Delphi Complete Works of Nathaniel Hawthorne (Illustrated) (109 page)
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Authors: NATHANIEL HAWTHORNE
Donatello, while it was still a doubtful question betwixt afternoon and morning, set forth to keep the appointment which Miriam had carelessly tendered him in the grounds of the Villa Borghese. The entrance to these grounds (as all my readers know, for everybody nowadays has been in Rome) is just outside of the Porta del Popolo. Passing beneath that not very impressive specimen of Michael Angelo's architecture, a minute's walk will transport the visitor from the small, uneasy, lava stones of the Roman pavement into broad, gravelled carriage-drives, whence a little farther stroll brings him to the soft turf of a beautiful seclusion. A seclusion, but seldom a solitude; for priest, noble, and populace, stranger and native, all who breathe Roman air, find free admission, and come hither to taste the languid enjoyment of the day-dream that they call life.
But Donatello's enjoyment was of a livelier kind. He soon began to draw long and delightful breaths among those shadowy walks. Judging by the pleasure which the sylvan character of the scene excited in him, it might be no merely fanciful theory to set him down as the kinsman, not far remote, of that wild, sweet, playful, rustic creature, to whose marble image he bore so striking a resemblance. How mirthful a discovery would it be (and yet with a touch of pathos in it), if the breeze which sported fondly with his clustering locks were to waft them suddenly aside, and show a pair of leaf-shaped, furry ears! What an honest strain of wildness would it indicate! and into what regions of rich mystery would it extend Donatello's sympathies, to be thus linked (and by no monstrous chain) with what we call the inferior trioes of being, whose simplicity, mingled with his human intelligence, might partly restore what man has lost of the divine!
The scenery amid which the youth now strayed was such as arrays itself in the imagination when we read the beautiful old myths, and fancy a brighter sky, a softer turf, a more picturesque arrangement of venerable trees, than we find in the rude and untrained landscapes of the Western world. The ilex-trees, so ancient and time-honored were they, seemed to have lived for ages undisturbed, and to feel no dread of profanation by the axe any more than overthrow by the thunder-stroke. It had already passed out of their dreamy old memories that only a few years ago they were grievously imperilled by the Gaul's last assault upon the walls of Rome. As if confident in the long peace of their lifetime, they assumed attitudes of indolent repose. They leaned over the green turf in ponderous grace, throwing abroad their great branches without danger of interfering with other trees, though other majestic trees grew near enough for dignified society, but too distant for constraint. Never was there a more venerable quietude than that which slept among their sheltering boughs; never a sweeter sunshine than that now gladdening the gentle gloom which these leafy patriarchs strove to diffuse over the swelling and subsiding lawns.
In other portions of the grounds the stone-pines lifted their dense clump of branches upon a slender length of stem, so high that they looked like green islands in the air, flinging down a shadow upon the turf so far off that you hardly knew which tree had made it. Again, there were avenues of cypress, resembling dark flames of huge funeral candles, which spread dusk and twilight round about them instead of cheerful radiance. The more open spots were all abloom, even so early in the season, with anemones of wondrous size, both white and rose-colored, and violets that betrayed themselves by their rich fragrance, even if their blue eyes failed to meet your own. Daisies, too, were abundant, but larger than the modest little English flower, and therefore of small account.
These wooded and flowery lawns are more beautiful than the finest of English park scenery, more touching, more impressive, through the neglect that leaves Nature so much to her own ways and methods. Since man seldom interferes with her, she sets to work in her quiet way and makes herself at home. There is enough of human care, it is true, bestowed, long ago and still bestowed, to prevent wildness from growing into deformity; and the result is an ideal landscape, a woodland scene that seems to have been projected out of the poet's mind. If the ancient Faun were other than a mere creation of old poetry, and could have reappeared anywhere, it must have been in such a scene as this.
In the openings of the wood there are fountains plashing into marble basins, the depths of which are shaggy with water-weeds; or they tumble like natural cascades from rock to rock, sending their murmur afar, to make the quiet and silence more appreciable. Scattered here and there with careless artifice, stand old altars bearing Roman inscriptions. Statues, gray with the long corrosion of even that soft atmosphere, half hide and half reveal themselves, high on pedestals, or perhaps fallen and broken on the turf. Terminal figures, columns of marble or granite porticos, arches, are seen in the vistas of the wood-paths, either veritable relics of antiquity, or with so exquisite a touch of artful ruin on them that they are better than if really antique. At all events, grass grows on the tops of the shattered pillars, and weeds and flowers root themselves in the chinks of the massive arches and fronts of temples, and clamber at large over their pediments, as if this were the thousandth summer since their winged seeds alighted there.
What a strange idea — what a needless labor — to construct artificial ruins in Rome, the native soil of ruin! But even these sportive imitations, wrought by man in emulation of what time has done to temples and palaces, are perhaps centuries old, and, beginning as illusions, have grown to be venerable in sober earnest. The result of all is a scene, pensive, lovely, dreamlike, enjoyable and sad, such as is to be found nowhere save in these princely villa-residences in the neighborhood of Rome; a scene that must have required generations and ages, during which growth, decay, and man's intelligence wrought kindly together, to render it so gently wild as we behold it now.
The final charm is bestowed by the malaria. There is a piercing, thrilling, delicious kind of regret in the idea of so much beauty thrown away, or only enjoyable at its half-development, in winter and early spring, and never to be dwelt amongst, as the home scenery of any human being. For if you come hither in summer, and stray through these glades in the golden sunset, fever walks arm in arm with you, and death awaits you at the end of the dim vista. Thus the scene is like Eden in its loveliness; like Eden, too, in the fatal spell that removes it beyond the scope of man's actual possessions. But Donatello felt nothing of this dream-like melancholy that haunts the spot. As he passed among the sunny shadows, his spirit seemed to acquire new elasticity. The flicker of the sunshine, the sparkle of the fountain's gush, the dance of the leaf upon the bough, the woodland fragrance, the green freshness, the old sylvan peace and freedom, were all intermingled in those long breaths which he drew.
The ancient dust, the mouldiness of Rome, the dead atmosphere in which he had wasted so many months, the hard pavements, the smell of ruin and decaying generations, the chill palaces, the convent bells, the heavy incense of altars, the life that he had led in those dark, narrow streets, among priests, soldiers, nobles, artists, and women, — all the sense of these things rose from the young man's consciousness like a cloud which had darkened over him without his knowing how densely.
He drank in the natural influences of the scene, and was intoxicated as by an exhilarating wine. He ran races with himself along the gleam and shadow of the wood-paths. He leapt up to catch the overhanging bough of an ilex, and swinging himself by it alighted far onward, as if he had flown thither through the air. In a sudden rapture he embraced the trunk of a sturdy tree, and seemed to imagine it a creature worthy of affection and capable of a tender response; he clasped it closely in his arms, as a Faun might have clasped the warm feminine grace of the nymph, whom antiquity supposed to dwell within that rough, encircling rind. Then, in order to bring himself closer to the genial earth, with which his kindred instincts linked him so strongly, he threw himself at full length on the turf, and pressed down his lips, kissing the violets and daisies, which kissed him back again, though shyly, in their maiden fashion.
While he lay there, it was pleasant to see how the green and blue lizards, who had beta basking on some rock or on a fallen pillar that absorbed the warmth of the sun, scrupled not to scramble over him with their small feet; and how the birds alighted on the nearest twigs and sang their little roundelays unbroken by any chirrup of alarm; they recognized him, it may be, as something akin to themselves, or else they fancied that he was rooted and grew there; for these wild pets of nature dreaded him no more in his buoyant life than if a mound of soil and grass and flowers had long since covered his dead body, converting it back to the sympathies from which human existence had estranged it.
All of us, after a long abode in cities, have felt the blood gush more joyously through our veins with the first breath of rural air; few could feel it so much as Donatello, a creature of simple elements, bred in the sweet sylvan life of Tuscany, and for months back dwelling amid the mouldy gloom and dim splendor of old Rome. Nature has been shut out for numberless centuries from those stony-hearted streets, to which he had latterly grown accustomed; there is no trace of her, except for what blades of grass spring out of the pavements of the less trodden piazzas, or what weeds cluster and tuft themselves on the cornices of ruins. Therefore his joy was like that of a child that had gone astray from home, and finds him suddenly in his mother's arms again.
At last, deeming it full time for Miriam to keep her tryst, he climbed to the tiptop of the tallest tree, and thence looked about him, swaying to and fro in the gentle breeze, which was like the respiration of that great leafy, living thing. Donatello saw beneath him the whole circuit of the enchanted ground; the statues and columns pointing upward from among the shrubbery, the fountains flashing in the sunlight, the paths winding hither and thither, and continually finding out some nook of new and ancient pleasantness. He saw the villa, too, with its marble front incrusted all over with basreliefs, and statues in its many niches. It was as beautiful as a fairy palace, and seemed an abode in which the lord and lady of this fair domain might fitly dwell, and come forth each morning to enjoy as sweet a life as their happiest dreams of the past night could have depicted. All this he saw, but his first glance had taken in too wide a sweep, and it was not till his eyes fell almost directly beneath him, that Donatello beheld Miriam just turning into the path that led across the roots of his very tree.
He descended among the foliage, waiting for her to come close to the trunk, and then suddenly dropped from an impending bough, and alighted at her side. It was as if the swaying of the branches had let a ray of sunlight through. The same ray likewise glimmered among the gloomy meditations that encompassed Miriam, and lit up the pale, dark beauty of her face, while it responded pleasantly to Donatello's glance.
“I hardly know,” said she, smiling, “whether you have sprouted out of the earth, or fallen from the clouds. In either case you are welcome.”
And they walked onward together.
Miriam's sadder mood, it might be, had at first an effect on Donatello's spirits. It checked the joyous ebullition into which they would otherwise have effervesced when he found himself in her society, not, as heretofore, in the old gloom of Rome, but under that bright soft sky and in those Arcadian woods. He was silent for a while; it being, indeed, seldom Donatello's impulse to express himself copiously in words. His usual modes of demonstration were by the natural language of gesture, the instinctive movement of his agile frame, and the unconscious play of his features, which, within a limited range of thought and emotion, would speak volumes in a moment.
By and by, his own mood seemed to brighten Miriam's, and was reflected back upon himself. He began inevitably, as it were, to dance along the wood-path; flinging himself into attitudes of strange comic grace. Often, too, he ran a little way in advance of his companion, and then stood to watch her as she approached along the shadowy and sun-fleckered path. With every step she took, he expressed his joy at her nearer and nearer presence by what might be thought an extravagance of gesticulation, but which doubtless was the language of the natural man, though laid aside and forgotten by other men, now that words have been feebly substituted in the place of signs and symbols. He gave Miriam the idea of a being not precisely man, nor yet a child, but, in a high and beautiful sense, an animal, a creature in a state of development less than what mankind has attained, yet the more perfect within itself for that very deficiency. This idea filled her mobile imagination with agreeable fantasies, which, after smiling at them herself, she tried to convey to the young man.
“What are you, my friend?” she exclaimed, always keeping in mind his singular resemblance to the Faun of the Capitol. “If you are, in good truth, that wild and pleasant creature whose face you wear, pray make me known to your kindred. They will be found hereabouts, if anywhere. Knock at the rough rind of this ilex-tree, and summon forth the Dryad! Ask the water-nymph to rise dripping from yonder fountain, and exchange a moist pressure of the hand with me! Do not fear that I shall shrink; even if one of your rough cousins, a hairy Satyr, should come capering on his goat-legs out of the haunts of far antiquity, and propose to dance with me among these lawns! And will not Bacchus, — with whom you consorted so familiarly of old, and who loved you so well, — will he not meet us here, and squeeze rich grapes into his cup for you and me?”
Donatello smiled; he laughed heartily, indeed, in sympathy with the mirth that gleamed out of Miriam's deep, dark eyes. But he did not seem quite to understand her mirthful talk, nor to be disposed to explain what kind of creature he was, or to inquire with what divine or poetic kindred his companion feigned to link him. He appeared only to know that Miriam was beautiful, and that she smiled graciously upon him; that the present moment was very sweet, and himself most happy, with the sunshine, the sylvan scenery, and woman's kindly charm, which it enclosed within its small circumference. It was delightful to see the trust which he reposed in Miriam, and his pure joy in her propinquity; he asked nothing, sought nothing, save to be near the beloved object, and brimmed over with ecstasy at that simple boon. A creature of the happy tribes below us sometimes shows the capacity of this enjoyment; a man, seldom or never.
“Donatello,” said Miriam, looking at him thoughtfully, but amused, yet not without a shade of sorrow, “you seem very happy; what makes you so?”
“Because I love you!” answered Donatello.
He made this momentous confession as if it were the most natural thing in the world; and on her part, — such was the contagion of his simplicity, — Miriam heard it without anger or disturbance, though with no responding emotion. It was as if they had strayed across the limits of Arcadia; and come under a civil polity where young men might avow their passion with as little restraint as a bird pipes its note to a similar purpose.
“Why should you love me, foolish boy?” said she. “We have no points of sympathy at all. There are not two creatures more unlike, in this wide world, than you and I!”
“You are yourself, and I am Donatello,” replied he. “Therefore I love you! There needs no other reason.”
Certainly, there was no better or more explicable reason. It might have been imagined that Donatello's unsophisticated heart would be more readily attracted to a feminine nature of clear simplicity like his own, than to one already turbid with grief or wrong, as Miriam's seemed to be. Perhaps, On the other hand, his character needed the dark element, which it found in her. The force and energy of will, that sometimes flashed through her eyes, may have taken him captive; or, not improbably, the varying lights and shadows of her temper, now so mirthful, and anon so sad with mysterious gloom, had bewitched the youth. Analyze the matter as we may, the reason assigned by Donatello himself was as satisfactory as we are likely to attain.
Miriam could not think seriously of the avowal that had passed. He held out his love so freely, in his open palm, that she felt it could be nothing but a toy, which she might play with for an instant, and give back again. And yet Donatello's heart was so fresh a fountain, that, had Miriam been more world-worn than she was, she might have found it exquisite to slake her thirst with the feelings that welled up and brimmed over from it. She was far, very far, from the dusty mediaeval epoch, when some women have a taste for such refreshment. Even for her, however, there was an inexpressible charm in the simplicity that prompted Donatello's words and deeds; though, unless she caught them in precisely the true light, they seemed but folly, the offspring of a maimed or imperfectly developed intellect. Alternately, she almost admired, or wholly scorned him, and knew not which estimate resulted from the deeper appreciation. But it could not, she decided for herself, be other than an innocent pastime, if they two — sure to be separated by their different paths in life, to-morrow — were to gather up some of the little pleasures that chanced to grow about their feet, like the violets and wood-anemones, to-day.
Yet an impulse of rectitude impelled Miriam to give him what she still held to be a needless warning against an imaginary peril.
“If you were wiser, Donatello, you would think me a dangerous person,” said she, “If you follow my footsteps, they will lead you to no good. You ought to be afraid of me.”
“I would as soon think of fearing the air we breathe,” he replied.
“And well you may, for it is full of malaria,” said Miriam; she went on, hinting at an intangible confession, such as persons with overburdened hearts often make to children or dumb animals, or to holes in the earth, where they think their secrets may be at once revealed and buried. “Those who come too near me are in danger of great mischiefs, I do assure you. Take warning, therefore! It is a sad fatality that has brought you from your home among the Apennines, — some rusty old castle, I suppose, with a village at its foot, and an Arcadian environment of vineyards, fig-trees, and olive orchards, — a sad mischance, I say, that has transported you to my side. You have had a happy life hitherto, have you not, Donatello?”
“O, yes,” answered the young man; and, though not of a retrospective turn, he made the best effort he could to send his mind back into the past. “I remember thinking it happiness to dance with the contadinas at a village feast; to taste the new, sweet wine at vintage-time, and the old, ripened wine, which our podere is famous for, in the cold winter evenings; and to devour great, luscious figs, and apricots, peaches, cherries, and melons. I was often happy in the woods, too, with hounds and horses, and very happy in watching all sorts, of creatures and birds that haunt the leafy solitudes. But never half so happy as now!”
“In these delightful groves?” she asked.
“Here, and with you,” answered Donatello. “Just as we are now.”
“What a fulness of content in him! How silly, and how delightful!” said Miriam to herself. Then addressing him again: “But, Donatello, how long will this happiness last?”
“How long!” he exclaimed; for it perplexed him even more to think of the future than to remember the past. “Why should it have any end? How long! Forever! forever! forever!”
“The child! the simpleton!” said Miriam, with sudden laughter, and checking it as suddenly. “But is he a simpleton indeed? Here, in those few natural words, he has expressed that deep sense, that profound conviction of its own immortality, which genuine love never fails to bring. He perplexes me, — yes, and bewitches me, — wild, gentle, beautiful creature that he is! It is like playing with a young greyhound!”
Her eyes filled with tears, at the same time that a smile shone out of them. Then first she became sensible of a delight and grief at once, in feeling this zephyr of a new affection, with its untainted freshness, blow over her weary, stifled heart, which had no right to be revived by it. The very exquisiteness of the enjoyment made her know that it ought to be a forbidden one.
“Donatello,” she hastily exclaimed, “for your own sake, leave me! It is not such a happy thing as you imagine it, to wander in these woods with me, a girl from another land, burdened with a doom that she tells to none. I might make you dread me, — perhaps hate me, — if I chose; and I must choose, if I find you loving me too well!”
“I fear nothing!” said Donatello, looking into her unfathomable eyes with perfect trust. “I love always!”
“I speak in vain,” thought Miriam within herself.
“Well, then, for this one hour, let me be such as he imagines me. To-morrow will be time enough to come back to my reality. My reality! what is it? Is the past so indestructible? the future so immitigable? Is the dark dream, in which I walk, of such solid, stony substance, that there can be no escape out of its dungeon? Be it so! There is, at least, that ethereal quality in my spirit, that it can make me as gay as Donatello himself, — for this one hour!”
And immediately she brightened up, as if an inward flame, heretofore stifled, were now permitted to fill her with its happy lustre, glowing through her cheeks and dancing in her eye-beams.
Donatello, brisk and cheerful as he seemed before, showed a sensibility to Miriam's gladdened mood by breaking into still wilder and ever-varying activity. He frisked around her, bubbling over with joy, which clothed itself in words that had little individual meaning, and in snatches of song that seemed as natural as bird notes. Then they both laughed together, and heard their own laughter returning in the echoes, and laughed again at the response, so that the ancient and solemn grove became full of merriment for these two blithe spirits. A bird happening to sing cheerily, Donatello gave a peculiar call, and the little feathered creature came fluttering about his head, as if it had known him through many summers.
“How close he stands to nature!” said Miriam, observing this pleasant familiarity between her companion and the bird. “He shall make me as natural as himself for this one hour.”
As they strayed through that sweet wilderness, she felt more and more the influence of his elastic temperament. Miriam was an impressible and impulsive creature, as unlike herself, in different moods, as if a melancholy maiden and a glad one were both bound within the girdle about her waist, and kept in magic thraldom by the brooch that clasped it. Naturally, it is true, she was the more inclined to melancholy, yet fully capable of that high frolic of the spirits which richly compensates for many gloomy hours; if her soul was apt to lurk in the darkness of a cavern, she could sport madly in the sunshine before the cavern's mouth. Except the freshest mirth of animal spirits, like Donatello's, there is no merriment, no wild exhilaration, comparable to that of melancholy people escaping from the dark region in which it is their custom to keep themselves imprisoned.
So the shadowy Miriam almost outdid Donatello on his own ground. They ran races with each other, side by side, with shouts and laughter; they pelted one another with early flowers, and gathering them up twined them with green leaves into garlands for both their heads. They played together like children, or creatures of immortal youth. So much had they flung aside the sombre habitudes of daily life, that they seemed born to be sportive forever, and endowed with eternal mirthfulness instead of any deeper joy. It was a glimpse far backward into Arcadian life, or, further still, into the Golden Age, before mankind was burdened with sin and sorrow, and before pleasure had been darkened with those shadows that bring it into high relief, and make it happiness.
“Hark!” cried Donatello, stopping short, as he was about to bind Miriam's fair hands with flowers, and lead her along in triumph, “there is music somewhere in the grove!”
“It is your kinsman, Pan, most likely,” said Miriam, “playing on his pipe. Let us go seek him, and make him puff out his rough cheeks and pipe his merriest air! Come; the strain of music will guide us onward like a gayly colored thread of silk.”
