A Foregone Conclusion

by William Dean Howells

“A thousand excuses; but my poor master has been very sick. The doctors say he will get well. I hope so. But he is very weak indeed; a little shock, a little disappointment.... Is the signore very, very much occupied this morning? He greatly desired,—he prayed that if such a thing were possible in the goodness of your excellency .... But I am offending the signore!”

“What do you want?” demanded Ferris.

The old wretch set up a pitiful whimper, and tried to possess herself of his hand; she kissed his coat-sleeve instead. “That you will return with me,” she besought him.

“Oh, I’ll go!” groaned the painter. “I might as well go first as last,” he added in English. “There, stop that! Enough, enough, I tell you! Didn’t I say I was going with you?” he cried to the old woman.

“God bless you!” she mumbled, and set off before him down the stairs and out of the door. She looked so miserably old and weary that he called a gondola to his landing and made her get into it with him.

It tormented Don Ippolito’s idle neighborhood to see Veneranda arrive in such state, and a passionate excitement arose at the caffè, where the person of the consul was known, when Ferris entered the priest’s house with her.

He had not often visited Don Ippolito, but the quaintness of the place had been so vividly impressed upon him, that he had a certain familiarity with the grape-arbor of the anteroom, the paintings of the parlor, and the puerile arrangement of the piano and melodeon. Veneranda led him through these rooms to the chamber where Don Ippolito had first shown him his inventions. They were all removed now, and on a bed, set against the wall opposite the door, lay the priest, with his hands on his breast, and a faint smile on his lips, so peaceful, so serene, that the painter stopped with a sudden awe, as if he had unawares come into the presence of death.

“Advance, advance,” whispered the old woman.

Near the head of the bed sat a white-haired priest wearing the red stockings of a canonico; his face was fanatically stern; but he rose, and bowed courteously to Ferris.

The stir of his robes roused Don Ippolito. He slowly and weakly turned his head, and his eyes fell upon the painter. He made a helpless gesture of salutation with his thin hand, and began to excuse himself, for the trouble he had given, with a gentle politeness that touched the painter’s heart through all the complex resentments that divided them. It was indeed a strange ground on which the two men met. Ferris could not have described Don Ippolito as his enemy, for the priest had wittingly done him no wrong; he could not have logically hated him as a rival, for till it was too late he had not confessed to his own heart the love that was in it; he knew no evil of Don Ippolito, he could not accuse him of any betrayal of trust, or violation of confidence. He felt merely that this hapless creature, lying so deathlike before him, had profaned, however involuntarily, what was sacredest in the world to him; beyond this all was chaos. He had heard of the priest’s sickness with a fierce hardening of the heart; yet as he beheld him now, he began to remember things that moved him to a sort of remorse. He recalled again the simple loyalty with which Don Ippolito had first spoken to him of Miss Vervain and tried to learn his own feeling toward her; he thought how trustfully at their last meeting the priest had declared his love and hope, and how, when he had coldly received his confession, Don Ippolito had solemnly adjured him to be frank with him; and Ferris could not. That pity for himself as the prey of fantastically cruel chances, which he had already vaguely felt, began now also to include the priest; ignoring all but that compassion, he went up to the bed and took the weak, chill, nerveless hand in his own.