massimilla doni-第15部分

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tingle　with　a　chorus　of　plaintive　voices；　half…drowned　in　a　rushing
noise　as　of　pouring　rain。

Vendramin　saw　himself　in　an　ancient　Venetian　costume；　looking　on　at
the　ceremony　of　the　/Bucentaur/。　The　Frenchman；　who　plainly　discerned
that　some　strange　and　painful　mystery　stood　between　the　Prince　and　the
Duchess；　was　racking　his　brain　with　shrewd　conjecture　to　discover　what
it　could　be。

The　scene　had　changed。　In　front　of　a　fine　picture；　representing　the
Desert　and　the　Red　Sea；　the　Egyptians　and　Hebrews　marched　and
countermarched　without　any　effect　on　the　feelings　of　the　four　persons
in　the　Duchess'　box。　But　when　the　first　chords　on　the　harps　preluded
the　hymn　of　the　delivered　Israelites；　the　Prince　and　Vendramin　rose
and　stood　leaning　against　the　opposite　sides　of　the　box；　and　the
Duchess；　resting　her　elbow　on　the　velvet　ledge；　supported　her　head　on
her　left　hand。

The　Frenchman；　understanding　from　this　little　stir；　how　important　this
justly　famous　chorus　was　in　the　opinion　of　the　house；　listened　with
devout　attention。

The　audience；　with　one　accord；　shouted　for　its　repetition。

〃I　feel　as　if　I　were　celebrating　the　liberation　of　Italy；〃　thought　a
Milanese。

〃Such　music　lifts　up　bowed　heads；　and　revives　hope　in　the　most
torpid；〃　said　a　man　from　the　Romagna。

〃In　this　scene；〃　said　Massimilla；　whose　emotion　was　evident；　〃science
is　set　aside。　Inspiration；　alone；　dictated　this　masterpiece；　it　rose
from　the　composer's　soul　like　a　cry　of　love！　As　to　the　accompaniment；
it　consists　of　the　harps；　the　orchestra　appears　only　at　the　last
repetition　of　that　heavenly　strain。　Rossini　can　never　rise　higher　than
in　this　prayer；　he　will　do　as　good　work；　no　doubt；　but　never　better：
the　sublime　is　always　equal　to　itself；　but　this　hymn　is　one　of　the
things　that　will　always　be　sublime。　The　only　match　for　such　a
conception　might　be　found　in　the　psalms　of　the　great　Marcello；　a　noble
Venetian；　who　was　to　music　what　Giotto　was　to　painting。　The　majesty　of
the　phrase；　unfolding　itself　with　episodes　of　inexhaustible　melody；　is
comparable　with　the　finest　things　ever　invented　by　religious　writers。

〃How　simple　is　the　structure！　Moses　opens　the　attack　in　G　minor；
ending　in　a　cadenza　in　B　flat　which　allows　the　chorus　to　come　in；
/pianissimo/　at　first；　in　B　flat；　returning　by　modulations　to　G　minor。
This　splendid　treatment　of　the　voices；　recurring　three　times；　ends　in
the　last　strophe　with　a　/stretto/　in　G　major　of　absolutely
overpowering　effect。　We　feel　as　though　this　hymn　of　a　nation　released
from　slavery；　as　it　mounts　to　heaven；　were　met　by　kindred　strains
falling　from　the　higher　spheres。　The　stars　respond　with　joy　to　the
ecstasy　of　liberated　mortals。　The　rounded　fulness　of　the　rhythm；　the
deliberate　dignity　of　the　graduations　leading　up　to　the　outbursts　of
thanksgiving；　and　its　slow　return　raise　heavenly　images　in　the　soul。
Could　you　not　fancy　that　you　saw　heaven　open；　angels　holding　sistrums
of　gold；　prostrate　seraphs　swinging　their　fragrant　censers；　and　the
archangels　leaning　on　the　flaming　swords　with　which　they　have
vanquished　the　heathen？

〃The　secret　of　this　music　and　its　refreshing　effect　on　the　soul　is；　I
believe；　that　of　a　very　few　works　of　human　genius：　it　carries　us　for
the　moment　into　the　infinite；　we　feel　it　within　us；　we　see　it；　in
those　melodies　as　boundless　as　the　hymns　sung　round　the　throne　of　God。
Rossini's　genius　carries　us　up　to　prodigious　heights；　whence　we　look
down　on　a　promised　land；　and　our　eyes；　charmed　by　heavenly　light；　gaze
into　limitless　space。　Elcia's　last　strain；　having　almost　recovered
from　her　grief；　brings　a　feeling　of　earth…born　passions　into　this　hymn
of　thanksgiving。　This；　again；　is　a　touch　of　genius。

〃Ay；　sing！〃　exclaimed　the　Duchess；　as　she　listened　to　the　last　stanza
with　the　same　gloomy　enthusiasm　as　the　singers　threw　into　it。　〃Sing！
You　are　free！〃

The　words　were　spoken　in　a　voice　that　startled　the　physician。　To
divert　Massimilla　from　her　bitter　reflections；　while　the　excitement　of
recalling　la　Tinti　was　at　its　height；　he　engaged　her　in　one　of　the
arguments　in　which　the　French　excel。

〃Madame；〃　said　he；　〃in　explaining　this　grand　workwhich　I　shall　come
to　hear　again　to…morrow　with　a　fuller　comprehension；　thanks　to　you；　of
its　structure　and　its　effectyou　have　frequently　spoken　of　the　color
of　the　music；　and　of　the　ideas　it　depicts；　now　I；　as　an　analyst；　a
materialist；　must　confess　that　I　have　always　rebelled　against　the
affectation　of　certain　enthusiasts；　who　try　to　make　us　believe　that
music　paints　with　tones。　Would　it　not　be　the　same　thing　if　Raphael's
admirers　spoke　of　his　singing　with　colors？〃

〃In　the　language　of　musicians；〃　replied　the　Duchess；　〃/painting/　is
arousing　certain　associations　in　our　souls；　or　certain　images　in　our
brain；　and　these　memories　and　images　have　a　color　of　their　own；　they
are　sad　or　cheerful。　You　are　battling　for　a　word；　that　is　all。
According　to　Capraja；　each　instrument　has　its　task；　its　mission；　and
appeals　to　certain　feelings　in　our　souls。　Does　a　pattern　in　gold　on　a
blue　ground　produce　the　same　sensations　in　you　as　a　red　pattern　on
black　or　green？　In　these；　as　in　music；　there　are　no　figures；　no
expression　of　feeling；　they　are　purely　artistic；　and　yet　no　one　looks
at　them　with　indifference。　Has　not　the　oboe　the　peculiar　tone　that　we
associate　with　the　open　country；　in　common　with　most　wind　instruments？
The　brass　suggests　martial　ideas；　and　rouses　us　to　vehement　or　even
somewhat　furious　feelings。　The　strings；　for　which　the　material　is
derived　from　the　organic　world；　seem　to　appeal　to　the　subtlest　fibres
of　our　nature；　they　go　to　the　very　depths　of　the　heart。　When　I　spoke
of　the　gloomy　hue；　and　the　coldness　of　the　tones　in　the　introduction
to　/Mose/；　was　I　not　fully　as　much　justified　as　your　critics　are　when
they　speak　of　the　'color'　in　a　writer's　language？　Do　you　not
acknowledge　that　there　is　a　nervous　style；　a　pallid　style；　a　lively；
and　a　highly…colored　style？　Art　can　paint　with　words；　sounds；　colors；
lines；　form；　the　means　are　many；　the　result　is　one。

〃An　Italian　architect　might　give　us　the　same　sensation　that　is
produced　in　us　by　the　introduction　to　/Mose/；　by　constructing　a　walk
through　dark；　damp　avenues　of　tall；　thick　trees；　and　bringing　us　out
suddenly　in　a　valley　full　of　streams；　flowers；　and　mills；　and　basking
in　the　sunshine。　In　their　greatest　moments　the　arts　are　but　the
expression　of　the　grand　scenes　of　nature。

〃I　am　not　learned　enough　to　enlarge　on　the　philosophy　of　music；　go　and
talk　to　Capraja；　you　will　be　amazed　at　what　he　can　tell　you。　He　will
say　that　every　instrument　that　depends　on　the　touch　or　breath　of　man
for　its　expression　and　length　of　note；　is　superior　as　a　vehicle　of
expression　to　color；　which　remains　fixed；　or　speech；　which　has　its
limits。　The　language　of　music　is　infinite；　it　includes　everything；　it
can　express　all　things。

〃Now　do　you　see　wherein　lies　the　pre…eminence　of　the　work　you　have
just　heard？　I　can　explain　it　in　a　few　words。　There　are　two　kinds　of
music：　one；　petty；　poor；　second…rate；　always　the　same；　based　on　a
hundred　or　so　of　phrases　which　every　musician　has　at　his　command；　a
more　or　less　agreeable　form　of　babble　which　most　composers　live　in。　We
listen　to　their　strains；　their　would…be　melodies；　with　more　or　less
satisfaction；　but　absolutely　nothing　is　left　in　our　mind；　by　the　end
of　the　century　they　are　forgotten。　But　the　nations；　from　the　beginning
of　time　till　our　own　day；　have　cherished　as　a　precious　treasure
certain　strains　which　epitomize　their　instincts　and　habits；　I　might
almost　say　their　history。　Listen　to　one　of　these　primitive　tones；the
Gregorian　chant；　for　instance；　is；　in　sacred　song；　the　inheritance　of
the　earliest　peoples；and　you　will　lose　yourself　in　deep　dreaming。
Strange　and　immense　conceptions　will　unfold　within　you；　in　spite　of
the　extreme　simplicity　of　these　rudimentary　relics。　And　once　or　twice
in　a　centurynot　oftener；　there　arises　a　Homer　of　music；　to　whom　God
grants　the　gift　of　being　ahead　of　his　age；　men　who　can　compact
melodies　full　of　accomplished　facts；　pregnant　with　mighty　poetry。
Think　of　this；　remember　it。　The　thought；　repeated　by　you；　will　prove
fruitful；　it　is　melody；　not　harmony；　that　can　survive　the　shocks　of
time。

〃The　music　of　this　oratorio　contains　a　whole　world　of　great　and　sacred
things。　A　work　which　begins　with　that　introduction　and　ends　with　that
prayer　is　immortalas　immortal　as　the　Easter　hymn；　/O　filii　et
filioe/；　as　the　/Dies　iroe/　of　the　dead；　as　all　the　songs　which　in
every　land　have　outlived　its　splendor；　its　happiness；　and　its　ruined
prosperity。〃

The　tears　the　Duchess　wiped　away　as　she　quitted　her　box　showed　plainly
that　she　was　thinking　of　the　Venice　that　is　no　more；　and　Vendramin
kissed　her　hand。

The　performance　ended　with　the　most　extraordinary　chaos　of　noises：
abuse　and　hisses　hurled　at　Genovese　and　a　fit　of　frenzy　in　praise　of
la　Tinti。　It　was　a　long　time　since　the　Venetians　had　had　so　lively　an
evening。　They　were　warmed　and　revived　by　that　antagonism　which　is
never　lacking　in　Italy；　where　the　smallest　towns　always　throve　on　the
antagonistic　interests　of　two　factions：　the　Geulphs　and　Ghibellines
everywhere；　the　Capulets　and　the　Montagues　at　Verona；　the　Geremei　and
the　Lomelli　at　Bologna；　the　Fieschi　and　the　Doria　at　Genoa；　the
patricians　and　the　populace；　the　Senate　and　tribunes　of　the　Roman
republic；　the　Pazzi　and　the　Medici　at　Florence；　the　Sforza　and　the
Visconti　at　Milan；　the　Orsini　and　the　Colonna　at　Rome；in　short；
everywhere　and　on　every　occasion　there　has　been　the　same　impulse

Out　in　the　streets　there　were　already　/Genovists/　and　/Tintists/。

The　Prince　escorted　the　Duchess；　more　depressed　than　ever　by　the　loves
of　Osiride；　she　feared　some　similar　disaster　to　her　own；　and　could
only　cling　to　Emilio；　as　if　to　keep　him　next　her　heart。

〃Remember　your　promise；〃　said　Vendramin。　〃I　will　wait　for　you　in　the
square。〃



Vendramin　took　the　Frenchman's　arm；　proposing　that　they　should　walk
together　on　the　Piazza　San　Marco　while　awaiting　the　Prince。

〃I　shall　be　only　too　glad　if　he　should　not　come；〃　he　added。

This　was　the　text　for　a　conversation　between　the　two；　Vendramin
regarding　it　as　a　favorable　opportunity　for　consul