TALES and STORIES - 17 Tales and Stories by Mary W. Shelley E-Book

Mary Wollstonecraft Shelley

• Herausgeber: Abela Publishing
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch
• Veröffentlichungsjahr: 2018

Beschreibung

Herein you will find 17 tales and short stories by Mary Wollstonecraft Shelley author of the acclaimed “Frankenstein”.
It was during a summer spent with Lord Byron and friends near Geneva in 1816, that Mary conceived the idea for her novel Frankenstein. The Shelleys left Britain in 1818 for Italy and it was during this time that the collected tales and stories in this volume were penned. These are the stuff of Mary Shelley's richly Romantic stories. Set against varying backdrops of medieval chivalry, the wars and revolutions of her age, and grandiose scenes of nature, her tales mark a high point in the Gothic storytelling art. Long out of the public’s eye, these stories are once again made available in ebook format.

Tragically in 1822, her husband, the acclaimed poet, Percy Shelley, drowned when his sailing boat sank during a storm near Viareggio. Thereafter Mary Shelley returned to Britain to focus on bringing up her only living child, Percy Florence Shelley.

10% of the profit from the sale of this book will be donated to charities by the publisher.

REVIEWS
"Beyond question Shelley scholars and 19th-century specialists will value this usefully annotated and carefully produced edition; it may also be that anyone would enjoy the stories themselves...and the accompanying original engravings."--Diane Johnson, 'Washington Post.'
----------------------------
TAGS: Mary Wollstonecraft Shelley, author, Frankenstein, eighteen tales, 18 stories, gothic, storytelling, Sisters Of Albano, Ferdinando Eboli, Evil Eye, The Dream, Mourner, False Rhyme, Tale Of The Passions; Death Of Despina, Mortal, Immortal, Transformation, Swiss Peasant, Invisible Girl, Brother And Sister, Parvenue, Pole, Polish, Euphrasia, Elder Son, Pilgrims, Percy Florence Shelley, Percy Blysse Shelley, Geneva, Lord Byron, Summer, holiday, Italy, son, husband, death, drowning, 19th Century,

Leseprobe

TALESandSTORIES

By

Mary Wollstonecraft Shelley

With An Introduction By

RICHARD GARNETT, LL.D.

Originally Published byWilliam Paterson & Co., London

[1891]

Resurrected byAbela Publishing, London[2018]

Tales and Stories

Typographical arrangement of this edition

© Abela Publishing 2018

This book may not be reproduced in its current format in any manner in any media, or transmitted by any means whatsoever, electronic, electrostatic, magnetic tape, or mechanical ( including photocopy, file or video recording, internet web sites, blogs, wikis, or any other information storage and retrieval system) except as permitted by law without the prior written permission of the publisher.

Abela Publishing,

London

United Kingdom

2018

ISBN-13: 978-x-xxxxxx-xx-x

email

[email protected]

website

www.AbelaPublishing.com

Introduction

It is customary to regard Mary Shelley’s claims to literary distinction as so entirely rooted and grounded in her husband’s as to constitute a merely parasitic growth upon his fame. It may be unreservedly admitted that her association with Shelley, and her care of his writings and memory after his death, are the strongest of her titles to remembrance. It is further undeniable that the most original of her works is also that which betrays the strongest traces of his influence. Frankenstein was written when her brain, magnetized by his companionship, was capable of an effort never to be repeated. But if the frame of mind which engendered and sustained the work was created by Shelley, the conception was not his, and the diction is dissimilar to his. Both derive from Godwin, but neither is Godwin’s. The same observation, except for an occasional phrase caught from Shelley, applies to all her subsequent work. The frequent exaltation of spirit, the ideality and romance, may well have been Shelley’s—the general style of execution neither repeats nor resembles him.

Mary Shelley’s voice, then, is not to die away as a mere echo of her illustrious husband’s. She has the prima facie claim to a hearing due to every writer who can assert the possession of a distinctive individuality; and if originality be once conceded to Frankenstein, as in all equity it must, none will dispute the validity of a title to fame grounded on such a work. It has solved the question itself—it is famous. It is full of faults venial in an author of nineteen; but, apart from the wild grandeur of the conception, it has that which even the maturity of mere talent never attains—the insight of genius which looks below the appearances of things, and perhaps even reverses its own first conception by the discovery of some underlying truth. Mary Shelley’s original intention was probably that which would alone have occurred to most writers in her place. She meant to paint Frankenstein’s monstrous creation as an object of unmitigated horror. The perception that he was an object of intense compassion as well imparted a moral value to what otherwise would have remained a daring flight of imagination. It has done more: it has helped to create, if it did not itself beget, a type of personage unknown to ancient fiction. The conception of a character at once justly execrable and truly pitiable is altogether modern. Richard the Third and Caliban make some approach towards it; but the former is too self-sufficing in his valour and his villainy to be deeply pitied, and the latter too senseless and brutal. Victor Hugo has made himself the laureate of pathetic deformity, but much of his work is a conscious or unconscious variation on the original theme of Frankenstein.

None of Mary Shelley’s subsequent romances approached Frankenstein in power and popularity. The reason may be summed up in a word—Languor. After the death of her infant son in 1819, she could never again command the energy which had carried her so vigorously through Frankenstein. Except in one instance, her work did not really interest her. Her heart is not in it. Valperga contains many passages of exquisite beauty; but it was, as the authoress herself says, “a child of mighty slow growth;” “laboriously dug,” Shelley adds, “out of a hundred old chronicles,” and wants the fire of imagination which alone could have interpenetrated the mass and fused its diverse ingredients into a satisfying whole. Of the later novels, The Last Man excepted, it is needless to speak, save for the autobiographic interest with which Professor Dowden’s fortunate discovery has informed the hitherto slighted pages of Lodore. But The Last Man demands great attention, for it is not only a work of far higher merit than commonly admitted, but of all her works the most characteristic of the authoress, the most representative of Mary Shelley in the character of pining widowhood which it was her destiny to support for the remainder of her life. It is an idealized version of her sorrows and sufferings, made to contribute a note to the strain which celebrates the final dissolution of the world. The languor which mars her other writings is a beauty here, harmonizing with the general tone of sublime melancholy. Most pictures of the end of the world, painted or penned, have an apocalyptic character. Men’s imaginations are powerfully impressed by great convulsions of nature; fire, tempest, and earthquake are summoned to effect the dissolution of the expiring earth. In The Last Man pestilence is the sole agent, and the tragedy is purely human. The tale consequently lacks the magnificence which the subject might have seemed to invite, but, on the other hand, gains in pathos—a pathos greatly increased when the authoress’s identity is recollected, and it is observed how vividly actual experience traverses her web of fiction. None can have been affected by Mary Shelley’s work so deeply as Mary Shelley herself; for the scenery is that of her familiar haunts, the personages are her intimates under thin disguises, the universal catastrophe is but the magnified image of the overthrow of her own fortunes; and there are pages on pages where every word must have come to her fraught with some unutterably sweet or bitter association. Yet, though her romance could never be to the public what it was to the author, it is surprising that criticism should have hitherto done so little justice either to its pervading nobility of thought or to the eloquence and beauty of very many inspired passages.

When The Last Man is reprinted it will come before the world as a new work. The same is the case with the short tales in this collection, the very existence of which is probably unknown to those most deeply interested in Mary Shelley. The entire class of literature to which they belong has long ago gone into Time’s wallet as “alms for oblivion.” They are exclusively contributions to a form of publication utterly superseded in this hasty age—the Annual, whose very name seemed to prophesy that it would not be perennial. For the creations of the intellect, however, there is a way back from Avernus. Every new generation convicts the last of undue precipitation in discarding the work of its own immediate predecessor. The special literary form may be incapable of revival; but the substance of that which has pleased or profited its age, be it Crashaw’s verse, or Etherege’s comedies, or Hoadly’s pamphlets, or what it may, always repays a fresh examination, and is always found to contribute some element useful or acceptable to the literature of a later day. The day of the “splendid annual” was certainly not a vigorous or healthy one in the history of English belles-lettres. It came in at the ebb of the great tide of poetry which followed on the French Revolution, and before the insetting of the great tide of Victorian prose. A pretentious feebleness characterizes the majority of its productions, half of which are hardly above the level of the album. Yet it had its good points, worthy to be taken into account. The necessary brevity of contributions to an annual operated as a powerful check on the loquacity so unfortunately encouraged by the three-volume novel. There was no room for tiresome descriptions of minutiæ, or interminable talk about uninteresting people. Being, moreover, largely intended for the perusal of high-born maidens in palace towers, the annuals frequently affected an exalted order of sentiment, which, if intolerable in insincere or merely mechanical hands, encouraged the emotion of a really passionate writer as much as the present taste for minute delineation represses it. This perfectly suited Mary Shelley. No writer felt less call to reproduce the society around her. It did not interest her in the smallest degree. The bent of her soul was entirely towards the ideal. This ideal was by no means buried in the grave of Shelley. She aspired passionately towards an imaginary perfection all her life, and solaced disappointment with what, in actual existence, too often proved the parent of fresh disillusion. In fiction it was otherwise; the fashionable style of publication, with all its faults, encouraged the enthusiasm, rapturous or melancholy, with which she adored the present or lamented the lost. She could fully indulge her taste for exalted sentiment in the Annual, and the necessary limitations of space afforded less scope for that creeping languor which relaxed the nerve of her more ambitious productions. In these little tales she is her perfect self, and the reader will find not only the entertainment of interesting fiction, but a fair picture of the mind, repressed in its energies by circumstances, but naturally enthusiastic and aspiring, of a lonely, thwarted, misunderstood woman, who could seldom do herself justice, and whose precise place in the contemporary constellation of genius remains to be determined.

The merit of a collection of stories, casually written at different periods and under different influences, must necessarily be various. As a rule, it may be said that Mary Shelley is best when most ideal, and excels in proportion to the exaltation of the sentiment embodied in her tale. Virtue, patriotism, disinterested affection, are very real things to her; and her heroes and heroines, if generally above the ordinary plane of humanity, never transgress the limits of humanity itself. Her fault is the other way, and arises from a positive incapacity for painting the ugly and the commonplace. She does her best, but her villains do not impress us. Minute delineation of character is never attempted; it lay entirely out of her sphere. Her tales are consequently executed in the free, broad style of the eighteenth century, towards which a reaction is now fortunately observable. As stories, they are very good. The theme is always interesting, and the sequence of events natural. No person and no incident, perhaps, takes a very strong hold upon the imagination; but the general impression is one of a sphere of exalted feeling into which it is good to enter, and which ennobles as much as the photography of ugliness degrades. The diction, as usual in the imaginative literature of the period, is frequently too ornate, and could spare a good many adjectives. But its native strength is revealed in passages of impassioned feeling; and remarkable command over the resources of the language is displayed in descriptions of scenes of natural beauty. The microscopic touch of a Browning or a Meredith, bringing the scene vividly before the mind’s eye, is indeed absolutely wanting; but the landscape is suffused with the poetical atmosphere of a Claude or a Danby. The description at the beginning of The Sisters of Albano is a characteristic and beautiful instance.

The biographical element is deeply interwoven with these as with all Mary Shelley’s writings. It is of especial interest to search out the traces of her own history, and the sources from which her descriptions and ideas may have been derived. The Mourner has evident vestiges of her residence near Windsor when Alastor was written, and probably reflects the general impression derived from Shelley’s recollections of Eton. The visit to Pæstum in The Pole recalls one of the most beautiful of Shelley’s letters, which Mary, however, probably never saw. Claire Clairmont’s fortunes seem glanced at in one or two places; and the story of The Pole may be partly founded on some experience of hers in Russia. Trelawny probably suggested the subjects of the two Greek tales, The Evil Eye, and Euphrasia. The Mortal Immortal is a variation on the theme of St. Leon, and Transformation on that of Frankenstein. These are the only tales in the collection which betray the influence of Godwin, and neither is so fully worked out as it might have been. Mary Shelley was evidently more at home with a human than with a superhuman ideal; her enthusiasm soars high, but does not transcend the possibilities of human nature. The artistic merit of her tales will be diversely estimated, but no reader will refuse the authoress facility of invention, or command of language, or elevation of soul.

Contents

I. The Sisters of Albano

II. Ferdinando Eboli

III. The Evil Eye

IV. The Dream

V. The Mourner

VI. The False Rhyme

VII. A Tale of the Passions; or, The Death of Despina

VIII. The Mortal Immortal

IX. Transformation

X. The Swiss Peasant

XI. The Invisible Girl

XII. The Brother and Sister

XIII. The Parvenue

XIV. The Pole

XV. Euphrasia

XVI. The Elder Son

XVII. The Pilgrims

I.The Sisters of Albano

“And near Albano’s scarce divided waves

Shine from a sister valley;—and afar

The Tiber winds, and the broad ocean laves

The Latian coast where sprang the Epic war,

‘Arms and the Man,’ whose re-ascending star

Rose o’er an empire; but beneath thy right

Tully reposed from Rome; and where yon bar

Of girdling mountains intercepts the sight

The Sabine farm was till’d, the weary bard’s delight.”

It was to see this beautiful lake that I made my last excursion before quitting Rome. The spring had nearly grown into summer, the trees were all in full but fresh green foliage, the vine-dresser was singing, perched among them, training his vines: the cicada had not yet begun her song, the heats therefore had not commenced; but at evening the fire-flies gleamed among the hills, and the cooing aziola assured us of what in that country needs no assurance—fine weather for the morrow. We set out early in the morning to avoid the heats, breakfasted at Albano, and till ten o’clock passed our time in visiting the Mosaic, the villa of Cicero, and other curiosities of the place. We reposed during the middle of the day in a tent elevated for us at the hill-top, whence we looked on the hill-embosomed lake, and the distant eminence crowned by a town with its church. Other villages and cottages were scattered among the foldings of mountains, and beyond we saw the deep blue sea of the southern poets, which received the swift and immortal Tiber, rocking it to repose among its devouring waves. The Coliseum falls and the Pantheon decays,—the very hills of Rome are perishing,—but the Tiber lives forever, flows for ever, and forever feeds the land-encircled Mediterranean with fresh waters.

Our summer and pleasure-seeking party consisted of many: to me the most interesting person was the Countess Atanasia D——, who was as beautiful as an imagination of Raphael, and good as the ideal of a poet. Two of her children accompanied her, with animated looks and gentle manners, quiet, yet enjoying. I sat near her, watching the changing shadows of the landscape before us. As the sun descended, it poured a tide of light into the valley of the lake, deluging the deep bank formed by the mountain with liquid gold. The domes and turrets of the far town flashed and gleamed, the trees were dyed in splendour; two or three slight clouds, which had drunk the radiance till it became their essence, floated golden islets in the lustrous empyrean. The waters, reflecting the brilliancy of the sky and the fire-tinted banks, beamed a second heaven, a second irradiated earth, at our feet. The Mediterranean, gazing on the sun,—as the eyes of a mortal bride fail and are dimmed when reflecting her lover’s glance,—was lost, mixed in his light, till it had become one with him.—Long (our souls, like the sea, the hills, and lake, drinking in the supreme loveliness) we gazed, till the too full cup overflowed, and we turned away with a sigh.

At our feet there was a knoll of ground, that formed the foreground of our picture; two trees lay basking against the sky, glittering with the golden light, which like dew seemed to hang amid their branches; a rock closed the prospect on the other side, twined round by creepers, and redolent with blooming myrtle; a brook, crossed by huge stones, gushed through the turf, and on the fragments of rock that lay about, sat two or three persons, peasants, who attracted our attention. One was a hunter, as his gun, lying on a bank not far off, demonstrated, yet he was a tiller of the soil; his rough straw hat, and his picturesque but coarse dress, belonged to that class. The other was some contadina, in the costume of her country, returning, her basket on her arm, from the village to her cottage home. They were regarding the stores of a pedlar, who with doffed hat stood near: some of these consisted of pictures and prints—views of the country, and portraits of the Madonna. Our peasants regarded these with pleased attention.

“One might easily make out a story for that pair,” I said: “his gun is a help to the imagination, and we may fancy him a bandit with his contadina love, the terror of all the neighbourhood, except of her, the most defenceless being in it.”

“You speak lightly of such a combination,” said the lovely countess at my side, “as if it must not in its nature be the cause of dreadful tragedies. The mingling of love with crime is a dread conjunction, and lawless pursuits are never followed without bringing on the criminal, and all allied to him, ineffable misery. I speak with emotion, for your observation reminds me of an unfortunate girl, now one of the Sisters of Charity in the convent of Santa Chiara at Rome, whose unhappy passion for a man, such as you mention, spread destruction and sorrow widely around her.”

I entreated my lovely friend to relate the history of the nun. For a long time she resisted my entreaties, as not willing to depress the spirit of a party of pleasure by a tale of sorrow. But I urged her, and she yielded. Her sweet Italian phraseology now rings in my ears, and her beautiful countenance is before me. As she spoke, the sun set, and the moon bent her silver horn in the ebbing tide of glory he had left. The lake changed from purple to silver, and the trees, before so splendid, now in dark masses, just reflected from their tops the mild moonlight. The fire-flies flashed among the rocks; the bats circled round us: meanwhile thus commenced the Countess Atanasia:—

The nun of whom I speak had a sister older than herself; I can remember them when as children they brought eggs and fruit to my father’s villa. Maria and Anina were constantly together. With their large straw hats to shield them from the scorching sun, they were at work in their father’s podere all day, and in the evening, when Maria, who was the elder by four years, went to the fountain for water, Anina ran at her side. Their cot—the folding of the hill conceals it—is at the lake-side opposite; and about a quarter of a mile up the hill is the rustic fountain of which I speak. Maria was serious, gentle, and considerate; Anina was a laughing, merry little creature, with the face of a cherub. When Maria was fifteen, their mother fell ill, and was nursed at the convent of Santa Chiara at Rome. Maria attended her, never leaving her bedside day or night. The nuns thought her an angel, she deemed them saints: her mother died, and they persuaded her to make one of them; her father could not but acquiesce in her holy intention, and she became one of the Sisters of Charity, the nun-nurses of Santa Chiara. Once or twice a year she visited her home, gave sage and kind advice to Anina, and sometimes wept to part from her; but her piety and her active employments for the sick reconciled her to her fate. Anina was more sorry to lose her sister’s society. The other girls of the village did not please her: she was a good child, and worked hard for her father, and her sweetest recompense was the report he made of her to Maria, and the fond praises and caresses the latter bestowed on her when they met.

It was not until she was fifteen that Anina showed any diminution of affection for her sister. Yet I cannot call it diminution, for she loved her perhaps more than ever, though her holy calling and sage lectures prevented her from reposing confidence, and made her tremble lest the nun, devoted to heaven and good works, should read in her eyes, and disapprove of the earthly passion that occupied her. Perhaps a part of her reluctance arose from the reports that were current against her lover’s character, and certainly from the disapprobation and even hatred of him that her father frequently expressed. Ill-fated Anina! I know not if in the north your peasants love as ours; but the passion of Anina was entwined with the roots of her being, it was herself: she could die, but not cease to love. The dislike of her father for Domenico made their intercourse clandestine. He was always at the fountain to fill her pitcher, and lift it on her head. He attended the same mass; and when her father went to Albano, Velletri, or Rome, he seemed to learn by instinct the exact moment of his departure, and joined her in the podere, labouring with her and for her, till the old man was seen descending the mountain-path on his return. He said he worked for a contadino near Nemi. Anina sometimes wondered that he could spare so much time for her; but his excuses were plausible, and the result too delightful not to blind the innocent girl to its obvious cause.

Poor Domenico! the reports spread against him were too well founded: his sole excuse was that his father had been a robber before him, and he had spent his early years among these lawless men. He had better things in his nature, and yearned for the peace of the guiltless. Yet he could hardly be called guilty, for no dread crime stained him. Nevertheless, he was an outlaw and a bandit; and now that he loved Anina, these names were the stings of an adder to pierce his soul. He would have fled from his comrades to a far country, but Anina dwelt amid their very haunts. At this period also the police established by the French Government, which then possessed Rome, made these bands more alive to the conduct of their members; and rumours of active measures to be taken against those who occupied the hills near Albano, Nemi, and Velletri, caused them to draw together in tighter bonds. Domenico would not, if he could, desert his friends in the hour of danger.

On a festa at this time—it was towards the end of October—Anina strolled with her father among the villagers, who all over Italy make holiday by congregating and walking in one place. Their talk was entirely of the ladri and the French, and many terrible stories were related of the extirpation of banditti in the kingdom of Naples, and the mode by which the French succeeded in their undertaking was minutely described. The troops scoured the country, visiting one haunt of the robbers after the other, and dislodging them, tracked them as in those countries they hunt the wild beasts of the forest, till, drawing the circle narrower, they enclosed them in one spot. They then drew a cordon round the place, which they guarded with the utmost vigilance, forbidding any to enter it with provisions, on pain of instant death. And as this menace was rigorously executed, in a short time the besieged bandits were starved into a surrender. The French troops were now daily expected, for they had been seen at Velletri and Nemi; at the same time it was affirmed that several outlaws had taken up their abode at Rocca Giovane, a deserted village on the summit of one of these hills, and it was supposed that they would make that place the scene of their final retreat.

The next day, as Anina worked in the podere, a party of French horse passed by along the road that separated her garden from the lake. Curiosity made her look at them; and her beauty was too great not to attract. Their observations and address soon drove her away; for a woman in love consecrates herself to her lover, and deems the admiration of others to be profanation. She spoke to her father of the impertinence of these men; and he answered by rejoicing at their arrival, and the destruction of the lawless bands that would ensue. When in the evening Anina went to the fountain, she looked timidly around, and hoped that Domenico would be at his accustomed post, for the arrival of the French destroyed her feeling of security. She went rather later than usual, and a cloudy evening made it seem already dark; the wind roared among the trees, bending hither and thither even the stately cypresses; the waters of the lake were agitated into high waves, and dark masses of thundercloud lowered over the hill-tops, giving a lurid tinge to the landscape. Anina passed quickly up the mountain-path. When she came in sight of the fountain, which was rudely hewn in the living rock, she saw Domenico leaning against a projection of the hill, his hat drawn over his eyes, his tabaro fallen from his shoulders, his arms folded in an attitude of dejection. He started when he saw her; his voice and phrases were broken and unconnected; yet he never gazed on her with such ardent love, nor solicited her to delay her departure with such impassioned tenderness.

“How glad I am to find you here!” she said; “I was fearful of meeting one of the French soldiers: I dread them even more than the banditti.”

Domenico cast a look of eager inquiry on her, and then turned away, saying, “Sorry am I that I shall not be here to protect you. I am obliged to go to Rome for a week or two. You will be faithful, Anina mia; you will love me, though I never see you more?”

The interview, under these circumstances, was longer than usual. He led her down the path till they nearly came in sight of her cottage; still they lingered. A low whistle was heard among the myrtle underwood at the lake-side; he started; it was repeated; and he answered it by a similar note. Anina, terrified, was about to ask what this meant, when, for the first time, he pressed her to his heart, kissed her roseate lips, and, with a muttered “Carissima addio,” left her, springing down the bank; and as she gazed in wonder, she thought she saw a boat cross a line of light made by the opening of a cloud. She stood long absorbed in reverie, wondering and remembering with thrilling pleasure the quick embrace and impassioned farewell of her lover. She delayed so long that her father came to seek her.

Each evening after this, Anina visited the fountain at the Ave Maria; he was not there: each day seemed an age; and incomprehensible fears occupied her heart. About a fortnight after, letters arrived from Maria. They came to say that she had been ill of the malaria fever, that she was now convalescent, but that change of air was necessary for her recovery, and that she had obtained leave to spend a month at home at Albano. She asked her father to come the next day to fetch her. These were pleasant tidings for Anina; she resolved to disclose everything to her sister, and during her long visit she doubted not but that she would contrive her happiness. Old Andrea departed the following morning, and the whole day was spent by the sweet girl in dreams of future bliss. In the evening Maria arrived, weak and wan, with all the marks of that dread illness about her, yet, as she assured her sister, feeling quite well.

As they sat at their frugal supper, several villagers came in to inquire for Maria; but all their talk was of the French soldiers and the robbers, of whom a band of at least twenty was collected in Rocca Giovane, strictly watched by the military.

“We may be grateful to the French,” said Andrea, “for this good deed; the country will be rid of these ruffians.”

“True, friend,” said another; “but it is horrible to think what these men suffer: they have, it appears, exhausted all the food they brought with them to the village, and are literally starving. They have not an ounce of maccaroni among them; and a poor fellow who was taken and executed yesterday was a mere anatomy: you could tell every bone in his skin.”

“There was a sad story the other day,” said another, “of an old man from Nemi, whose son, they say, is among them at Rocca Giovane: he was found within the lines with some baccallà under his pastrano, and shot on the spot.”

“There is not a more desperate gang,” observed the first speaker, “in the states and the regno put together. They have sworn never to yield but upon good terms. To secure these, their plan is to waylay passengers and make prisoners, whom they keep as hostages for mild treatment from the Government. But the French are merciless; they are better pleased that the bandits wreak their vengeance on these poor creatures than spare one of their lives.”

“They have captured two persons already,” said another; “and there is old Betta Tossi half frantic, for she is sure her son is taken: he has not been at home these ten days.”

“I should rather guess,” said an old man, “that he went there with good-will: the young scapegrace kept company with Domenico Baldi of Nemi.”

“No worse company could he have kept in the whole country,” said Andrea; “Domenico is the bad son of a bad race. Is he in the village with the rest?”

“My own eyes assured me of that,” replied the other.

“When I was up the hill with eggs and fowls to the piquette there, I saw the branches of an ilex move; the poor fellow was weak perhaps, and could not keep his hold; presently he dropped to the ground; every musket was levelled at him, but he started up and was away like a hare among the rocks. Once he turned, and then I saw Domenico as plainly, though thinner, poor lad, by much than he was,—as plainly as I now see—Santa Virgine! what is the matter with Nina?”

She had fainted. The company broke up, and she was left to her sister’s care. When the poor child came to herself she was fully aware of her situation, and said nothing, except expressing a wish to retire to rest. Maria was in high spirits at the prospect of her long holiday at home; but the illness of her sister made her refrain from talking that night, and blessing her, as she said good-night, she soon slept. Domenico starving!—Domenico trying to escape and dying through hunger, was the vision of horror that wholly possessed poor Anina. At another time, the discovery that her lover was a robber might have inflicted pangs as keen as those which she now felt; but this at present made a faint impression, obscured by worse wretchedness. Maria was in a deep and tranquil sleep. Anina rose, dressed herself silently, and crept downstairs. She stored her market-basket with what food there was in the house, and, unlatching the cottage-door, issued forth, resolved to reach Rocca Giovane, and to administer to her lover’s dreadful wants. The night was dark, but this was favourable, for she knew every path and turn of the hills, every bush and knoll of ground between her home and the deserted village which occupies the summit of that hill. You may see the dark outline of some of its houses about two hours’ walk from her cottage. The night was dark, but still; the libeccio brought the clouds below the mountain-tops, and veiled the horizon in mist; not a leaf stirred; her footsteps sounded loud in her ears, but resolution overcame fear. She had entered yon ilex grove, her spirits rose with her success, when suddenly she was challenged by a sentinel; no time for escape; fear chilled her blood; her basket dropped from her arm; its contents rolled out on the ground; the soldier fired his gun, and brought several others round him; she was made prisoner.

In the morning, when Maria awoke she missed her sister from her side. I have overslept myself, she thought, and Nina would not disturb me. But when she came downstairs and met her father, and Anina did not appear, they began to wonder. She was not in the podere; two hours passed, and then Andrea went to seek her. Entering the near village, he saw the contadini crowding together, and a stifled exclamation of “Ecco il padre!” told him that some evil had betided. His first impression was that his daughter was drowned; but the truth, that she had been taken by the French carrying provisions within the forbidden line, was still more terrible. He returned in frantic desperation to his cottage, first to acquaint Maria with what had happened, and then to ascend the hill to save his child from her impending fate. Maria heard his tale with horror; but an hospital is a school in which to learn self-possession and presence of mind. “Do you remain, my father,” she said; “I will go. My holy character will awe these men, my tears move them: trust me; I swear that I will save my sister.” Andrea yielded to her superior courage and energy.

The nuns of Santa Chiara when out of their convent do not usually wear their monastic habit, but dress simply in a black gown. Maria, however, had brought her nun’s habiliments with her, and, thinking thus to impress the soldiers with respect, she now put them on. She received her father’s benediction, and, asking that of the Virgin and the saints, she departed on her expedition. Ascending the hill, she was soon stopped by the sentinels. She asked to see their commanding officer, and being conducted to him, she announced herself as the sister of the unfortunate girl who had been captured the night before. The officer, who had received her with carelessness, now changed countenance: his serious look frightened Maria, who clasped her hands, exclaiming, “You have not injured the child! she is safe!”

“She is safe—now,” he replied with hesitation; “but there is no hope of pardon.”

“Holy Virgin, have mercy on her! What will be done to her?”

“I have received strict orders: in two hours she dies.”

“No! no!” exclaimed Maria impetuously, “that cannot be! You cannot be so wicked as to murder a child like her.”

“She is old enough, madame,” said the officer, “to know that she ought not to disobey orders; mine are so strict, that were she but nine years old, she dies.”

These terrible words stung Maria to fresh resolution: she entreated for mercy; she knelt; she vowed that she would not depart without her sister; she appealed to Heaven and the saints. The officer, though cold-hearted, was good-natured and courteous, and he assured her with the utmost gentleness that her supplications were of no avail; that were the criminal his own daughter he must enforce his orders. As a sole concession, he permitted her to see her sister. Despair inspired the nun with energy; she almost ran up the hill, out-speeding her guide: they crossed a folding of the hills to a little sheep-cot, where sentinels paraded before the door. There was no glass to the windows, so the shutters were shut; and when Maria first went in from the bright daylight she hardly saw the slight figure of her sister leaning against the wall, her dark hair fallen below her waist, her head sunk on her bosom, over which her arms were folded. She started wildly as the door opened, saw her sister, and sprang with a piercing shriek into her arms.

They were left alone together: Anina uttered a thousand frantic exclamations, beseeching her sister to save her, and shuddering at the near approach of her fate. Maria had felt herself, since their mother’s death, the natural protectress and support of her sister, and she never deemed herself so called on to fulfil this character as now that the trembling girl clasped her neck,—her tears falling on her cheeks, and her choked voice entreating her to save her. The thought—O could I suffer instead of you! was in her heart, and she was about to express it, when it suggested another idea, on which she was resolved to act. First she soothed Anina by her promises, then glanced round the cot; they were quite alone: she went to the window, and through a crevice saw the soldiers conversing at some distance. “Yes, dearest sister,” she cried, “I will—I can save you—quick—we must change dresses—there is no time to be lost I—you must escape in my habit.”

“And you remain to die?”

“They dare not murder the innocent, a nun! Fear not for me—I am safe.”

Anina easily yielded to her sister, but her fingers trembled; every string she touched she entangled. Maria was perfectly self-possessed, pale, but calm. She tied up her sister’s long hair, and adjusted her veil over it so as to conceal it; she unlaced her bodice, and arranged the folds of her own habit on her with the greatest care—then more hastily she assumed the dress of her sister, putting on, after a lapse of many years, her native contadina costume. Anina stood by, weeping and helpless, hardly hearing her sister’s injunctions to return speedily to their father, and under his guidance to seek sanctuary. The guard now opened the door. Anina clung to her sister in terror, while she, in soothing tones, entreated her to calm herself.

The soldier said they must delay no longer, for the priest had arrived to confess the prisoner.

To Anina the idea of confession associated with death was terrible; to Maria it brought hope. She whispered, in a smothered voice, “The priest will protect me—fear not—hasten to our father!”

Anina almost mechanically obeyed: weeping, with her handkerchief placed unaffectedly before her face, she passed the soldiers; they closed the door on the prisoner, who hastened to the window, and saw her sister descend the hill with tottering steps, till she was lost behind some rising ground. The nun fell on her knees—cold dew bathed her brow, instinctively she feared: the French had shown small respect for the monastic character; they destroyed the convents and desecrated the churches. Would they be merciful to her, and spare the innocent? Alas! was not Anina innocent also? Her sole crime had been disobeying an arbitrary command, and she had done the same.

“Courage!” cried Maria; “perhaps I am fitter to die than my sister is. Gesu, pardon me my sins, but I do not believe that I shall out live this day!”

In the meantime, Anina descended the hill slowly and trembling. She feared discovery,—she feared for her sister,—and above all, at the present moment, she feared the reproaches and anger of her father. By dwelling on this last idea, it became exaggerated into excessive terror, and she determined, instead of returning to her home, to make a circuit among the hills, to find her way by herself to Albano, where she trusted to find protection from her pastor and confessor. She avoided the open paths, and following rather the direction she wished to pursue than any beaten road, she passed along nearer to Rocca Giovane than she anticipated. She looked up at its ruined houses and bell-less steeple, straining her eyes to catch a glimpse of him, the author of all her ills. A low but distinct whistle reached her ear, not far off; she started,—she remembered that on the night when she last saw Domenico a note like that had called him from her side; the sound was echoed and re-echoed from other quarters; she stood aghast, her bosom heaving, her hands clasped. First she saw a dark and ragged head of hair, shadowing two fiercely gleaming eyes, rise from beneath a bush. She screamed, but before she could repeat her scream three men leapt from behind a rock, secured her arms, threw a cloth over her face, and hurried her up the acclivity. Their talk, as she went along, informed her of the horror and danger of her situation.

Pity, they said, that the holy father and some of his red stockings did not command the troops: with a nun in their hands, they might obtain any terms. Coarse jests passed as they dragged their victim towards their ruined village. The paving of the street told her when they arrived at Rocca Giovane, and the change of atmosphere that they entered a house. They unbandaged her eyes: the scene was squalid and miserable, the walls ragged and black with smoke, the floor strewn with offals and dirt; a rude table and broken bench was all the furniture; and the leaves of Indian corn, heaped high in one corner, served, it seemed, for a bed, for a man lay on it, his head buried in his folded arms. Anina looked round on her savage hosts: their countenances expressed every variety of brutal ferocity, now rendered more dreadful from gaunt famine and suffering.

“Oh, there is none who will save me!” she cried. The voice startled the man who was lying on the floor; he lept up—it was Domenico: Domenico, so changed, with sunk cheeks and eyes, matted hair, and looks whose wildness and desperation differed little from the dark countenances around him. Could this be her lover?

His recognition and surprise at her dress led to an explanation. When the robbers first heard that their prey was no prize, they were mortified and angry; but when she related the danger she had incurred by endeavouring to bring them food, they swore with horrid oaths that no harm should befall her, but that if she liked she might make one of them in all honour and equality. The innocent girl shuddered. “Let me go,” she cried; “let me only escape and hide myself in a convent for ever!”

Domenico looked at her in agony. “Yes, poor child,” he said; “go save yourself: God grant no evil befall you; the ruin is too wide already.” Then turning eagerly to his comrades, he continued: “You hear her story. She was to have been shot for bringing food to us: her sister has substituted herself in her place. We know the French; one victim is to them as good as another: Maria dies in their hands. Let us save her. Our time is up; we must fall like men, or starve like dogs: we have still ammunition, still some strength left. To arms! let us rush on the poltroons, free their prisoner, and escape or die!”

There needed but an impulse like this to urge the outlaws to desperate resolves. They prepared their arms with looks of ferocious determination. Domenico, meanwhile, led Anina out of the house, to the verge of the hill, inquiring whether she intended to go. On her saying to Albano, he observed, “That were hardly safe; be guided by me, I entreat you: take these piastres, hire the first conveyance you find, hasten to Rome, to the convent of Santa Chiara: for pity’s sake, do not linger in this neighbourhood.”

“I will obey your injunctions, Domenico,” she replied, “but I cannot take your money; it has cost you too dear: fear not, I shall arrive safely at Rome without that ill-fated silver.”

Domenico’s comrades now called loudly to him: he had no time to urge his request; he threw the despised dollars at her feet.

“Nina, adieu forever,” he said: “may you love again more happily!”

“Never!” she replied. “God has saved me in this dress; it were sacrilege to change it: I shall never quit Santa Chiara.”

Domenico had led her a part of the way down the rock; his comrades appeared at the top, calling to him.

“Gesu save you!” cried he: “reach the convent—Maria shall join you there before night. Farewell!” He hastily kissed her hand, and sprang up the acclivity to rejoin his impatient friends.

The unfortunate Andrea had waited long for the return of his children. The leafless trees and bright clear atmosphere permitted every object to be visible, but he saw no trace of them on the hill-side; the shadows of the dial showed noon to be passed, when, with uncontrollable impatience, he began to climb the hill, towards the spot where Anina had been taken. The path he pursued was in part the same that this unhappy girl had taken on her way to Rome. The father and daughter met: the old man saw the nun’s dress, and saw her unaccompanied: she covered her face with her hands in a transport of fear and shame; but when, mistaking her for Maria, he asked in a tone of anguish for his youngest darling, her arms fell—she dared not raise her eyes, which streamed with tears.

“Unhappy girl!” exclaimed Andrea, “where is your sister?”

She pointed to the cottage prison, now discernible near the summit of a steep acclivity. “She is safe,” she replied: “she saved me; but they dare not murder her.”

“Heaven bless her for this good deed!” exclaimed the old man fervently; “but you hasten on your way, and I will go in search of her.”

Each proceeded on an opposite path. The old man wound up the hill, now in view, and now losing sight of the hut where his child was captive: he was aged, and the way was steep. Once, when the closing of the hill hid the point towards which he forever strained his eyes, a single shot was fired in that direction: his staff fell from his hands, his knees trembled and failed him; several minutes of dead silence elapsed before he recovered himself sufficiently to proceed: full of fears he went on, and at the next turn saw the cot again. A party of soldiers were on the open space before it, drawn up in a line as if expecting an attack. In a few moments from above them shots were fired, which they returned, and the whole was enveloped and veiled in smoke. Still Andrea climbed the hill, eager to discover what had become of his child: the firing continued quick and hot. Now and then, in the pauses of musketry and the answering echoes of the mountains, he heard a funeral chant; presently, before he was aware, at a turning of the hill, he met a company of priests and contadini, carrying a large cross and a bier. The miserable father rushed forward with frantic impatience; the awe-struck peasants set down their load—the face was uncovered, and the wretched man fell helpless on the corpse of his murdered child.

The Countess Atanasia paused, overcome by the emotions inspired by the history she related. A long pause ensued: at length one of the party observed, “Maria, then, was the sacrifice to her goodness.”

“The French,” said the countess, “did not venerate her holy vocation; one peasant girl to them was the same as another. The immolation of any victim suited their purpose of awe-striking the peasantry. Scarcely, however, had the shot entered her heart, and her blameless spirit been received by the saints in Paradise, when Domenico and his followers rushed down the hill to avenge her and themselves. The contest was furious and bloody; twenty French soldiers fell, and not one of the banditti escaped,—Domenico, the foremost of the assailants, being the first to fall.”

I asked, “And where are now Anina and her father?”

“You may see them, if you will,” said the countess, “on your return to Rome. She is a nun of Santa Chiara. Constant acts of benevolence and piety have inspired her with calm and resignation. Her prayers are daily put up for Domenico’s soul, and she hopes, through the intercession of the Virgin, to rejoin him in the other world.

“Andrea is very old; he has outlived the memory of his sufferings; but he derives comfort from the filial attentions of his surviving daughter. But when I look at his cottage on this lake, and remember the happy laughing face of Anina among the vines, I shudder at the recollection of the passion that has made her cheeks pale, her thoughts for ever conversant with death, her only wish to find repose in the grave.”

II. Ferdinando Eboli

During this quiet time of peace we are fast forgetting the exciting and astonishing events of the Napoleonic wars; and the very names of Europe’s conquerors are becoming antiquated to the ears of our children. Those were more romantic days than these; for the revulsions occasioned by revolution or invasion were full of romance; and travellers in those countries in which these scenes had place hear strange and wonderful stories, whose truth so much resembles fiction, that, while interested in the narration, we never give implicit credence to the narrator. Of this kind is a tale I heard at Naples. The fortunes of war perhaps did not influence its actors, yet it appears improbable that any circumstances so out of the usual routine could have had place under the garish daylight that peace sheds upon the world.

When Murat, then called Gioacchino, king of Naples, raised his Italian regiments, several young nobles, who had before been scarcely more than vine-dressers on the soil, were inspired with a love of arms, and presented themselves as candidates for military honours. Among these was the young Count Eboli. The father of this youthful noble had followed Ferdinand to Sicily; but his estates lay principally near Salerno, and he was naturally desirous of preserving them; while the hopes that the French government held out of glory and prosperity to his country made him often regret that he had followed his legitimate but imbecile king to exile. When he died, therefore, he recommended his son to return to Naples, to present himself to his old and tried friend, the Marchese Spina, who held a high office in Murat’s government, and through his means to reconcile himself to the new king. All this was easily achieved. The young and gallant Count was permitted to possess his patrimony; and, as a further pledge of good fortune, he was betrothed to the only child of the Marchese Spina. The nuptials were deferred till the end of the ensuing campaign.

Meanwhile the army was put in motion, and Count Eboli only obtained such short leave of absence as permitted him to visit for a few hours the villa of his future father-in-law, there to take leave of him and his affianced bride. The villa was situated on one of the Apennines to the north of Salerno, and looked down, over the plain of Calabria, in which Pæstum is situated, on to the blue Mediterranean. A precipice on one side, a brawling mountain torrent, and a thick grove of ilex, added beauty to the sublimity of its site. Count Eboli ascended the mountain-path in all the joy of youth and hope. His stay was brief. An exhortation and a blessing from the Marchese, a tender farewell, graced by gentle tears, from the fair Adalinda, were the recollections he was to bear with him, to inspire him with courage and hope in danger and absence. The sun had just sunk behind the distant isle of Istria, when, kissing his lady’s hand, he said a last “Addio,” and with slower steps, and more melancholy mien, rode down the mountain on his road to Naples.

That same night Adalinda retired early to her apartment, dismissing her attendants; and then, restless from mingled fear and hope, she threw open the glass-door that led to a balcony looking over the edge of the hill upon the torrent, whose loud rushing often lulled her to sleep, but whose waters were concealed from sight by the ilex trees, which lifted their topmost branches above the guarding parapet of the balcony.

Leaning her cheek upon her hand, she thought of the dangers her lover would encounter, of her loneliness the while, of his letters, and of his return. A rustling sound now caught her ear. Was it the breeze among the ilex trees? Her own veil was unwaved by every wind, her tresses even, heavy in their own rich beauty only, were not lifted from her cheek. Again those sounds. Her blood retreated to her heart, and her limbs trembled. What could it mean? Suddenly the upper branches of the nearest tree were disturbed; they opened, and the faint starlight showed a man’s figure among them. He prepared to spring from his hold on to the wall. It was a feat of peril. First the soft voice of her lover bade her “Fear not,” and on the next instant he was at her side, calming her terrors, and recalling her spirits, that almost left her gentle frame, from mingled surprise, dread, and joy. He encircled her waist with his arm, and pouring forth a thousand passionate expressions of love, she leant on his shoulder, and wept from agitation, while he covered her hands with kisses, and gazed on her with ardent adoration.

Then in calmer mood they sat together; triumph and joy lighted up his eyes, and a modest blush glowed on her cheek: for never before had she sat alone with him, nor heard unrestrained his impassioned assurances of affection. It was, indeed, Love’s own hour. The stars trembled on the roof of his eternal temple; the dashing of the torrent, the mild summer atmosphere, and the mysterious aspect of the darkened scenery, were all in unison to inspire security and voluptuous hope. They talked of how their hearts, through the medium of divine nature, might hold commune during absence; of the joys of reunion, and of their prospect of perfect happiness.

The moment at last arrived when he must depart. “One tress of this silken hair,” said he, raising one of the many curls that clustered on her neck. “I will place it on my heart, a shield to protect me against the swords and balls of the enemy.” He drew his keen-edged dagger from its sheath. “Ill weapon for so gentle a deed,” he said, severing the lock, and at the same moment many drops of blood fell fast on the fair arm of the lady. He answered her fearful inquiries by showing a gash he had awkwardly inflicted on his left hand. First he insisted on securing his prize, and then he permitted her to bind his wound, which she did half laughing, half in sorrow, winding round his hand a riband loosened from her own arm. “Now, farewell,” he cried; “I must ride twenty miles ere dawn, and the descending Bear shows that midnight is past.” His descent was difficult, but he achieved it happily, and the stave of a song—whose soft sounds rose like the smoke of incense from an altar—from the dell below, to her impatient ear, assured her of his safety.

As is always the case when an account is gathered from eye-witnesses, I never could ascertain the exact date of these events. They occurred, however, while Murat was king of Naples; and when he raised his Italian regiments, Count Eboli, as aforesaid, became a junior officer in them, and served with much distinction, though I cannot name either the country or the battle in which he acted so conspicuous a part that he was on the spot promoted to a troop.

Not long after this event, and while he was stationed in the north of Italy, Gioacchino, sending for him to headquarters late one evening, entrusted him with a confidential mission, across a country occupied by the enemy’s troops, to a town possessed by the French. It was necessary to undertake the expedition during the night, and he was expected to return on that succeeding the following day. The king himself gave him his despatches and the word; and the noble youth, with modest firmness, protested that he would succeed, or die, in the fulfilment of his trust.

It was already night, and the crescent moon was low in the west, when Count Ferdinando Eboli, mounting his favourite horse, at a quick gallop cleared the streets of the town; and then, following the directions given him, crossed the country among the fields planted with vines, carefully avoiding the main road. It was a beauteous and still night; calm and sleep occupied the earth; war, the blood-hound, slumbered; the spirit of love alone had life at that silent hour. Exulting in the hope of glory, our young hero commenced his journey, and visions of aggrandizement and love formed his reveries. A distant sound roused him: he checked his horse and listened; voices approached. When recognising the speech of a German, he turned from the path he was following, to a still straighter way. But again the tone of an enemy was heard, and the trampling of horses. Eboli did not hesitate; he dismounted, tied his steed to a tree, and, skirting along the enclosure of the field, trusted to escape thus unobserved. He succeeded after an hour’s painful progress, and arrived on the borders of a stream, which, as the boundary between two states, was the mark of his having finally escaped danger. Descending the steep bank of the river, which, with his horse, he might perhaps have forded, he now prepared to swim. He held his despatch in one hand, threw away his cloak, and was about to plunge into the water, when from under the dark shade of theargine, which had concealed them, he was suddenly arrested by unseen hands, cast on the ground, bound, gagged, and blinded, and then placed into a little boat, which was sculled with infinite rapidity down the stream.