Would that the soul of man could thus lie down in its night of sorrow or of racking passion, on the margin of the waters of hope, confident that the slumber of contentment and peace will seal his eyelids, heavy with long vigils in a world where conflicting interests need constant watching, and that the stillness of the unfathomable depths of those waters will impart its influence unto him!
For, oh! if calmness, silence, and moonlight prevail without the walls of the Arestino villa, yet within there be hearts agitated by passions and emotions, from which the gentle genius of slumber shrinks back aghast.
In the brilliantly lighted apartment, to which we have already introduced our readers, the Countess Giulia receives her lover, the dissipated but handsome Marquis of Orsini; the bandit-captain is concealed behind the richly-worked tapestry; and at the door—not the little private one—of that room, an old man is listening; an old man whose ashy pale countenance, clinched hands, quivering white lips, and wildly rolling eyes indicate how terrible are the feelings which agitate within his breast.
This old man was the Count of Arestino, one of the mightiest nobles of the republic. Naturally his heart was good, and his disposition kind and generous—but, then, he was an Italian—and he was jealous! Need we say more to account for the change which had now taken place in his usually calm, tranquil, yet dignified, demeanor? Or shall we inform our readers that at the banquet to which he had been invited at a friend’s villa that evening, he had overheard two young nobles, in a conversation which the generous wine they had been too freely imbibing rendered indiscreetly loud, couple the names of Giulia Arestino, his own much-loved wife, and Manuel d’Orsini, in a manner which suddenly excited a fearful, a blasting suspicion in his mind? Stealing away unperceived from the scene of revelry, the count had returned unattended to the immediate vicinity of his mansion; and from the shade of a detached building he had observed the Marquis of Orsini traverse the gardens and enter a portico leading to the private staircase communicating with that wing of the palace which contained the suit of apartments occupied by Giulia.
This was enough to strengthen the suspicion already excited in the old nobleman’s mind; but not quite sufficient to confirm it. The countess had several beautiful girls attached to her person; and the marquis might have stooped to an intrigue with one of them. The Lord of Arestino was therefore resolved to act with the caution of a prudent man: but he was also prepared to avenge, in case of the worst, with the spirit of an Italian.
He hurried round to the principal entrance of his palace, and gave some brief but energetic instructions to a faithful valet, who instantly departed to execute them. The count then ascended the marble staircase, traversed the corridors leading toward his lady’s apartments, and placed himself against the door of that one wherein Giulia had already received her lover.
Thus, while silence, and calmness, and moonlight reign without—yet within the walls of the Arestino mansion a storm has gathered, to explode fearfully. And all through the unlawful, but not less ardent, love of Giulia for the spendthrift Marquis of Orsini!
Sober-minded men, philosophic reasoners, persons of business-habits, stern moralists—all these may ridicule the poet or the novelist who makes Love his everlasting theme; they may hug themselves, in the apathy of their own cold hearts, with the belief that all the attributes of the passion have been immensely exaggerated; but they are in error, deeply, profoundly, indisputably in error. For Love, in its various phases, among which are Jealousy, Suspicion, Infidelity, Rivalry, and Revenge, has agitated the world from time immemorial—has overthrown empires, has engendered exterminating wars, and has extended its despotic sway alike over the gorgeous city of a consummate civilization, and the miserable wigwam of a heathen barbarism! Who, then, can wonder—if the theme of Love be universal—that it should have evoked the rude and iron eloquence of the Scandinavian Scald as well as the soft and witching poesy of the bards of more genial climes, or that its praises or its sorrows should be sung on the banks of the Arno, the Seine, or the Thames, as well as amidst the pathless forests of America, or the burning sands of Africa, or in the far-off islands of the Southern Seas.
But, alas! it is thou, O woman! who art called on to make the most cruel sacrifices at the altar of this imperious deity—love! If thou lovest honorably, ’tis well; but if thou lovest unlawfully how wretched is thy fate! The lover, for whose sake thou hast forgotten thy duties as a wife, has sacrificed nothing to thee, whilst thou hast sacrificed everything to him. Let the amour be discovered, and who suffers? Thou! He loses not caste, station, name, nor honor;—thou art suddenly robbed of all these! The gilded saloons of fashion throw open their doors to the seducer; but bars of adamant defend that entrance against the seduced. For his sake thou risketh contumely, shame, reviling, scorn, and the lingering death of a breaking heart,—for thee he would not risk one millionth part of all that! Shouldst thou be starving, say to him, “Go forth and steal to give me bread; dare the dishonor of the deed, and make the sacrifice of thy good name for me. Or go and forge, or swindle, or lie foully, so that thou bringest me bread; for have I not dared dishonor, made the sacrifice of my good name, and done as much, ay, far more than all that, for thee?”
Shouldst thou, poor, seduced, weak one, address thy seducer thus, he will look upon thee as a fiend-like tempter—he will rush from thy sight—he will never see thee more; his love will be suddenly converted into hatred! Yes, man demands that woman should dishonor herself for his sake; but he will not allow a speck to appear upon what he calls his good name—no, not to save that poor, confiding, lost creature from the lowest depths and dregs of penury into which her frailty may have plunged her!