。

The　boxes　in　Italy　are　unlike　those　of　any　other　country；　inasmuch　as
that　elsewhere　the　women　go　to　be　seen；　and　that　Italian　ladies　do　not
care　to　make　a　show　of　themselves。　Each　box　is　long　and　narrow；
sloping　at　an　angle　to　the　front　and　to　the　passage　behind。　On　each
side　is　a　sofa；　and　at　the　end　stand　two　armchairs；　one　for　the
mistress　of　the　box；　and　the　other　for　a　lady　friend　when　she　brings
one；　which　she　rarely　does。　Each　lady　is　in　fact　too　much　engaged　in
her　own　box　to　call　on　others；　or　to　wish　to　see　them；　also　no　one
cares　to　introduce　a　rival。　An　Italian　woman　almost　always　reigns
alone　in　her　box；　the　mothers　are　not　the　slaves　of　their　daughters；
the　daughters　have　no　mother　on　their　hands；　thus　there　are　no
children；　no　relations　to　watch　and　censure　and　bore；　or　cut　into　a
conversation。

In　front　every　box　is　draped　in　the　same　way；　with　the　same　silk：　from
the　cornice　hang　curtains；　also　all　to　match；　and　these　remain　drawn
when　the　family　to　whom　the　box　belongs　is　in　mourning。　With　very　few
exceptions；　and　those　only　at　Milan；　there　is　no　light　inside　the　box；
they　are　illuminated　only　from　the　stage；　and　from　a　not　very
brilliant　hanging　lustre　which；　in　spite　of　protests；　has　been
introduced　into　the　house　in　some　towns；　still；　screened　by　the
curtains；　they　are　never　very　light；　and　their　arrangement　leaves　the
back　of　the　box　so　dark　that　it　is　very　difficult　to　see　what　is　going
on。

The　boxes；　large　enough　to　accommodate　eight　or　ten　persons；　are
decorated　with　handsome　silks；　the　ceilings　are　painted　and　ornamented
in　light　and　pleasing　colors；　the　woodwork　is　gilt。　Ices　and　sorbets
are　served　there；　and　sweetmeats；　for　only　the　plebeian　classes　ever
have　a　serious　meal。　Each　box　is　freehold　property；　and　of
considerable　value；　some　are　estimated　at　as　much　as　thirty　thousand
lire；　the　Litta　family　at　Milan　own　three　adjoining。　These　facts
sufficiently　indicate　the　importance　attributed　to　this　incident　of
fashionable　life。

Conversation　reigns　supreme　in　this　little　apartment；　which　Stendhal；
one　of　the　most　ingenious　of　modern　writers；　and　a　keen　student　of
Italian　manners；　has　called　a　boudoir　with　a　window　opening　on　to　a
pit。　The　music　and　the　spectacle　are　in　fact　purely　accessory；　the
real　interest　of　the　evening　is　in　the　social　meeting　there；　the　all…
important　trivialities　of　love　that　are　discussed；　the　assignations
held；　the　anecdotes　and　gossip　that　creep　in。　The　theatre　is　an
inexpensive　meeting…place　for　a　whole　society　which　is　content　and
amused　with　studying　itself。

The　men　who　are　admitted　take　their　seats　on　one　of　the　sofas；　in　the
order　of　their　arrival。　The　first　comer　naturally　is　next　to　the
mistress　of　the　box；　but　when　both　seats　are　full；　if　another　visitor
comes　in；　the　one　who　has　sat　longest　rises；　takes　his　leave　and
departs。　All　move　up　one　place；　and　so　each　in　turn　is　next　the
sovereign。

This　futile　gossip；　or　serious　colloquy；　these　elegant　trivialities　of
Italian　life；　inevitably　imply　some　general　intimacy。　The　lady　may　be
in　full　dress　or　not；　as　she　pleases。　She　is　so　completely　at　home
that　a　stranger　who　has　been　received　in　her　box　may　call　on　her　next
day　at　her　residence。　The　foreign　visitor　cannot　at　first　understand
this　life　of　idle　wit；　this　/dolce　far　niente/　on　a　background　of
music。　Only　long　custom　and　keen　observation　can　ever　reveal　to　a
foreigner　the　meaning　of　Italian　life；　which　is　like　the　free　sky　of
the　south；　and　where　a　rich　man　will　not　endure　a　cloud。　A　man　of　rank
cares　little　about　the　management　of　his　fortune；　he　leaves　the
details　to　his　stewards　（ragionati）；　who　rob　and　ruin　him。　He　has　no
instinct　for　politics；　and　they　would　presently　bore　him；　he　lives
exclusively　for　passion；　which　fills　up　all　his　time；　hence　the
necessity　felt　by　the　lady　and　her　lover　for　being　constantly
together；　for　the　great　feature　of　such　a　life　is　the　lover；　who　for
five　hours　is　kept　under　the　eye　of　a　woman　who　has　had　him　at　her
feet　all　day。　Thus　Italian　habits　allow　of　perpetual　satisfaction；　and
necessitate　a　constant　study　of　the　means　fitted　to　insure　it；　though
hidden　under　apparent　light…heartedness。

It　is　a　beautiful　life；　but　a　reckless　one；　and　in　no　country　in　the
world　are　men　so　often　found　worn　out。

The　Duchess'　box　was　on　the　pit　tier/pepiano/；　as　it　is　called　in
Venice；　she　always　sat　where　the　light　from　the　stage　fell　on　her
face；　so　that　her　handsome　head；　softly　illuminated；　stood　out　against
the　dark　background。　The　Florentine　attracted　every　gaze　by　her　broad；
high　brow；　as　white　as　snow；　crowned　with　plaits　of　black　hair　that
gave　her　a　really　royal　look；　by　the　refinement　of　her　features；
resembling　the　noble　features　of　Andrea　del　Sarto's　heads；　by　the
outline　of　her　face；　the　setting　of　her　eyes；　and　by　those　velvet　eyes
themselves；　which　spoke　of　the　rapture　of　a　woman　dreaming　of
happiness；　still　pure　though　loving；　at　once　attractive　and　dignified。

Instead　of　/Mose/；　in　which　la　Tinti　was　to　have　appeared　with
Genovese；　/Il　Barbiere/　was　given；　and　the　tenor　was　to　sing　without
the　celebrated　prima　donna。　The　manager　announced　that　he　had　been
obliged　to　change　the　opera　in　consequence　of　la　Tinti's　being　ill；
and　the　Duke　was　not　to　be　seen　in　the　theatre。

Was　this　a　clever　trick　on　the　part　of　the　management；　to　secure　two
full　houses　by　bringing　out　Genovese　and　Tinti　separately；　or　was
Clarina's　indisposition　genuine？　While　this　was　open　to　discussion　by
others；　Emilio　might　be　better　informed；　and　though　the　announcement
caused　him　some　remorse；　as　he　remembered　the　singer's　beauty　and
vehemence；　her　absence　and　the　Duke's　put　both　the　Prince　and　the
Duchess　very　much　at　their　ease。

And　Genovese　sang　in　such　a　way　as　to　drive　out　all　memories　of　a
night　of　illicit　love；　and　to　prolong　the　heavenly　joys　of　this
blissful　day。　Happy　to　be　alone　to　receive　the　applause　of　the　house；
the　tenor　did　his　best　with　the　powers　which　have　since　achieved
European　fame。　Genovese；　then　but　three…and…twenty；　born　at　Bergamo；　a
pupil　of　Veluti's　and　devoted　to　his　art；　a　fine　man；　good…looking；
clever　in　apprehending　the　spirit　of　a　part；　was　already　developing
into　the　great　artist　destined　to　win　fame　and　fortune。　He　had　a　wild
success；a　phrase　which　is　literally　exact　only　in　Italy；　where　the
applause　of　the　house　is　absolutely　frenzied　when　a　singer　procures　it
enjoyment。

Some　of　the　Prince's　friends　came　to　congratulate　him　on　coming　into
his　title；　and　to　discuss　the　news。　Only　last　evening　la　Tinti；　taken
by　the　Duke　to　the　Vulpatos'；　had　sung　there；　apparently　in　health　as
sound　as　her　voice　was　fine；　hence　her　sudden　disposition　gave　rise　to
much　comment。　It　was　rumored　at　the　Cafe　Florian　that　Genovese　was
desperately　in　love　with　Clarina；　that　she　was　only　anxious　to　avoid
his　declarations；　and　that　the　manager　had　tried　in　vain　to　induce　her
to　appear　with　him。　The　Austrian　General；　on　the　other　hand；　asserted
that　it　was　the　Duke　who　was　ill；　that　the　prima　donna　was　nursing
him；　and　that　Genovese　had　been　commanded　to　make　amends　to　the
public。

The　Duchess　owed　this　visit　from　the　Austrian　General　to　the　fact　that
a　French　physician　had　come　to　Venice　whom　the　General　wished　to
introduce　to　her。　The　Prince；　seeing　Vendramin　wandering　about　the
/parterre/；　went　out　fo