“Oh yes! the Aria dei Mariti, the ‘Husbands’ Air,’” mumbles old Alvise, between the puffs at his impossible black cigar. “My poor grand-aunt, Pisana Vendramin; he went and killed her with those songs of his, with that Aria dei Mariti.”
I feel senseless rage overcoming me. Is it that horrible palpitation (by the way, there is a Norwegian doctor, my fellow-countryman, at Venice just now) which is sending the blood to my brain and making me mad? The people round the piano, the furniture, everything together seems to get mixed and to turn into moving blobs of color. I set to singing; the only thing which remains distinct before my eyes being the portrait of Zaffirino, on the edge of that boarding-house piano; the sensual, effeminate face, with its wicked, cynical smile, keeps appearing and disappearing as the print wavers about in the draught that makes the candles smoke and gutter. And I set to singing madly, singing I don’t know what. Yes; I begin to identify it: ’tis the Biondina in Gondoleta, the only song of the eighteenth century which is still remembered by the Venetian people. I sing it, mimicking every old-school grace; shakes, cadences, languishingly swelled and diminished notes, and adding all manner of buffooneries, until the audience, recovering from its surprise, begins to shake with laughing; until I begin to laugh myself, madly, frantically, between the phrases of the melody, my voice finally smothered in this dull, brutal laughter…. And then, to crown it all, I shake my fist at this long-dead singer, looking at me with his wicked woman’s face, with his mocking, fatuous smile.
“Ah! you would like to be revenged on me also!” I exclaim. “You would like me to write you nice roulades and flourishes, another nice Aria dei Mariti, my fine Zaffirino!”
That night I dreamed a very strange dream. Even in the big half-furnished room the heat and closeness were stifling. The air seemed laden with the scent of all manner of white flowers, faint and heavy in their intolerable sweetness: tuberoses, gardenias, and jasmines drooping I know not where in neglected vases. The moonlight had transformed the marble floor around me into a shallow, shining, pool. On account of the heat I had exchanged my bed for a big old-fashioned sofa of light wood, painted with little nosegays and sprigs, like an old silk; and I lay there, not attempting to sleep, and letting my thoughts go vaguely to my opera of Ogier the Dane, of which I had long finished writing the words, and for whose music I had hoped to find some inspiration in this strange Venice, floating, as it were, in the stagnant lagoon of the past. But Venice had merely put all my ideas into hopeless confusion; it was as if there arose out of its shallow waters a miasma of long-dead melodies, which sickened but intoxicated my soul. I lay on my sofa watching that pool of whitish light, which rose higher and higher, little trickles of light meeting it here and there, wherever the moon’s rays struck upon some polished surface; while huge shadows waved to and fro in the draught of the open balcony.
I went over and over that old Norse story: how the Paladin, Ogier, one of the knights of Charlemagne, was decoyed during his homeward wanderings from the Holy Land by the arts of an enchantress, the same who had once held in bondage the great Emperor Caesar and given him King Oberon for a son; how Ogier had tarried in that island only one day and one night, and yet, when he came home to his kingdom, he found all changed, his friends dead, his family dethroned, and not a man who knew his face; until at last, driven hither and thither like a beggar, a poor minstrel had taken compassion of his sufferings and given him all he could give—a song, the song of the prowess of a hero dead for hundreds of years, the Paladin Ogier the Dane.
The story of Ogier ran into a dream, as vivid as my waking thoughts had been vague. I was looking no longer at the pool of moonlight spreading round my couch, with its trickles of light and looming, waving shadows, but the frescoed walls of a great saloon. It was not, as I recognized in a second, the dining-room of that Venetian palace now turned into a boarding-house. It was a far larger room, a real ballroom, almost circular in its octagon shape, with eight huge white doors surrounded by stucco moldings, and, high on the vault of the ceiling, eight little galleries or recesses like boxes at a theatre, intended no doubt for musicians and spectators. The place was imperfectly lighted by only one of the eight chandeliers, which revolved slowly, like huge spiders, each on its long cord. But the light struck upon the gilt stuccoes opposite me, and on a large expanse of fresco, the sacrifice of Iphigenia, with Agamemnon and Achilles in Roman helmets, lappets, and knee-breeches. It discovered also one of the oil panels let into the moldings of the roof, a goddess in lemon and lilac draperies, foreshortened over a great green peacock. Round the room, where the light reached, I could make out big yellow satin sofas and heavy gilded consoles; in the shadow of a corner was what looked like a piano, and farther in the shade one of those big canopies which decorate the anterooms of Roman palaces. I looked about me, wondering where I was: a heavy, sweet smell, reminding me of the flavor of a peach, filled the place.
Little by little I began to perceive sounds; little, sharp, metallic, detached notes, like those of a mandolin; and there was united to them a voice, very low and sweet, almost a whisper, which grew and grew and grew, until the whole place was filled with that exquisite vibrating note, of a strange, exotic, unique quality. The note went on, swelling and swelling. Suddenly there was a horrible piercing shriek, and the thud of a body on the floor, and all manner of smothered exclamations. There, close by the canopy, a light suddenly appeared; and I could see, among the dark figures moving to and fro in the room, a woman lying on the ground, surrounded by other women. Her blond hair, tangled, full of diamond-sparkles which cut through the half-darkness, was hanging disheveled; the laces of her bodice had been cut, and her white breast shone among the sheen of jeweled brocade; her face was bent forwards, and a thin white arm trailed, like a broken limb, across the knees of one of the women who were endeavoring to lift her. There was a sudden splash of water against the floor, more confused exclamations, a hoarse, broken moan, and a gurgling, dreadful sound…. I awoke with a start and rushed to the window.
Outside, in the blue haze of the moon, the church and belfry of St. George loomed blue and hazy, with the black hull and rigging, the red lights, of a large steamer moored before them. From the lagoon rose a damp sea-breeze. What was it all? Ah! I began to understand: that story of old Count Alvise’s, the death of his grand-aunt, Pisana Vendramin. Yes, it was about that I had been dreaming.
I returned to my room; I struck a light, and sat down to my writing-table. Sleep had become impossible. I tried to work at my opera. Once or twice I thought I had got hold of what I had looked for so long…. But as soon as I tried to lay hold of my theme, there arose in my mind the distant echo of that voice, of that long note swelled slowly by insensible degrees, that long note whose tone was so strong and so subtle.
There are in the life of an artist moments when, still unable to seize his own inspiration, or even clearly to discern it, he becomes aware of the approach of that long-invoked idea. A mingled joy and terror warn him that before another day, another hour have passed, the inspiration shall have crossed the threshold of his soul and flooded it with its rapture. All day I had felt the need of isolation and quiet, and at nightfall I went for a row on the most solitary part of the lagoon. All things seemed to tell that I was going to meet my inspiration, and I awaited its coming as a lover awaits his beloved.