The Marble Faun; Or, The Romance of Monte Beni Volume I Part 15

"Hilda, my religious Hilda," whispered Miriam, suddenly drawing the girl close to her, "do you know how it is with me? I would give all I have or hope--my life, O how freely--for one instant of your trust in G.o.d! You little guess my need of it. You really think, then, that He sees and cares for us?"

"Miriam, you frighten me."

"Hush, hush? do not let them hear yet!" whispered Miriam. "I frighten you, you say; for Heaven's sake, how? Am I strange? Is there anything wild in my behavior?"

"Only for that moment," replied Hilda, "because you seemed to doubt G.o.d's providence."

"We will talk of that another time," said her friend. "Just now it is very dark to me."

On the left of the Piazza of the Campidoglio, as you face cityward, and at the head of the long and stately flight of steps descending from the Capitoline Hill to the level of lower Rome, there is a narrow lane or pa.s.sage. Into this the party of our friends now turned. The path ascended a little, and ran along under the walls of a palace, but soon pa.s.sed through a gateway, and terminated in a small paved courtyard. It was bordered by a low parapet.

The spot, for some reason or other, impressed them as exceedingly lonely. On one side was the great height of the palace, with the moons.h.i.+ne falling over it, and showing all the windows barred and shuttered. Not a human eye could look down into the little courtyard, even if the seemingly deserted palace had a tenant. On all other sides of its narrow compa.s.s there was nothing but the parapet, which as it now appeared was built right on the edge of a steep precipice. Gazing from its imminent brow, the party beheld a crowded confusion of roofs spreading over the whole s.p.a.ce between them and the line of hills that lay beyond the Tiber. A long, misty wreath, just dense enough to catch a little of the moons.h.i.+ne, floated above the houses, midway towards the hilly line, and showed the course of the unseen river. Far away on the right, the moon gleamed on the dome of St. Peter's as well as on many lesser and nearer domes.

"What a beautiful view of the city!" exclaimed Hilda; "and I never saw Rome from this point before."

"It ought to afford a good prospect," said the sculptor; "for it was from this point--at least we are at liberty to think so, if we choose--that many a famous Roman caught his last glimpse of his native city, and of all other earthly things. This is one of the sides of the Tarpeian Rock. Look over the parapet, and see what a sheer tumble there might still be for a traitor, in spite of the thirty feet of soil that have acc.u.mulated at the foot of the precipice."

They all bent over, and saw that the cliff fell perpendicularly downward to about the depth, or rather more, at which the tall palace rose in height above their heads. Not that it was still the natural, s.h.a.ggy front of the original precipice; for it appeared to be cased in ancient stonework, through which the primeval rock showed its face here and there grimly and doubtfully. Mosses grew on the slight projections, and little shrubs sprouted out of the crevices, but could not much soften the stern aspect of the cliff. Brightly as the Italian moonlight fell adown the height, it scarcely showed what portion of it was man's work and what was nature's, but left it all in very much the same kind of ambiguity and half-knowledge in which antiquarians generally leave the ident.i.ty of Roman remains.

The roofs of some poor-looking houses, which had been built against the base and sides of the cliff, rose nearly midway to the top; but from an angle of the parapet there was a precipitous plunge straight downward into a stonepaved court.

"I prefer this to any other site as having been veritably the Traitor's Leap," said Kenyon, "because it was so convenient to the Capitol. It was an admirable idea of those stern old fellows to fling their political criminals down from the very summit on which stood the Senate House and Jove's Temple, emblems of the inst.i.tutions which they sought to violate.

It symbolizes how sudden was the fall in those days from the utmost height of ambition to its profoundest ruin."

"Come, come; it is midnight," cried another artist, "too late to be moralizing here. We are literally dreaming on the edge of a precipice.

Let us go home."

"It is time, indeed," said Hilda.

The sculptor was not without hopes that he might be favored with the sweet charge of escorting Hilda to the foot of her tower. Accordingly, when the party prepared to turn back, he offered her his arm. Hilda at first accepted it; but when they had partly threaded the pa.s.sage between the little courtyard and the Piazza del Campidoglio, she discovered that Miriam had remained behind.

"I must go back," said she, withdrawing her arm from Kenyon's; "but pray do not come with me. Several times this evening I have had a fancy that Miriam had something on her mind, some sorrow or perplexity, which, perhaps, it would relieve her to tell me about. No, no; do not turn back! Donatello will be a sufficient guardian for Miriam and me."

The sculptor was a good deal mortified, and perhaps a little angry: but he knew Hilda's mood of gentle decision and independence too well not to obey her. He therefore suffered the fearless maiden to return alone.

Meanwhile Miriam had not noticed the departure of the rest of the company; she remained on the edge of the precipice and Donatello along with her.

"It would be a fatal fall, still," she said to herself, looking over the parapet, and shuddering as her eye measured the depth. "Yes; surely yes!

Even without the weight of an overburdened heart, a human body would fall heavily enough upon those stones to shake all its joints asunder.

How soon it would be over!"

Donatello, of whose presence she was possibly not aware, now pressed closer to her side; and he, too, like Miriam, bent over the low parapet and trembled violently. Yet he seemed to feel that perilous fascination which haunts the brow of precipices, tempting the unwary one to fling himself over for the very horror of the thing; for, after drawing hastily back, he again looked down, thrusting himself out farther than before. He then stood silent a brief s.p.a.ce, struggling, perhaps, to make himself conscious of the historic a.s.sociations of the scene.

"What are you thinking of, Donatello?" asked Miriam.

"Who are they," said he, looking earnestly in her face, "who have been flung over here in days gone by?"

"Men that c.u.mbered the world," she replied. "Men whose lives were the bane of their fellow creatures. Men who poisoned the air, which is the common breath of all, for their own selfish purposes. There was short work with such men in old Roman times. Just in the moment of their triumph, a hand, as of an avenging giant, clutched them, and dashed the wretches down this precipice."

"Was it well done?" asked the young man.

"It was well done," answered Miriam; "innocent persons were saved by the destruction of a guilty one, who deserved his doom."

While this brief conversation pa.s.sed, Donatello had once or twice glanced aside with a watchful air, just as a hound may often be seen to take sidelong note of some suspicious object, while he gives his more direct attention to something nearer at, hand. Miriam seemed now first to become aware of the silence that had followed upon the cheerful talk and laughter of a few moments before.

Looking round, she perceived that all her company of merry friends had retired, and Hilda, too, in whose soft and quiet presence she had always an indescribable feeling of security. All gone; and only herself and Donatello left hanging over the brow of the ominous precipice.

Not so, however; not entirely alone! In the bas.e.m.e.nt wall of the palace, shaded from the moon, there was a deep, empty niche, that had probably once contained a statue; not empty, either; for a figure now came forth from it and approached Miriam. She must have had cause to dread some unspeakable evil from this strange persecutor, and to know that this was the very crisis of her calamity; for as he drew near, such a cold, sick despair crept over her that it impeded her breath, and benumbed her natural prompt.i.tude of thought. Miriam seemed dreamily to remember falling on her knees; but, in her whole recollection of that wild moment, she beheld herself as in a dim show, and could not well distinguish what was done and suffered; no, not even whether she were really an actor and sufferer in the scene.

Hilda, meanwhile, had separated herself from the sculptor, and turned back to rejoin her friend. At a distance, she still heard the mirth of her late companions, who were going down the cityward descent of the Capitoline Hill; they had set up a new stave of melody, in which her own soft voice, as well as the powerful sweetness of Miriam's, was sadly missed.

The door of the little courtyard had swung upon its hinges, and partly closed itself. Hilda (whose native gentleness pervaded all her movements) was quietly opening it, when she was startled, midway, by the noise of a struggle within, beginning and ending all in one breathless instant. Along with it, or closely succeeding it, was a loud, fearful cry, which quivered upward through the air, and sank quivering downward to the earth. Then, a silence! Poor Hilda had looked into the court-yard, and saw the whole quick pa.s.sage of a deed, which took but that little time to grave itself in the eternal adamant.

CHAPTER XIX

THE FAUN'S TRANSFORMATION

The door of the courtyard swung slowly, and closed itself of its own accord. Miriam and Donatello were now alone there. She clasped her hands, and looked wildly at the young man, whose form seemed to have dilated, and whose eyes blazed with the fierce energy that had suddenly inspired him. It had kindled him into a man; it had developed within him an intelligence which was no native characteristic of the Donatello whom we have heretofore known. But that simple and joyous creature was gone forever.

"What have you done?" said Miriam, in a horror-stricken whisper.

The glow of rage was still lurid on Donatello's face, and now flashed out again from his eyes.

"I did what ought to be done to a traitor!" he replied. "I did what your eyes bade me do, when I asked them with mine, as I held the wretch over the precipice!"

These last words struck Miriam like a bullet. Could it be so? Had her eyes provoked or a.s.sented to this deed? She had not known it. But, alas!

looking back into the frenzy and turmoil of the scene just acted, she could not deny--she was not sure whether it might be so, or no--that a wild joy had flamed up in her heart, when she beheld her persecutor in his mortal peril. Was it horror?--or ecstasy? or both in one? Be the emotion what it might, it had blazed up more madly, when Donatello flung his victim off the cliff, and more and more, while his shriek went quivering downward. With the dead thump upon the stones below had come an unutterable horror.

"And my eyes bade you do it!" repeated she.

They both leaned over the parapet, and gazed downward as earnestly as if some inestimable treasure had fallen over, and were yet recoverable.

On the pavement below was a dark ma.s.s, lying in a heap, with little or nothing human in its appearance, except that the hands were stretched out, as if they might have clutched for a moment at the small square stones. But there was no motion in them now. Miriam watched the heap of mortality while she could count a hundred, which she took pains to do.

No stir; not a finger moved!

"You have killed him, Donatello! He is quite dead!" said she. "Stone dead! Would I were so, too!"

"Did you not mean that he should die?" sternly asked Donatello, still in the glow of that intelligence which pa.s.sion had developed in him. "There was short time to weigh the matter; but he had his trial in that breath or two while I held him over the cliff, and his sentence in that one glance, when your eyes responded to mine! Say that I have slain him against your will,--say that he died without your whole consent,--and, in another breath, you shall see me lying beside him."

"O, never!" cried Miriam. "My one, own friend! Never, never, never!"

She turned to him,--the guilty, bloodstained, lonely woman,--she turned to her fellow criminal, the youth, so lately innocent, whom she had drawn into her doom. She pressed him close, close to her bosom, with a clinging embrace that brought their two hearts together, till the horror and agony of each was combined into one emotion, and that a kind of rapture.

"Yes, Donatello, you speak the truth!" said she; "my heart consented to what you did. We two slew yonder wretch. The deed knots us together, for time and eternity, like the coil of a serpent!"