Читать книгу: «Vivian Grey», страница 35
The young Count of Eberstein, who, to use his own phrase, was “sadly involved,” and consequently desirous of being appointed a forest Councillor, thought that he should secure his appointment by condescending to notice the person whom he delicately styled “the Minister’s female relative.” To his great mortification and surprise, the honour was declined; and “the female relative,” being unwilling to dance again, but perhaps feeling it necessary to break off her conversation with her late partner, it having already lasted an unusual time, highly gratified his Excellency the Grand Marshal by declaring that she would dance with Prince Maximilian. “This, to say the least, was very attentive of Miss von Philipson.”
Little Max, who had just tact enough to discover that to be the partner of the fair incognita was the place of honour of the evening, now considered himself by much the most important personage in the room. In fact, he was only second to Emilius von Aslingen. The evident contest which was ever taking place between his natural feelings as a boy and his acquired habits as a courtier made him an amusing companion. He talked of the Gardens and the Opera in a style not unworthy of the young Count of Eberstein. He thought that Madame Carolina was as charming as usual to-night; but, on the contrary, that the Countess von S– was looking rather ill, and this put him in mind of her ladyship’s new equipage; and then, apropos to equipages, what did his companion think of the new fashion of the Hungarian harness? His lively and kind companion encouraged the boy’s tattle; and, emboldened by her good nature, he soon forgot his artificial speeches, and was quickly rattling on about Turriparva, and his horses, and his dogs, and his park, and his guns, and his grooms. Soon after the waltz, the lady, taking the arm of the young Prince, walked up to Mr. Beckendorff. He received her with great attention, and led her to Madame Carolina, who rose, seated Mr. Beckendorff’s “female relative” by her side, and evidently said something extremely agreeable.
CHAPTER VI
Vivian had promised Madame Carolina a second English lesson on the day after the Grand Marshal’s fete. The progress which the lady had made, and the talent which the gentleman had evinced during the first, had rendered Madame the most enthusiastic of pupils, and Vivian, in her estimation, the ablest of instructors. Madame Carolina’s passion was patronage: to discover concealed merit, to encourage neglected genius, to reveal the mysteries of the world to a novice in mankind, or, in short, to make herself very agreeable to any one whom she fancied to be very interesting, was the great business and the great delight of her existence. No sooner had her eyes lighted on Vivian Grey than she determined to patronise. His country, his appearance, the romantic manner in which he had become connected with the Court, all pleased her lively imagination. She was intuitively acquainted with his whole history, and in an instant he was the hero of a romance, of which the presence of the principal character compensated, we may suppose, for the somewhat indefinite details. His taste and literary acquirements completed the spell by which Madame Carolina was willingly enchanted. A low Dutch professor, whose luminous genius rendered unnecessary the ceremony of shaving; and a dumb dwarf, in whose interesting appearance was forgotten its perfect idiocy, prosy improvisatore, and a South American savage, were all superseded by the appearance of Vivian Grey.
As Madame Carolina was, in fact, a charming woman, our hero had no objection to humour her harmless foibles; and not contented with making notes in an interleaved copy of her Charlemagne, he even promised to read Haroun Al Raschid in manuscript. The consequence of his courtesy and the reward of his taste was unbounded favour. Apartments in the palace were offered him, and declined; and when Madame Carolina had become acquainted with sufficient of his real history to know that, on his part, neither wish nor necessity existed to return immediately to his own country, she tempted him to remain at Reisenburg by an offer of a place at Court; and doubtless, had he been willing, Vivian might in time have become a Lord Chamberlain, or perhaps even a Field Marshal.
On entering the room the morning in question he found Madame Carolina writing. At the end of the apartment a lady ceased, on his appearance, humming an air to which she was dancing, and at the same time imitating castanets. Madame received Vivian with expressions of delight, saying also, in a peculiar and confidential manner, that she was just sealing up a packet for him, the preface of Haroun; and then she presented him to “the Baroness!” The lady who was lately dancing came forward. It was his unknown partner of the preceding night. “The Baroness” extended her hand to Vivian, and unaffectedly expressed her great pleasure at seeing him again. Vivian trusted that she was not fatigued by the fête, and asked after Mr. Beckendorff. Madame Carolina was busily engaged at the moment in duly securing the precious preface. The Baroness said that Mr. Beckendorff had returned home, but that Madame Carolina had kindly insisted upon her staying at the palace. She was not the least wearied. Last night had been one of the most agreeable she had ever spent; at least she supposed she ought to say so: for if she had experienced a tedious or mournful feeling for a moment, it was hardly for what was then passing so much as for—”
“Pray, Mr. Grey,” said Madame Carolina, interrupting them, “have you heard about our new ballet?”
“No.”
“I do not think you have ever been to our Opera. To-morrow is Opera night, and you must not be again away. We pride ourselves here very much upon our Opera.”
“We estimate it even in England,” said Vivian, “as possessing perhaps the most perfect orchestra now organised.”
“The orchestra is perfect. His Royal Highness is such an excellent musician, and he has spared no trouble or expense in forming it: he has always superintended it himself. But I confess I admire our ballet department still more. I expect you to be delighted with it. You will perhaps be gratified to know that the subject of our new splendid ballet, which is to be produced to-morrow, is from a great work of your illustrious poet, my Lord Byron.”
“From which?”
“The Corsair. Ah! what a sublime work! what passion! what energy! what knowledge of feminine feeling! what contrast of character! what sentiments! what situations! I wish this were Opera night; Gulnare! my favourite character; beautiful! How do you think they will dress her?”
“Are you an admirer of our Byron?” asked Vivian, of the Baroness.
“I think he is a very handsome man. I once saw him at the carnival at Venice.”
“But his works; his grand works! ma chère petite,” said Madame Carolina, in her sweetest tone: “you have read his works?”
“Not a line,” answered the Baroness, with great naïveté; “I never saw them.”
“Pauvre enfant!” said Madame Carolina; “I will employ you, then, while you are here.”
“I never read,” said the Baroness; “I cannot bear it. I like poetry and romances, but I like somebody to read to me.”
“Very just,” said Madame Carolina; “we can judge with greater accuracy of the merit of a composition when it reaches our mind merely through the medium of the human voice. The soul is an essence, invisible and indivisible. In this respect the voice of man resembles the principle of his existence; since few will deny, though there are some materialists who will deny everything, that the human voice is both impalpable and audible only in one place at the same time. Hence, I ask, is it illogical to infer its indivisibility? The soul and the voice, then, are similar in two great attributes: there is a secret harmony in their spiritual construction. In the early ages of mankind a beautiful tradition was afloat that the soul and the voice were one and the same. We may perhaps recognise in this fanciful belief the effect of the fascinating and imaginative philosophy of the East; that mysterious portion of the globe,” continued Madame Carolina, “from which we should frankly confess that we derive everything; for the South is but the pupil of the East, through the mediation of Egypt. Of this opinion,” said Madame with fervour, “I have no doubt: of this opinion,” continued the lady with enthusiasm, “I have boldly avowed myself a votary in a dissertation appended to the second volume of Haroun: for this opinion I would die at the stake! Oh, lovely East! why was I not oriental! Land where the voice of the nightingale is never mute! Land of the cedar and the citron, the turtle and the myrtle, of ever-blooming flowers and ever-shining skies! Illustrious East! Cradle of Philosophy! My dearest Baroness, why do not you feel as I do? From the East we obtain everything!”
“Indeed!” said the Baroness, with simplicity; “I thought we only got shawls.”
This puzzling answer was only noticed by Vivian; for the truth is, Madame Carolina was one of those individuals who never attend to any person’s answers. Always thinking of herself, she only asked questions that she herself might supply the responses. And now having made, as she flattered herself, a splendid display to her favourite critic, she began to consider what had given rise to her oration. Lord Byron and the ballet again occurred to her; and as the Baroness, at least, was not unwilling to listen, and as she herself had no manuscript of her own which she particularly wished to be perused, she proposed that Vivian should read to them part of the Corsair, and in the original tongue. Madame Carolina opened the volume at the first prison scene between Gulnare and Conrad. It was her favourite. Vivian read with care and feeling. Madame was in raptures, and the Baroness, although she did not understand a single syllable, seemed almost equally delighted. At length Vivian came to this passage:
My love stern Seyd’s! Oh, no, no, not my love!
Yet much this heart, that strives no more, once strove
To meet his passion; but it would not be.
I felt, I feel, love dwells with, with the free.
I am a slave, a favour’d slave at best,
To share his splendour, and seem very blest!
Oft must my soul the question undergo,
Of, “Dost thou love?” and burn to answer, “No!”
Oh! hard it is that fondness to sustain,
And struggle not to feel averse in vain;
But harder still the heart’s recoil to bear,
And hide from one, perhaps another there;
He takes the hand I give not nor withhold,
Its pulse nor checked nor quickened, calmly cold:
And when resign’d, it drops a lifeless weight
From one I never loved enough to hate.
No warmth these lips return by his imprest,
And chill’d remembrance shudders o’er the rest.
Yes, had I ever prov’d that passion’s zeal,
The change to hatred were at least to feel:
But still, he goes unmourn’d, returns unsought,
And oft when present, absent from my thought.
Or when reflection comes, and come it must,
I fear that henceforth ‘twill but bring disgust:
I am his slave; but, in despite of pride,
‘Twere worse than bondage to become his bride.
“Superb!” said Madame, in a voice of enthusiasm; “how true! what passion! what energy! what sentiments! what knowledge of feminine feeling! Read it again, I pray: it is my favourite passage.”
“What is this passage about?” asked the Baroness, with some anxiety; “tell me.”
“I have a French translation, ma mignonne,” said Madame; “you shall have it afterwards.”
“No! I detest reading,” said the young lady, with an imperious air; “translate it to me at once.”
“You are rather a self-willed beauty!” thought Vivian; “but your eyes are so brilliant that nothing must be refused you!” and so he translated it.
On its conclusion Madame was again in raptures. The Baroness was not less affected, but she said nothing. She appeared agitated; she changed colour, raised her beautiful eyes with an expression of sorrow, looked at Vivian earnestly, and then walked to the other end of the room. In a few moments she returned to her seat.
“I wish you would tell me the story,” she said, with earnestness.
“I have a French translation, ma belle!” said Madame Carolina; “at present I wish to trouble Mr. Grey with a few questions.” Madame Carolina led Vivian into a recess.
“I am sorry we are troubled with this sweet little savage; but I think she has talent, though evidently quite uneducated. We must do what we can for her. Her ignorance of all breeding is amusing, but then I think she has a natural elegance. We shall soon polish her. His Royal Highness is so anxious that every attention should be paid to her. Beckendorff, you know, is a man of the greatest genius.” (Madame Carolina had lowered her tone about the Minister since the Prince of Little Lilliput’s apostasy.) “The country is greatly indebted to him. This, between ourselves, is his daughter. At least I have no doubt of it. Beckendorff was once married, to a lady of great rank, died early, beautiful woman, very interesting! His Royal Highness had a great regard for her. The Premier, in his bereavement, turned humorist, and has brought up this lovely girl in the oddest possible manner; nobody knows where. Now that he finds it necessary to bring her forward, he, of course, is quite at a loss. His Royal Highness has applied to me. There was a little coldness before between the Minister and myself. It is now quite removed. I must do what I can for her I think she must marry von Sohnspeer, who is no more Beckendorff’s son than you are: or young Eberstein, or young Bernstorff, or young Gernsbach. We must do something for her. I offered her last night to Emilius von Aslingen; but he said that, unfortunately, he was just importing a savage or two of his own from the Brazils, and consequently was not in want of her.”
A chamberlain now entered, to announce the speedy arrival of his Royal Highness. The Baroness, without ceremony, expressed her great regret that he was coming, as now she should not hear the wished-for story. Madame Carolina reproved her, and the reproof was endured rather than submitted to.
His Royal Highness entered, and was accompanied by the Crown Prince. He greeted the young lady with great kindness; and even the Crown Prince, inspired by his father’s unusual warmth, made a shuffling kind of bow and a stuttering kind of speech. Vivian was about to retire on the entrance of the Grand Duke, but Madame Carolina prevented him from going, and his Royal Highness, turning round, very graciously seconded her desire, and added that Mr. Grey was the very gentleman with whom he was desirous of meeting.
“I am anxious,” said he to Vivian, in rather a low tone, “to make Reisenburg agreeable to Mr. Beckendorff’s fair friend. As you are one of the few who are honoured by his intimacy, and are familiar with some of our state secrets,” added the Grand Duke with a smile, “I am sure it will give you pleasure to assist me in the execution of my wishes.”
His Royal Highness proposed that the ladies should ride; and he himself, with the Crown Prince and Mr. Grey, would attend them. Madame Carolina expressed her willingness; but the Baroness, like all forward girls unused to the world, suddenly grew at the same time both timid and disobliging. She looked sullen and discontented, and coolly said that she did not feel in the humour to ride for at least these two hours. To Vivian’s surprise, even the Grand Duke humoured her fancy, and declared that he should then be happy to attend them after the Court dinner. Until that time Vivian was amused by Madame, and the Grand Duke exclusively devoted himself to the Baroness. His Royal Highness was in his happiest mood, and his winning manners and elegant conversation soon chased away the cloud which, for a moment, had settled on the young lady’s fair brow.
CHAPTER VII
The Grand Duke of Reisenburg was an enthusiastic lover of music, and his people were consequently music mad. The whole city were fiddling day and night, or blowing trumpets, oboes, and bassoons. Sunday, however, was the most harmonious day in the week. The Opera amused the Court and the wealthiest citizens, and few private houses could not boast their family concert or small party of performers. In the tea-gardens, of which there were many in the suburbs of the city, bearing the euphonious, romantic, and fashionable titles of Tivoli, Arcadia, and Vauxhall, a strong and amateur orchestra was never wanting. Strolling through the city on a Sunday afternoon, many a pleasing picture of innocent domestic enjoyment might be observed. In the arbour of a garden a very stout man, with a fair, broad, good-natured, solid German face, may be seen perspiring under the scientific exertion of the French horn; himself wisely disembarrassed of the needless incumbrance of his pea-green coat and showy waistcoat, which lay neatly folded by his side; while his large and sleepy blue eyes actually gleam with enthusiasm. His daughter, a soft and delicate girl, touches the light guitar: catching the notes of the music from the opened opera, which is placed before the father on a massy music-stand. Her voice joins in melody with her mother, who, like all German mothers, seems only her daughter’s self, subdued by an additional twenty years. The bow of one violin is handled with the air of a master by an elder brother; while a younger one, an university student, grows sentimental over the flute. The same instrument is also played by a tall and tender-looking young man in black, who stands behind the parents, next to the daughter, and occasionally looks off his music-book to gaze on his young mistress’s eyes. He is a clerk in a public office; and on next Michaelmas day, if he succeed, as he hopes, in gaining a small addition to his salary, he will be still more entitled to join in the Sunday family concert. Such is one of the numerous groups, the sight of which must, assuredly, give pleasure to every man who delights in seeing his fellow-creatures refreshed after their weekly labours by such calm and rational enjoyment. We would gladly linger among such scenes; and, moreover, the humours of a guinguette are not unworthy of our attention: but we must introduce the reader to a more important party.
The Court chapel and the Court dinner are over. We are in the Opera-house of Reisenburg; and, of course, rise as the Royal party enters. The house, which is of moderate size, was fitted up with splendour: we hardly know whether we should say with great taste; for, although not merely the scenery, but indeed every part of the house, was painted by eminent artists, the style of the ornaments was rather patriotic than tasteful. The house had been built immediately after the war, at a period when Reisenburg, flushed with the success of its thirty thousand men, imagined itself to be a great military nation. Trophies, standards, cannon, eagles, consequently appeared in every corner of the Opera-house; and quite superseded lyres, and timbrels, and tragic daggers, and comic masks. The royal box was constructed in the form of a tent, and held nearly fifty persons. It was exactly in the centre of the house, its floor over the back of the pit, and its roof reaching to the top of the second circle; its crimson hangings were restrained by ropes of gold, and the whole was surmounted by a large and radiant crown. The house was merely lighted by a chandelier from the centre.
The Opera for the evening was Rossini’s Otello. As soon as the Grand Duke entered the overture commenced, his Royal Highness coming forward to the front of the box and himself directing the musicians, keeping time earnestly with his right hand, in which was a long black opera-glass. This he occasionally used, but merely to look at the orchestra, not, assuredly, to detect a negligent or inefficient performer; for in the schooled orchestra of Reisenburg it would have been impossible even for the eagle eye of his Royal Highness, assisted as it was by his long black opera-glass, or for his fine ear, matured as it was by the most complete study, to discover there either inattention or feebleness. The house was perfectly silent; for when the Monarch directs the orchestra the world goes to the Opera to listen. Perfect silence at Reisenburg, then, was etiquette and the fashion. Between the acts of the Opera, however, the Ballet was performed; and then everybody might talk, and laugh, and remark as much as they chose.
The Grand Duke prided himself as much upon the accuracy of his scenery and dresses and decorations as upon the exquisite skill of his performers. In truth, an Opera at Reisenburg was a spectacle which could not fail to be interesting to a man of taste. When the curtain drew up the first scene presented a view of old Brabantio’s house. It was accurately copied from one of the sumptuous structures of Scamozzi, or Sansovino, or Palladio, which adorn the Grand Canal of Venice. In the distance rose the domes of St. Mark and the lofty Campanile. Vivian could not fail to be delighted with this beautiful work of art, for such indeed it should be styled. He was more surprised, however, but not less pleased, on the entrance of Othello himself. In England we are accustomed to deck this adventurous Moor in the costume of his native country; but is this correct? The Grand Duke of Reisenburg thought not. Othello was an adventurer; at an early age he entered, as many foreigners did, into the service of Venice. In that service be rose to the highest dignities, became General of her armies and of her fleets, and finally the Viceroy of her favourite kingdom. Is it natural to suppose that such a man should have retained, during his successful career, the manners and dress of his original country? Ought we not rather to admit that, had he done so his career would, in fact, not have been successful? In all probability, he imitated to affectation the manners of the country which he had adopted. It is not probable that in such or in any age the turbaned Moor would have been treated with great deference by the common Christian soldier of Venice; or, indeed, that the scandal of a heathen leading the armies of one of the most powerful of European States would have been tolerated for an instant by indignant Christendom. If Shylock even, the Jew merchant, confined to his quarter, and herding with his own sect, were bearded on the Rialto, in what spirit would the Venetians have witnessed their doge and nobles, whom they ranked above kings, holding equal converse, and loading with the most splendid honours of the Republic a follower of Mahound? Such were the sentiments of the Grand Duke of Reisenburg on this subject, a subject interesting to Englishmen; and I confess I think that they are worthy of attention. In accordance with his opinions, the actor who performed Othello appeared in the full dress of a Venetian magnifico of the middle ages; a fit companion for Cornaro, or Grimani, or Barberigo, or Foscari.
The first act of the Opera was finished. The Baroness expressed to Vivian her great delight at its being over, as she was extremely desirous of learning the story of the ballet, which she had not yet been able to acquire. His translation of yesterday had greatly interested her. Vivian shortly gave her the outline of the story of Conrad. She listened with much attention, but made no remark.
The ballet at Reisenburg was not merely a vehicle for the display of dancing. It professed by gesture and action, aided by music, to influence the minds of the spectators not less than the regular drama. Of this exhibition dancing was a casual ornament, as it is of life. It took place therefore only on fitting occasions, and grew out, in a natural manner, from some event in the history represented. For instance, suppose the story of Othello the subject of the ballet. The dancing, in all probability, would be introduced at a grand entertainment given in celebration of the Moor’s arrival at Cyprus. All this would be in character. Our feelings would not be outraged by a husband chassezing forward to murder his wife, or by seeing the pillow pressed over the innocent Desdemona by the impulse of a pirouette. In most cases, therefore, the chief performers in this species of spectacle are not even dancers. This, however, may not always be the case. If Diana be the heroine, poetical probability will not be offended by the goddess joining in the chaste dance with her huntress nymphs; and were the Baiadere of Goethe made the subject of a ballet, the Indian dancing girl would naturally be the heroine both of the drama and the poem. There are few performances more affecting than the serious pantomime of a master. In some of the most interesting situations it is in fact even more natural than the oral drama, logically it is more perfect; for the soliloquy is actually thought before us, and the magic of the representation not destroyed by the sound of the human voice at a moment when we all know man never speaks.
The curtain again rises. Sounds of revelry and triumph are heard from the Pirate Isle. They celebrate recent success. Various groups, accurately attired in the costume of the Greek islands, are seated on the rocky foreground. On the left rises Medora’s tower, on a craggy steep; and on the right gleams the blue Aegean. A procession of women enters. It heralds the presence of Conrad and Medora; they honour the festivity of their rude subjects. The pirates and the women join in the national dance; and afterwards eight warriors, completely armed, move in a warlike measure, keeping time to the music with their bucklers and clattering sabres. Suddenly the dance ceases; a sail is in sight. The nearest pirates rush to the strand, and assist the disembarkation of their welcome comrades. The commander of the vessel comes forward with an agitated step and gloomy countenance. He kneels to Conrad and delivers him a scroll, which the chieftain reads with suppressed agitation. In a moment the faithful Juan is at his side, the contents of the scroll revealed, the dance broken up, and preparations made to sail in an hour’s time to the city of the Pacha. The stage is cleared, and Conrad and Medora are alone. The mysterious leader is wrapt in the deepest abstraction. He stands with folded arms, and eyes fixed on the yellow sand. A gentle pressure on his arm calls him back to recollection; he starts, and turns to the intruder with a gloomy brow. He sees Medora, and his frown sinks into a sad smile. “And must we part again! this hour, this very hour; it cannot be!” She clings to him with agony, and kneels to him with adoration. No hope, no hope! a quick return promised with an air of foreboding fate. His stern arm encircles her waist. He chases the heavy tear from her fair cheek, and while he bids her be glad in his absence with her handmaids peals the sad thunder of the signal gun. She throws herself upon him. The frantic quickness of her motion strikingly contrasts with the former stupor of her appearance. She will not part. Her face is buried in his breast; her long fair hair floats over his shoulders. He is almost unnerved; but at this moment the ship sails on; the crew and their afflicted wives enter; the page brings to Lord Conrad his cloak, his carbine, and his bugle. He tears himself from her embrace, and without daring to look behind him bounds over the rocks, and is in the ship. The vessel moves, the wives of the pirates continue on the beach, waving their scarfs to their desolate husbands. In the foreground Medora, motionless, stands rooted to the strand, and might have inspired Phidias with a personification of Despair.
In a hall of unparalleled splendour stern Seyd reclines on innumerable pillows, placed on a carpet of golden cloth. His bearded chiefs are ranged around. The chambers are brilliantly illuminated, and an opening at the farther end of the apartments exhibits a portion of the shining city and the glittering galleys. Gulnare, covered with a silver veil, which reaches even to her feet, is ushered into the presence of the Pacha. Even the haughty Seyd rises to honour his beautiful favourite. He draws the precious veil from her blushing features and places her on his right hand. The dancing girls now appear, and then are introduced the principal artists. Now takes place the scientific part of the ballet; and here might Bias, or Noblet, or Ronzi Vestris, or her graceful husband, or the classical Albert, or the bounding Paul, vault without stint, and attitudinise without restraint, and not in the least impair the effect of the tragic tale. The Dervise, of course, appears; the galleys, of course, are fired; and Seyd, of course, retreats. A change in the scenery gives us the blazing Harem, the rescue of its inmates, the deliverance of Gulnare, the capture of Conrad.
It is the prison scene. On a mat, covered with irons, lies the forlorn Conrad. The flitting flame of a solitary lamp hardly reveals the heavy bars of the huge grate that forms the entrance to its cell. For some minutes nothing stirs. The mind of the spectator is allowed to become fully aware of the hopeless misery of the hero. His career is ended, secure is his dungeon, trusty his guards, overpowering his chains. To-morrow he wakes to be impaled. A gentle noise, so gentle that the spectator almost deems it unintentional, is now heard. A white figure appears behind the dusky gate; is it a guard or a torturer? The gate softly opens, and a female conies forward. Gulnare was represented by a girl with the body of a Peri and the soul of a poetess. The Harem Queen advances with an agitated step; she holds in her left hand a lamp, and in the girdle of her light dress is a dagger. She reaches with a soundless step the captive. He is asleep! Ay! he sleeps, while thousands are weeping over his ravage or his ruin; and she, in restlessness, is wandering here! A thousand thoughts are seen coursing over her flushed brow; she looks to the audience, and her dark eye asks why this Corsair is so dear to her. She turns again, and raises the lamp with her long white arm, that the light may fall on the captive’s countenance. She gazes, without moving, on the sleeper, touches the dagger with a slow and tremulous hand, and starts from the contact with terror. She again touches it; it is drawn from her vest; it falls to the ground. He wakes; he stares with wonder; he sees a female not less fair than Medora. Confused, she tells him her station; she tells him that her pity is as certain as his doom. He avows his readiness to die; he appears undaunted, he thinks of Medora, he buries his face in his hands. She grows pale as he avows he loves—another. She cannot conceal her own passion. He, wondering, confesses that he supposed her love was his enemy’s, was Seyd’s. Gulnare shudders at the name; she draws herself up to her full stature, she smiles in bitterness:
