And now the story is fairly afloat, and we follow it with an interest that grows in proportion as the plot advances, rising in dramatic power at every chapter. We know that Valenzano is not to be trusted, that he has in him all the elements of a faithless lover and a cruel husband; but we surrender ourselves all the same to the charm of his manner, his genius, his irresistible fascinations. The love-making is as warm as the author dares to make it in a country where the freedom of Anglo-Saxon courtship is unknown, and where the course of true love runs smoothly between the contracting families on one side and the family lawyers on the other. Ginevra goes forth to her new life with a mixture of delight and fear that are like the foreshadowing of the flickered destiny that awaits her, and Livia’s voice strikes like a note of painful warning in the concert of the family joy and triumph and congratulation, when she reminds Ginevra that “marriage is like death”—a thing that we wait and watch for, but never know until we have passed the gates and it is too late to turn back. The description of the bridal festivities, when she goes home to her husband’s palace, and, worn out by the grandeur and the glare, takes refuge alone in the quiet starlight, and removes the circlet of glittering jewels from her brow, that cannot bear the pressure any longer, presents one of those pictures of life in the great Italian world that Mrs. Craven excels in depicting.
Life has now become like an enchanted dream to Ginevra. But the first touch of the awakening reality is not long delayed. One night, when the moon was high in the blue heavens and flooding earth and sea with a mystic glory, Ginevra
and Lorenzo were sitting on the terrace, listening to the water lapping on the shore, to the nightingales trilling in the ilex groves; the young wife, hushed into silence by the ecstatic beauty of the scene, laid her hand upon her husband’s arm and whispered to him, “Let us lift up our hearts in prayer for one moment, and give thanks for all this beauty.” Lorenzo bent on her a look of tenderest love, and then murmured with a smile, as if answering the poetic folly of a child,
“‘Beatrice in suso, ed io in lei guardava.’[71]
Thine eyes are my heaven, Ginevra. I feel no need to raise my own any higher.” A cold chill like the first suspicion of a great sorrow crept over the young wife. But Lorenzo quickly chased it away, and she tries to banish the memory of it. But we do not forget it. Slight as the incident is, it has all the import of the first growl of the distant thunder, the small patch of cloud, “no bigger than a man’s hand,” upon the summer sky, that are the certain forerunners of the storm.
But the storm will not burst just yet, and meantime we follow Ginevra in her brilliant career, first travelling here and there with her husband, and finally enthroned as a queen in her delightful world at Naples. The first thing that makes us tremble for her is Lorenzo’s startled exclamation of anger—was it?—when he comes upon Donna Faustina’s card amongst those that are left at the young duchess’ door, and the latter, in surprise, asks what it means. He turns it off adroitly, and Ginevra dismisses it from her mind. The interval that follows is bright with incident and pictures of society in Naples and in Paris. We
see Lorenzo at work in his studio, where Ginevra sits to him as a model for his Vestal, and where his rapturous admiration of her beauty makes her recoil instinctively as from a homage unworthy of her, too much “of the earth earthly.” And yet this husband, who is almost an unbeliever, who smiles with indulgent fondness on his wife’s ardent piety, is glad enough that she should have religion to guard her from the perils that beset her on all sides; he recognizes the power and utility of her faith, and is careful not to shock it or to let her see how little he really shares it. Lando, the cousin and boon companion of the duke, now comes upon the scene, and for a time we side with Ginevra in her dislike and suspicion of him; but soon we find out our mistake, and acknowledge that, in spite of his loose principles and wild ways, he is kind-hearted and a stanch and loyal friend to Ginevra. He does his best to save both her and Lorenzo, though to the last he is unable to understand why any woman in her right mind should care so much more for her husband’s love than for his fortune, and why the ruin of the latter should be as nothing to her compared to even a passing breach in the former. The scene at the concert, where she first detects Lorenzo at a card-table, and it breaks upon her that her husband is a gambler, is finely introduced, and the conversation of Lando with the terrified young wife is admirably drawn. But we know that the real crisis in her peace and happiness has yet to come, and we hurry on till Donna Faustina enters. Lorenzo disarms us, and almost gains our sympathy for this evil genius of Ginevra, by the frankness with which he tells her story to the latter; but the relations between all three, as he now
tries to establish them, are radically false, and it requires no prophetic eye to foresee how they must end. What barrier have either Faustina or Lorenzo to stem the torrent of passion when it breaks loose—outraged love and desire of revenge on her side, and on his the embers of a love that he fancies dead, but which it only needs the vanity of his own undisciplined nature and the spell of her guilty passion to fan into a livelier flame than ever? While the storm is rapidly rising in this direction, Gilbert de Kergy crosses Ginevra’s path; but she is yet far from suspecting that he is the messenger of fate to her, the one who is to exercise a supreme influence in her life and call out its energies in her soul’s defence with a courage that till now has never been demanded of her. We know how the battle is sure to go with Ginevra, as we foresee the issue with Lorenzo and Faustina. We see the force that will ensure the victory in the one case, just as we see how the want of it must lead to slavery and surrender in the other. And here again the skill and power of the author triumph and afford a striking contrast to the old system we have denounced. She never moralizes, or reminds us that Lorenzo, being a bad Christian, who never goes to Mass or the sacraments, is certain to fall, and that Ginevra, in spite of passions that sway her heart with such relentless power, will come safe out of it because of that restraining force which, like a mysterious presence, rules her even when she is unconscious of it—the author does not say these things; she proves them by making her characters demonstrate their truth and act out their conclusions. We will quote the passage where Gilbert and Ginevra
part, only to meet again in those sweet and tempting days at Naples. Gilbert has been lecturing on his travels with an eloquence that carried away his hearers. Then Ginevra says:
“I remained seated near the mantelpiece, and fell into a dreamy silence, while Diana sat down to the piano. She began to execute, with consummate art, a nocturne of Chopin’s, which sounded to me like the expression, the very language, of my own thoughts.… I woke up from my reverie with a strange thrill, and blushed to the very roots of my hair; for in lifting my eyes I met those of Gilbert fixed upon me, and mine were full of tears. I brushed them away quickly, and muttered something about the effect Chopin’s music always had on my nerves, and then rose and drew near to the piano, where Diana continued to pass her hands in rapid changes over the keys.… Gilbert remained silent and pensive in the place where I had left him, following me with his eyes, and perhaps trying to guess the real cause of my emotion.… When the time had come for me to go, and Mme. de Kergy clasped me to her heart, I no longer strove to repress my tears.… Gilbert gave me his arm and conducted me to my carriage without speaking. As I was entering it, he said in a voice that faltered slightly: