基督山伯爵 英文版 The Count of Monte Cristo
大仲马 Alexandre Dumas père
Chapter 34 Page 2
The opera of "Parisina" was announced for representation,and the principal actors were Coselli, Moriani, and LaSpecchia. The young men, therefore, had reason to considerthemselves fortunate in having the opportunity of hearingone of the best works by the composer of "Lucia diLammermoor," supported by three of the most renownedvocalists of Italy. Albert had never been able to endure theItalian theatres, with their orchestras from which it isimpossible to see, and the absence of balconies, or openboxes; all these defects pressed hard on a man who had hadhis stall at the Bouffes, and had shared a lower box at theOpera. Still, in spite of this, Albert displayed his mostdazzling and effective costumes each time he visited thetheatres; but, alas, his elegant toilet was wholly thrownaway, and one of the most worthy representatives of Parisianfashion had to carry with him the mortifying reflection thathe had nearly overrun Italy without meeting with a singleadventure.
Sometimes Albert would affect to make a joke of his want ofsuccess; but internally he was deeply wounded, and hisself-love immensely piqued, to think that Albert de Morcerf,the most admired and most sought after of any young personof his day, should thus be passed over, and merely have hislabor for his pains. And the thing was so much the moreannoying, as, according to the characteristic modesty of aFrenchman, Albert had quitted Paris with the full convictionthat he had only to show himself in Italy to carry allbefore him, and that upon his return he should astonish theParisian world with the recital of his numerouslove-affairs. Alas, poor Albert! none of those interestingadventures fell in his way; the lovely Genoese, Florentines,and Neapolitans were all faithful, if not to their husbands,at least to their lovers, and thought not of changing evenfor the splendid appearance of Albert de Morcerf; and all hegained was the painful conviction that the ladies of Italyhave this advantage over those of France, that they arefaithful even in their infidelity. Yet he could not restraina hope that in Italy, as elsewhere, there might be anexception to the general rule. Albert, besides being anelegant, well-looking young man, was also possessed ofconsiderable talent and ability; moreover, he was a viscount-- a recently created one, certainly, but in the present dayit is not necessary to go as far back as Noah in tracing adescent, and a genealogical tree is equally estimated,whether dated from 1399 or merely 1815; but to crown allthese advantages, Albert de Morcerf commanded an income of50,000 livres, a more than sufficient sum to render him apersonage of considerable importance in Paris. It wastherefore no small mortification to him to have visited mostof the principal cities in Italy without having excited themost trifling observation. Albert, however, hoped toindemnify himself for all these slights and indifferencesduring the Carnival, knowing full well that among thedifferent states and kingdoms in which this festivity iscelebrated, Rome is the spot where even the wisest andgravest throw off the usual rigidity of their lives, anddeign to mingle in the follies of this time of liberty andrelaxation.
The Carnival was to commence on the morrow; therefore Alberthad not an instant to lose in setting forth the programme ofhis hopes, expectations, and claims to notice. With thisdesign he had engaged a box in the most conspicuous part ofthe theatre, and exerted himself to set off his personalattractions by the aid of the most rich and elaboratetoilet. The box taken by Albert was in the first circle;although each of the three tiers of boxes is deemed equallyaristocratic, and is, for this reason, generally styled the"nobility's boxes," and although the box engaged for the twofriends was sufficiently capacious to contain at least adozen persons, it had cost less than would be paid at someof the French theatres for one admitting merely fouroccupants. Another motive had influenced Albert's selectionof his seat, -- who knew but that, thus advantageouslyplaced, he might not in truth attract the notice of somefair Roman, and an introduction might ensue that wouldprocure him the offer of a seat in a carriage, or a place ina princely balcony, from which he might behold the gayetiesof the Carnival? These united considerations made Albertmore lively and anxious to please than he had hitherto been.Totally disregarding the business of the stage, he leanedfrom his box and began attentively scrutinizing the beautyof each pretty woman, aided by a powerful opera-glass; but,alas, this attempt to attract notice wholly failed; not evencuriosity had been excited, and it was but too apparent thatthe lovely creatures, into whose good graces he was desirousof stealing, were all so much engrossed with themselves,their lovers, or their own thoughts, that they had not somuch as noticed him or the manipulation of his glass.
The truth was, that the anticipated pleasures of theCarnival, with the "holy week" that was to succeed it, sofilled every fair breast, as to prevent the least attentionbeing bestowed even on the business of the stage. The actorsmade their entries and exits unobserved or unthought of; atcertain conventional moments, the spectators would suddenlycease their conversation, or rouse themselves from theirmusings, to listen to some brilliant effort of Moriani's, awell-executed recitative by Coselli, or to join in loudapplause at the wonderful powers of La Specchia; but thatmomentary excitement over, they quickly relapsed into theirformer state of preoccupation or interesting conversation.Towards the close of the first act, the door of a box whichhad been hitherto vacant was opened; a lady entered to whomFranz had been introduced in Paris, where indeed, he hadimagined she still was. The quick eye of Albert caught theinvoluntary start with which his friend beheld the newarrival, and, turning to him, he said hastily, "Do you knowthe woman who has just entered that box?"
"Yes; what do you think of her?"
"Oh, she is perfectly lovely -- what a complexion! And suchmagnificent hair! Is she French?"
"No; a Venetian."
"And her name is -- "
"Countess G---- ."
"Ah, I know her by name!" exclaimed Albert; "she is said topossess as much wit and cleverness as beauty. I was to havebeen presented to her when I met her at Madame Villefort'sball."
"Shall I assist you in repairing your negligence?" askedFranz.
weItalians have eyes only for the man we love?"for heaven's sake, tell us all.
"My dear fellow, are you really on such good terms with heras to venture to take me to her box?"
"Why, I have only had the honor of being in her society andconversing with her three or four times in my life; but youknow that even such an acquaintance as that might warrant mydoing what you ask." At that instant, the countess perceivedFranz, and graciously waved her hand to him, to which hereplied by a respectful inclination of the head. "Upon myword," said Albert, "you seem to be on excellent terms withthe beautiful countess."
"You are mistaken in thinking so," returned Franz calmly;"but you merely fall into the same error which leads so manyof our countrymen to commit the most egregious blunders, --I mean that of judging the habits and customs of Italy andSpain by our Parisian notions; believe me, nothing is morefallacious than to form any estimate of the degree ofintimacy you may suppose existing among persons by thefamiliar terms they seem upon; there is a similarity offeeling at this instant between ourselves and the countess-- nothing more."
"Is there, indeed, my good fellow? Pray tell me, is itsympathy of heart?"
"No; of taste," continued Franz gravely.
"And in what manner has this congeniality of mind beenevinced?"
"By the countess's visiting the Colosseum, as we did lastnight, by moonlight, and nearly alone."
"You were with her, then?"
"I was."
"And what did you say to her?"
"Oh, we talked of the illustrious dead of whom thatmagnificent ruin is a glorious monument!"
"Upon my word," cried Albert, "you must have been a veryentertaining companion alone, or all but alone, with abeautiful woman in such a place of sentiment as theColosseum, and yet to find nothing better a talk about thanthe dead! All I can say is, if ever I should get such achance, the living should be my theme."
"And you will probably find your theme ill-chosen."
"But," said Albert, breaking in upon his discourse, "nevermind the past; let us only remember the present. Are you notgoing to keep your promise of introducing me to the fairsubject of our remarks?"
"Certainly, directly the curtain falls on the stage."
"What a confounded time this first act takes. I believe, onmy soul, that they never mean to finish it."
"Oh, yes, they will; only listen to that charming finale.How exquisitely Coselli sings his part."
"But what an awkward, inelegant fellow he is."
"Well, then, what do you say to La Specchia? Did you eversee anything more perfect than her acting?"
"Why, you know, my dear fellow, when one has been accustomedto Malibran and Sontag, such singers as these don't make thesame impression on you they perhaps do on others."
"At least, you must admire Moriani's style and execution."
"I never fancied men of his dark, ponderous appearancesinging with a voice like a woman's."
"My good friend," said Franz, turning to him, while Albertcontinued to point his glass at every box in the theatre,"you seem determined not to approve; you are really toodifficult to please." The curtain at length fell on theperformances, to the infinite satisfaction of the Viscountof Morcerf, who seized his hat, rapidly passed his fingersthrough his hair, arranged his cravat and wristbands, andsignified to Franz that he was waiting for him to lead theway. Franz, who had mutely interrogated the countess, andreceived from her a gracious smile in token that he would bewelcome, sought not to retard the gratification of Albert'seager impatience, but began at once the tour of the house,closely followed by Albert, who availed himself of the fewminutes required to reach the opposite side of the theatreto settle the height and smoothness of his collar, and toarrange the lappets of his coat. This important task wasjust completed as they arrived at the countess's box. At theknock, the door was immediately opened, and the young manwho was seated beside the countess, in obedience to theItalian custom, instantly rose and surrendered his place tothe strangers, who, in turn, would be expected to retireupon the arrival of other visitors.
Franz presented Albert as one of the most distinguishedyoung men of the day, both as regarded his position insociety and extraordinary talents; nor did he say more thanthe truth, for in Paris and the circle in which the viscountmoved, he was looked upon and cited as a model ofperfection. Franz added that his companion, deeply grievedat having been prevented the honor of being presented to thecountess during her sojourn in Paris, was most anxious tomake up for it, and had requested him (Franz) to remedy thepast misfortune by conducting him to her box, and concludedby asking pardon for his presumption in having taken it uponhimself to do so. The countess, in reply, bowed gracefullyto Albert, and extended her hand with cordial kindness toFranz; then, inviting Albert to take the vacant seat besideher, she recommended Franz to take the next best, if hewished to view the ballet, and pointed to the one behind herown chair. Albert was soon deeply engrossed in discoursingupon Paris and Parisian matters, speaking to the countess ofthe various persons they both knew there. Franz perceivedhow completely he was in his element; and, unwilling tointerfere with the pleasure he so evidently felt, took upAlbert's glass, and began in his turn to survey theaudience. Sitting alone, in the front of a box immediatelyopposite, but situated on the third row, was a woman ofexquisite beauty, dressed in a Greek costume, whichevidently, from the ease and grace with which she wore it,was her national attire. Behind her, but in deep shadow, wasthe outline of a masculine figure; but the features of thislatter personage it was not possible to distinguish. Franzcould not forbear breaking in upon the apparentlyinteresting conversation passing between the countess andAlbert, to inquire of the former if she knew who was thefair Albanian opposite, since beauty such as hers was wellworthy of being observed by either sex. "All I can tellabout her," replied the countess, "is, that she has been atRome since the beginning of the season; for I saw her whereshe now sits the very first night of the season, and sincethen she has never missed a performance. Sometimes she isaccompanied by the person who is now with her, and at othersshe is merely attended by a black servant."
"And what do you think of her personal appearance?"
"Oh, I consider her perfectly lovely -- she is just my ideaof what Medora must have been."
Franz and the countess exchanged a smile, and then thelatter resumed her conversation with Albert, while Franzreturned to his previous survey of the house and company.The curtain rose on the ballet, which was one of thoseexcellent specimens of the Italian school, admirablyarranged and put on the stage by Henri, who has establishedfor himself a great reputation throughout Italy for histaste and skill in the choreographic art -- one of thosemasterly productions of grace, method, and elegance in whichthe whole corps de ballet, from the principal dancers to thehumblest supernumerary, are all engaged on the stage at thesame time; and a hundred and fifty persons may be seenexhibiting the same attitude, or elevating the same arm orleg with a simultaneous movement, that would lead you tosuppose that but one mind, one act of volition, influencedthe moving mass -- the ballet was called "Poliska." Howevermuch the ballet might have claimed his attention, Franz wastoo deeply occupied with the beautiful Greek to take anynote of it; while she seemed to experience an almostchildlike delight in watching it, her eager, animated lookscontrasting strongly with the utter indifference of hercompanion, who, during the whole time the piece lasted,never even moved, not even when the furious, crashing dinproduced by the trumpets, cymbals, and Chinese bells soundedtheir loudest from the orchestra. Of this he took no heed,but was, as far as appearances might be trusted, enjoyingsoft repose and bright celestial dreams. The ballet atlength came to a close, and the curtain fell amid the loud,unanimous plaudits of an enthusiastic and delightedaudience.
Owing to the very judicious plan of dividing the two acts ofthe opera with a ballet, the pauses between the performancesare very short, the singers in the opera having time torepose themselves and change their costume, when necessary,while the dancers are executing their pirouettes andexhibiting their graceful steps. The overture to the secondact began; and, at the first sound of the leader's bowacross his violin, Franz observed the sleeper slowly ariseand approach the Greek girl, who turned around to say a fewwords to him, and then, leaning forward again on the railingof her box, she became as absorbed as before in what wasgoing on. The countenance of the person who had addressedher remained so completely in the shade, that, though Franztried his utmost, he could not distinguish a single feature.The curtain rose, and the attention of Franz was attractedby the actors; and his eyes turned from the box containingthe Greek girl and her strange companion to watch thebusiness of the stage.
Most of my readers are aware that the second act of"Parisina" opens with the celebrated and effective duet inwhich Parisina, while sleeping, betrays to Azzo the secretof her love for Ugo. The injured husband goes through allthe emotions of jealousy, until conviction seizes on hismind, and then, in a frenzy of rage and indignation, heawakens his guilty wife to tell her that he knows her guiltand to threaten her with his vengeance. This duet is one ofthe most beautiful, expressive and terrible conceptions thathas ever emanated from the fruitful pen of Donizetti. Franznow listened to it for the third time; yet its notes, sotenderly expressive and fearfully grand as the wretchedhusband and wife give vent to their different griefs andpassions, thrilled through the soul of Franz with an effectequal to his first emotions upon hearing it. Excited beyondhis usual calm demeanor, Franz rose with the audience, andwas about to join the loud, enthusiastic applause thatfollowed; but suddenly his purpose was arrested, his handsfell by his sides, and the half-uttered "bravos" expired onhis lips. The occupant of the box in which the Greek girlsat appeared to share the universal admiration thatprevailed; for he left his seat to stand up in front, sothat, his countenance being fully revealed, Franz had nodifficulty in recognizing him as the mysterious inhabitantof Monte Cristo, and the very same person he had encounteredthe preceding evening in the ruins of the Colosseum, andwhose voice and figure had seemed so familiar to him. Alldoubt of his identity was now at an end; his singular hostevidently resided at Rome. The surprise and agitationoccasioned by this full confirmation of Franz's formersuspicion had no doubt imparted a corresponding expressionto his features; for the countess, after gazing with apuzzled look at his face, burst into a fit of laughter, andbegged to know what had happened. "Countess," returnedFranz, totally unheeding her raillery, "I asked you a shorttime since if you knew any particulars respecting theAlbanian lady opposite; I must now beseech you to inform mewho and what is her husband?"
"Nay," answered the countess, "I know no more of him thanyourself."
"Perhaps you never before noticed him?"
think of her personal appearance?" box?"balconies, or openboxes.
"What a question -- so truly French! Do you not know that weItalians have eyes only for the man we love?"
"True," replied Franz.
"All I can say is," continued the countess, taking up thelorgnette, and directing it toward the box in question,"that the gentleman, whose history I am unable to furnish,seems to me as though he had just been dug up; he looks morelike a corpse permitted by some friendly grave-digger toquit his tomb for a while, and revisit this earth of ours,than anything human. How ghastly pale he is!"
"Oh, he is always as colorless as you now see him," saidFranz.
"Then you know him?" almost screamed the countess. "Oh, praydo, for heaven's sake, tell us all about -- is he a vampire,or a resuscitated corpse, or what?"
"I fancy I have seen him before; and I even think herecognizes me."
"And I can well understand," said the countess, shrugging upher beautiful shoulders, as though an involuntary shudderpassed through her veins, "that those who have once seenthat man will never be likely to forget him." The sensationexperienced by Franz was evidently not peculiar to himself;another, and wholly uninterested person, felt the sameunaccountable awe and misgiving. "Well." inquired Franz,after the countess had a second time directed her lorgnetteat the box, "what do you think of our opposite neighbor?"