Innocent in her isolation, almost infantine in her natural simplicity, a single enjoyment was sufficient to satisfy all the passions of her age. Father, mother, lover, and companion; liberties, amusements, and adornments—they were all summed up for her in that simple lute. The archness, the liveliness, and the gentleness of her disposition; the poetry of her nature, and the affection of her heart; the happy bloom of youth, which seclusion could not all wither nor distorted precept taint, were now entirely nourished, expanded, and freshened—such is the creative power of human emotion—by that inestimable possession. She could speak to it, smile on it, caress it, and believe, in the ecstasy of her delight, in the carelessness of her self-delusion, that it sympathised with her joy. During her long solitudes, when she was silently watched in her father's absence by the brooding, melancholy stranger whom he had set over her, it became a companion dearer than the flower-garden, dearer even that the plains and mountains which formed her favourite view. When her father returned, and she was led forth to sit in a dark place among strange, silent people, and to listen to interminable declamations, it was a solace to think of the instrument as it lay hidden securely in her chamber, and to ponder delightedly on what new music of her own she could play upon it next. And then, when evening arrived, and she was left alone in her garden—then came the hour of moonlight and song; the moment of rapture and melody that drew her out of herself, elevated her she felt not how, and transported her she knew not whither.
But, while we thus linger over reflection on motives and examinations into character, we are called back to the outer world of passing interests and events by the appearances of another figure on the scene. We left Antonina in the garden thinking over her lute. She still remains in her meditative position, but she is now no longer alone.
From the same steps by which she had descended, a man now advances into the garden, and walks towards the place she occupies. His gait is limping, his stature crooked, his proportions distorted. His large, angular features stand out in gaunt contrast to his shrivelled cheeks. His dry, matted hair has been burnt by the sun into a strange tawny brown. His expression is one of fixed, stern, mournful thought. As he steps stealthily along, advancing towards Antonina, he mutters to himself, and clutches mechanically at his garments with his lank, shapeless fingers. The radiant moonlight, falling fully upon his countenance, invests it with a livid, mysterious, spectral appearance: seen by a stranger at the present moment, he would have been almost awful to look upon.
This was the man who had intercepted Vetranio on his journey home, and who had now hurried back so as to regain his accustomed post before his master's return, for he was the same individual mentioned by Numerian as his aged convert, Ulpius, in his interview with the landholder at the Basilica of St. Peter.
When Ulpius had arrived within a few paces of the girl he stopped, saying in a hoarse, thick voice—
'Hide your toy—Numerian is at the gates!'
Antonina started violently as she listened to those repulsive accents. The blood rushed into her cheeks; she hastily covered the lute with her robe; paused an instant, as if intending to speak to the man, then shuddered violently, and hurried towards the house.
As she mounted the steps Numerian met her in the hall. There was now no chance of hiding the lute in its accustomed place.
'You stay too late in the garden,' said the father, looking proudly, in spite of all his austerity, upon his beautiful daughter as she stood by his side. 'But what affects you?' he added, noticing her confusion. 'You tremble; your colour comes and goes; your lips quiver. Give me your hand!'
As Antonina obeyed him, a fold of the treacherous robe slipped aside, and discovered a part of the frame of the lute. Numerian's quick eye discovered it immediately. He snatched the instrument from her feeble grasp. His astonishment on beholding it was too great for words, and for an instant he confronted the poor girl, whose pale face looked rigid with terror, in ominous and expressive silence.