went. It was a new era in her existence. Herself, by this time, an artist, she could forget her griefs, and enter with her whole soul into the beauties of the art she now heard practised in perfection for the first time. To music a chord responded in her breast which vibrated powerfully. During the performances she was at one moment pale and trembling, tears rushing into her eyes, at another, she was ready to throw herself at the feet of the cantatrice, in an ecstasy of admiration. “Prima donna,” – by that name the public called on her to receive their applause, and it was the same, thought Anielka, that Justiniani had bestowed upon her. Could she also be a prima donna? What a glorious destiny! To be able to communicate one’s own emotions to masses of entranced listeners; to awaken in them, by the power of the voice, grief, love, terror.
Strange thoughts continued to haunt her on her return home. She was unable to sleep. She formed desperate plans. At last she resolved to throw off the yoke of servitude, and the still more painful slavery of feelings which her pride disdained. Having learnt the address of the prima donna, she went early one morning to her house.
On entering she said, in French, almost incoherently, so great was her agitation – “Madam, I am a poor serf belonging to a Polish family who have lately arrived in Florence. I have escaped from them; protect, shelter me. They say I can sing.”
The Signora Teresina, a warm-hearted, passionate Italian, was interested by her artless earnestness. She said, “Poor child! you must have suffered much,” – she took Anielka’s hand in hers. “You say you can sing; let me hear you.” Anielka seated herself on an ottoman. She clasped her hands over knees, and tears fell into her lap. With plaintive pathos, and perfect truth of intonation, she prayed in song. The Hymn to the Virgin seemed to Teresina to be offered up by inspiration.
The Signora was astonished. “Where,” she asked, in wonder, “were you taught?”
Anielka narrated her history, and when she had finished, the prima donna spoke so kindly to her that she felt as if she had known her for years. Anielka was Teresina’s guest that day and the next. After the opera, on the third day, the prima donna made her sit beside her, and said: —
“I think you are a very good girl, and you shall stay with me always.”
The girl was almost beside herself with joy.
“We will never part. Do you consent, Anielka?”
“Do not call me Anielka. Give me instead some Italian name.”
“Well, then, be Giovanna. The dearest friend I ever had – but whom I have lost – was named Giovanna,” said the prima donna.
“Then, I will be another Giovanna to you.”
Teresina then said, “I hesitated to receive you at first, for your sake as well as mine; but you are safe now. I learn that your master and mistress, after searching vainly for you, have returned to Poland.”
From this time Anielka commenced an entirely new life. She took lessons in singing every day from the Signora, and got an engagement to appear in inferior characters at the theatre. She had now her own income, and her own servant – she, who had till then been obliged to serve herself. She acquired the Italian language rapidly, and soon passed for a native of the country.
So passed three years. New and varied impressions failed, however, to blot out the old ones. Anielka arrived at great perfection in her singing, and even began to surpass the prima donna, who was losing her voice from weakness of the chest. This sad discovery changed the cheerful temper of Teresina. She ceased to sing in public; for she could not endure to excite pity where she had formerly commanded admiration.
She determined to retire. “You,” she said to Anielka, “shall now assert your claim to the first rank in the vocal art. You will maintain it. You surpass me. Often, on hearing you sing, I have scarcely been able to stifle a feeling of jealousy.”
Anielka placed her hand on Teresina’s shoulder, and kissed her.
“Yes,” continued Teresina, regardless of everything but the bright future she was shaping for her friend. “We will go to Vienna – there you will be understood and appreciated. You shall sing at the Italian Opera, and I will be by your side – unknown, no longer sought, worshipped – but will glory in your triumphs. They will be a repetition of my own; for have I not taught you? Will they not be the result of my work?”
Though Anielka’s ambition was fired, her heart was softened, and she wept violently.
Five months had scarcely elapsed when a furore was created in Vienna by the first appearance, at the Italian Opera, of the Signora Giovanna. Her enormous salary at once afforded her the means of even extravagant expenditure. Her haughty treatment of male admirers only attracted new ones; but in the midst of her triumphs, she thought often of the time when the poor orphan of Pobereze was cared for by nobody. This remembrance made her receive the flatteries of the crowd with an ironical smile; their fine speeches fell coldly on her ear, their eloquent looks made no impression on her heart: that, no change could alter, no temptation win.
In the flood of unexpected success a new misfortune overwhelmed her. Since their arrival at Vienna, Teresina’s health rapidly declined, and in the sixth month of Anielka’s operatic reign she expired, leaving all her wealth, which was considerable, to her friend.
Once more Anielka was alone in the world. Despite all the honors and blandishments of her position, the old feeling of desolateness came upon her. The new shock destroyed her health. She was unable to appear on the stage. To sing was a painful effort; she grew indifferent to what passed around her. Her greatest consolation was in succoring the poor and friendless, and her generosity was most conspicuous to all young orphan girls without fortune. She had never ceased to love her native land, and seldom appeared in society, unless it was to meet her countrymen. If ever she sang, it was in Polish.
A year had elapsed since the death of the Signora Teresina when the Count Selka, a rich noble of Volkynia, at that time in Vienna, solicited her presence at a party. It was impossible to refuse the Count and his lady, from whom she had received great kindness. She went. When in their saloons, filled with all the fashion and aristocracy in Vienna, the name of Giovanna was announced, a general murmur was heard. She entered, pale and languid, and proceeded between the two rows made for her by the admiring assembly, to the seat of honor, beside the mistress of the house.
Shortly after, the Count Selka led her to the piano. She sat down before it, and thinking what she should sing, glanced round upon the assembly. She could not help feeling that the admiration which beamed from the faces around her was the work of her own merit, for had she neglected the great gift of nature, her voice, she could not have excited it. With a blushing cheek, and eyes sparkling with honest pride, she struck the piano with a firm hand, and from her seemingly weak and delicate chest poured forth a touching Polish melody, with a voice pure, sonorous, and plaintive. Tears were in many eyes, and the beating of every heart was quickened.
The song was finished, but the wondering silence was unbroken. Giovanna leaned exhausted on the arm of the chair, and cast down her eyes. On again raising them, she perceived a gentleman who gazed fixedly at her, as if he still listened to echoes which had not yet died within him. The master of the house, to dissipate his thoughtlessness, led him towards Giovanna. “Let me present to you, Signora,” he said, “a countryman, the Count Leon Roszynski.”
The lady trembled; she silently bowed, fixed her eyes on the ground, and dared not raise them. Pleading indisposition, which was fully justified by her pallid features, she soon after withdrew.
When, on the following day, Giovanna’s servant announced the Counts Selka and Roszynski, a peculiar smile played on her lips; and when they entered,
