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Torrents of Spring

<h3>IV</h3> When Sanin, an hour and a half later, returned to the Rosellis’ shop he was received there like one of the family. Emilio was sitting on the same sofa, on which he had been rubbed; the doctor had prescribed him medicine and recommended “great discretion in avoiding strong emotions” as being a subject of nervous temperament with a tendency to weakness of the heart. He had previously been liable to fainting-fits; but never had he lost consciousness so completely and for so long. However, the doctor declared that all danger was over. Emil, as was only suitable for an invalid, was dressed in a comfortable dressing-gown; his mother wound a blue woollen wrap round his neck; but he had a cheerful, almost a festive air; indeed everything had a festive air. Before the sofa, on a round table, covered with a clean cloth, towered a huge china coffee-pot, filled with fragrant chocolate, and encircled by cups, decanters of liqueur, biscuits and rolls, and even flowers; six slender wax candles were burning in two old-fashioned silver chandeliers; on one side of the sofa, a comfortable lounge-chair offered its soft embraces, and in this chair they made Sanin sit. All the inhabitants of the confectioner’s shop, with whom he had made acquaintance that day, were present, not excluding the poodle, Tartaglia, and the cat; they all seemed happy beyond expression; the poodle positively sneezed with delight, only the cat was coy and blinked sleepily as before. They made Sanin tell them who he was, where he came from, and what was his name; when he said he was a Russian, both the ladies were a little surprised, uttered ejaculations of wonder, and declared with one voice that he spoke German splendidly; but if he preferred to speak French, he might make use of that language, as they both understood it and spoke it well. Sanin at once availed himself of this suggestion. “Sanin! Sanin!” The ladies would never have expected that a Russian surname could be so easy to pronounce. His Christian name—“Dimitri”—they liked very much too. The elder lady observed that in her youth she had heard a fine opera—“Demetrio e Polibio”—but that “Dimitri” was much nicer than “Demetrio.” In this way Sanin talked for about an hour. The ladies on their side initiated him into all the details of their own life. The talking was mostly done by the mother, the lady with grey hair. Sanin learnt from her that her name was Leonora Roselli; that she had lost her husband, Giovanni Battista Roselli, who had settled in Frankfort as a confectioner twenty-five years ago; that Giovanni Battista had come from Vicenza and had been a most excellent, though fiery and irascible man, and a republican withal! At those words Signora Roselli pointed to his portrait, painted in oil-colours, and hanging over the sofa. It must be presumed that the painter, “also a republican!” as Signora Roselli observed with a sigh, had not fully succeeded in catching a likeness, for in his portrait the late Giovanni Battista appeared as a morose and gloomy brigand, after the style of Rinaldo Rinaldini! Signora Roselli herself had come from “the ancient and splendid city of Parma where there is the wonderful cupola, painted by the immortal Correggio!” But from her long residence in Germany she had become almost completely Germanised. Then she added, mournfully shaking her head, that all she had left was this daughter and this son (pointing to each in turn with her finger); that the daughter’s name was Gemma, and the son’s Emilio; that they were both very good and obedient children—especially Emilio … (“Me not obedient!” her daughter put in at that point. “Oh, you’re a republican, too!” answered her mother). That the business, of course, was not what it had been in the days of her husband, who had a great gift for the confectionery line … (“Un grand uomo!” Pantaleone confirmed with a severe air); but that still, thank God, they managed to get along! <h3>V</h3> Gemma listened to her mother, and at one minute laughed, then sighed, then patted her on the shoulder, and shook her finger at her, and then looked at Sanin; at last, she got up, embraced her mother and kissed her in the hollow of her neck, which made the latter laugh extremely and shriek a little. Pantaleone too was presented to Sanin. It appeared he had once been an opera singer, a baritone, but had long ago given up the theatre, and occupied in the Roselli family a position between that of a family friend and a servant. In spite of his prolonged residence in Germany, he had learnt very little German, and only knew how to swear in it, mercilessly distorting even the terms of abuse. “Ferroflucto spitchebubbio” was his favourite epithet for almost every German. He spoke Italian with a perfect accent—for was he not by birth from Sinigali, where may be heard “lingua toscana in bocca romana”! Emilio, obviously, played the invalid and indulged himself in the pleasant sensations of one who has only just escaped a danger or is returning to health after illness; it was evident, too, that the family spoiled him. He thanked Sanin bashfully, but devoted himself chiefly to the biscuits and sweetmeats. Sanin was compelled to drink two large cups of excellent chocolate, and to eat a considerable number of biscuits; no sooner had he swallowed one than Gemma offered him another—and to refuse was impossible! He soon felt at home: the time flew by with incredible swiftness. He had to tell them a great deal—about Russia in general, the Russian climate, Russian society, the Russian peasant—and especially about the Cossacks; about the war of 1812, about Peter the Great, about the Kremlin, and the Russian songs and bells. Both ladies had a very faint conception of our vast and remote fatherland; Signora Roselli, or as she was more often called, Frau Lenore, positively dumfoundered Sanin with the question, whether there was still existing at Petersburg the celebrated house of ice, built last century, about which she had lately read a very curious article in one of her husband’s books, “Bettezze delle arti.” And in reply to Sanin’s exclamation, “Do you really suppose that there is never any summer in Russia?” Frau Lenore replied that till then she had always pictured Russia like this—eternal snow, every one going about in furs, and all military men, but the greatest hospitality, and all the peasants very submissive! Sanin tried to impart to her and her daughter some more exact information. When the conversation touched on Russian music, they begged him at once to sing some Russian air and showed him a diminutive piano with black keys instead of white and white instead of black. He obeyed without making much ado and accompanying himself with two fingers of the right hand and three of the left (the first, second, and little finger) he sang in a thin nasal tenor, first “The Sarafan,” then “Along a Paved Street.” The ladies praised his voice and the music, but were more struck with the softness and sonorousness of the Russian language and asked for a translation of the text. Sanin complied with their wishes—but as the words of “The Sarafan,” and still more of “Along a Paved Street’ (sur une rue pavée une jeune fille allait à l’eau was how he rendered the sense of the original) were not calculated to inspire his listeners with an exalted idea of Russian poetry, he first recited, then translated, and then sang Pushkin’s, “I remember a marvellous moment,” set to music by Glinka, whose minor bars he did not render quite faithfully. Then the ladies went into ecstasies. Frau Lenore positively discovered in Russian a wonderful likeness to the Italian. Even the names Pushkin (she pronounced it Pussekin) and Glinka sounded somewhat familiar to her. Sanin on his side begged the ladies to sing something; they too did not wait to be pressed. Frau Lenore sat down to the piano and sang with Gemma some duets and “stornelle.” The mother had once had a fine contralto; the daughter’s voice was not strong, but was pleasing. <h3>VI</h3> But it was not Gemma’s voice—it was herself Sanin was admiring. He was sitting a little behind and on one side of her, and kept thinking to himself that no palm-tree, even in the poems of Benediktov—the poet in fashion in those days—could rival the slender grace of her figure. When, at the most emotional passages, she raised her eyes upwards—it seemed to him no heaven could fail to open at such a look! Even the old man, Pantaleone, who with his shoulder propped against the doorpost, and his chin and mouth tucked into his capacious cravat, was listening solemnly with the air of a connoisseur—even he was admiring the girl’s lovely face and marvelling at it, though one would have thought he must have been used to it! When she had finished the duet with her daughter, Frau Lenore observed that Emilio had a fine voice, like a silver bell, but that now he was at the age when the voice changes—he did, in fact, talk in a sort of bass constantly falling into falsetto—and that he was therefore forbidden to sing; but that Pantaleone now really might try his skill of old days in honour of their guest! Pantaleone promptly put on a displeased air, frowned, ruffled up his hair, and declared that he had given it all up long ago, though he could certainly in his youth hold his own, and indeed had belonged to that great period, when there were real classical singers, not to be compared to the squeaking performers of to-day! and a real school of singing; that he, Pantaleone Cippatola of Varese, had once been brought a laurel wreath from Modena, and that on that occasion some white doves had positively been let fly in the theatre; that among others a Russian prince Tarbusky—“il principe Tarbusski”—with whom he had been on the most friendly terms, had after supper persistently invited him to Russia, promising him mountains of gold, mountains!… but that he had been unwilling to leave Italy, the land of Dante—il paese del Dante! Afterward, to be sure, there came … unfortunate circumstances, he had himself been imprudent…. At this point the old man broke off, sighed deeply twice, looked dejected, and began again talking of the classical period of singing, of the celebrated tenor Garcia, for whom he cherished a devout, unbounded veneration. “He was a man!” he exclaimed. “Never had the great Garcia (il gran Garcia) demeaned himself by singing falsetto like the paltry tenors of to-day—tenoracci; always from the chest, from the chest, voce di petto, si!” and the old man aimed a vigorous blow with his little shrivelled fist at his own shirt-front! “And what an actor! A volcano, signori miei, a volcano, un Vesuvio! I had the honour and the happiness of singing with him in the opera dell’ illustrissimo maestro Rossini—in Otello! Garcia was Otello,—I was Iago—and when he rendered the phrase”:—here Pantaleone threw himself into an attitude and began singing in a hoarse and shaky, but still moving voice: “L’i … ra daver … so daver … so il fato lo più no … no … no … non temerò!” The theatre was all a-quiver, signori miei! though I too did not fall short, I too after him. “L’i ra daver … so daver … so il fato Temèr più non davro!” And all of a sudden, he crashed like lightning, like a tiger: Morro!… ma vendicato … Again when he was singing … when he was singing that celebrated air from “Matrimonio segreto,” Pria che spunti … then he, il gran Garcia, after the words, “I cavalli di galoppo”—at the words, “Senza posa cacciera,”—listen, how stupendous, come è stupendo! At that point he made …” The old man began a sort of extraordinary flourish, and at the tenth note broke down, cleared his throat, and with a wave of his arm turned away, muttering, “Why do you torment me?” Gemma jumped up at once and clapping loudly and shouting, bravo!… bravo!… she ran to the poor old super-annuated Iago and with both hands patted him affectionately on the shoulders. Only Emil laughed ruthlessly. Cet âge est sans pitié—that age knows no mercy—Lafontaine has said already. Sanin tried to soothe the aged singer and began talking to him in Italian—(he had picked up a smattering during his last tour there)—began talking of “paese del Dante, dove il si suona.” This phrase, together with “Lasciate ogni speranza,” made up the whole stock of poetic Italian of the young tourist; but Pantaleone was not won over by his blandishments. Tucking his chin deeper than ever into his cravat and sullenly rolling his eyes, he was once more like a bird, an angry one too,—a crow or a kite. Then Emil, with a faint momentary blush, such as one so often sees in spoilt children, addressing his sister, said if she wanted to entertain their guest, she could do nothing better than read him one of those little comedies of Malz, that she read so nicely. Gemma laughed, slapped her brother on the arm, exclaimed that he “always had such ideas!” She went promptly, however, to her room, and returning thence with a small book in her hand, seated herself at the table before the lamp, looked round, lifted one finger as much as to say, “hush!”—a typically Italian gesture—and began reading. <h3>VII</h3> Malz was a writer flourishing at Frankfort about 1830, whose short comedies, written in a light vein in the local dialect, hit off local Frankfort types with bright and amusing, though not deep, humour. It turned out that Gemma really did read excellently—quite like an actress in fact. She indicated each personage, and sustained the character capitally, making full use of the talent of mimicry she had inherited with her Italian blood; she had no mercy on her soft voice or her lovely face, and when she had to represent some old crone in her dotage, or a stupid burgomaster, she made the drollest grimaces, screwing up her eyes, wrinkling up her nose, lisping, squeaking…. She did not herself laugh during the reading; but when her audience (with the exception of Pantaleone: he had walked off in indignation so soon as the conversation turned o quel ferroflucto Tedesco) interrupted her by an outburst of unanimous laughter, she dropped the book on her knee, and laughed musically too, her head thrown back, and her black hair dancing in little ringlets on her neck and her shaking shoulders. When the laughter ceased, she picked up the book at once, and again resuming a suitable expression, began the reading seriously. Sanin could not get over his admiration; he was particularly astonished at the marvellous way in which a face so ideally beautiful assumed suddenly a comic, sometimes almost a vulgar expression. Gemma was less successful in the parts of young girls—of so-called “jeunes premières”; in the love-scenes in particular she failed; she was conscious of this herself, and for that reason gave them a faint shade of irony as though she did not quite believe in all these rapturous vows and elevated sentiments, of which the author, however, was himself rather sparing—so far as he could be. Sanin did not notice how the evening was flying by, and only recollected the journey before him when the clock struck ten. He leaped up from his seat as though he had been stung. “What is the matter?” inquired Frau Lenore. “Why, I had to start for Berlin to-night, and I have taken a place in the diligence!” “And when does the diligence start?” “At half-past ten!” “Well, then, you won’t catch it now,” observed Gemma; “you must stay … and I will go on reading.” “Have you paid the whole fare or only given a deposit?” Frau Lenore queried. “The whole fare!” Sanin said dolefully with a gloomy face. Gemma looked at him, half closed her eyes, and laughed, while her mother scolded her: “The young gentleman has paid away his money for nothing, and you laugh!” “Never mind,” answered Gemma; “it won’t ruin him, and we will try and amuse him. Will you have some lemonade?” Sanin drank a glass of lemonade, Gemma took up Malz once more; and all went merrily again. The clock struck twelve. Sanin rose to take leave. “You must stay some days now in Frankfort,” said Gemma: “why should you hurry away? It would be no nicer in any other town.” She paused. “It wouldn’t, really,” she added with a smile. Sanin made no reply, and reflected that considering the emptiness of his purse, he would have no choice about remaining in Frankfort till he got an answer from a friend in Berlin, to whom he proposed writing for money. “Yes, do stay,” urged Frau Lenore too. “We will introduce you to Mr. Karl Klüber, who is engaged to Gemma. He could not come to-day, as he was very busy at his shop … you must have seen the biggest draper’s and silk mercer’s shop in the Zeile. Well, he is the manager there. But he will be delighted to call on you himself.” Sanin—heaven knows why—was slightly disconcerted by this piece of information. “He’s a lucky fellow, that fiancé!” flashed across his mind. He looked at Gemma, and fancied he detected an ironical look in her eyes. He began saying good-bye. “Till to-morrow? Till to-morrow, isn’t it?” queried Frau Lenore. “Till to-morrow!” Gemma declared in a tone not of interrogation, but of affirmation, as though it could not be otherwise. “Till to-morrow!” echoed Sanin. Emil, Pantaleone, and the poodle Tartaglia accompanied him to the corner of the street. Pantaleone could not refrain from expressing his displeasure at Gemma’s reading. “She ought to be ashamed! She mouths and whines, una caricatura! She ought to represent Merope or Clytemnaestra—something grand, tragic—and she apes some wretched German woman! I can do that … merz, kerz, smerz,” he went on in a hoarse voice poking his face forward, and brandishing his fingers. Tartaglia began barking at him, while Emil burst out laughing. The old man turned sharply back. Sanin went back to the White Swan (he had left his things there in the public hall) in a rather confused frame of mind. All the talk he had had in French, German, and Italian was ringing in his ears. “Engaged!” he whispered as he lay in bed, in the modest apartment assigned to him. “And what a beauty! But what did I stay for?” Next day he sent a letter to his friend in Berlin. <div style="break-after:column;"></div>

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