Cetoxa’s carriage. Come along, he is waiting for us.”
“How kind in you! how did you find me out?”
“I met Zanoni in the passage—‘Your friend is at the door of the theatre,’ said he; ‘do not let him go home on foot to-night; the streets of Naples are not always safe.’ I immediately remembered that some of the Calabrian bravos had been busy within the city the last few weeks, and suddenly meeting Cetoxa—but here he is.”
Further explanation was forbidden, for they now joined the count. As Glyndon entered the carriage and drew up the glass, he saw four men standing apart by the pavement, who seemed to eye him with attention.
“Cospetto!” cried one; “that is the Englishman!” Glyndon imperfectly heard the exclamation as the carriage drove on. He reached home in safety.
The familiar and endearing intimacy which always exists in Italy between the nurse and the child she has reared, and which the “Romeo and Juliet” of Shakespeare in no way exaggerates, could not but be drawn yet closer than usual, in a situation so friendless as that of the orphan-actress. In all that concerned the weaknesses of the heart, Gionetta had large experience; and when, three nights before, Viola, on returning from the theatre, had wept bitterly, the nurse had succeeded in extracting from her a confession that she had seen one—not seen for two weary and eventful years—but never forgotten, and who, alas! had not evinced the slightest recognition of herself. Gionetta could not comprehend all the vague and innocent emotions that swelled this sorrow; but she resolved them all, with her plain, blunt understanding, to the one sentiment of love. And here, she was well fitted to sympathise and console. Confidante to Viola’s entire and deep heart she never could be—for that heart never could have words for all its secrets. But such confidence as she could obtain, she was ready to repay by the most unreproving pity and the most ready service.
“Have you discovered who he is?” asked Viola, as she was now alone in the carriage with Gionetta.
“Yes; he is the celebrated Signor Zanoni, about whom all the great ladies have gone mad. They say he is so rich!—oh! so much richer than any of the Inglesi!—not but what the Signor Glyndon—”
“Cease!” interrupted the young actress. “Zanoni! Speak of the Englishman no more.”
The carriage was now entering that more lonely and remote part of the city in which Viola’s house was situated, when it suddenly stopped.
Gionetta, in alarm, thrust her head out of the window, and perceived, by the pale light of the moon, that the driver, torn from his seat, was already pinioned in the arms of two men; the next moment the door was opened violently, and a tall figure, masked and mantled, appeared.
“Fear not, fairest Pisani,” said he, gently; “no ill shall befall you.” As he spoke, he wound his arm round the form of the fair actress, and endeavoured to lift her from the carriage. But Gionetta was no ordinary ally—she thrust back the assailant with a force that astonished him, and followed the shock by a volley of the most energetic reprobation.
The mask drew back, and composed his disordered mantle.
“By the body of Bacchus!” said he, half laughing, “she is well protected. Here, Luigi, Giovanni! seize the hag!—quick!—why loiter ye?”
The mask retired from the door, and another and yet taller form presented itself. “Be calm, Viola Pisani,” said he, in a low voice; “with me you are indeed safe!” He lifted his mask as he spoke, and showed the noble features of Zanoni.
“Be calm, be hushed—I can save you.” He vanished, leaving Viola lost in surprise, agitation, and delight. There were, in all, nine masks: two were engaged with the driver; one stood at the head of the carriage-horses; a fourth guarded the well-trained steeds of the party; three others (besides Zanoni and the one who had first accosted Viola) stood apart by a carriage drawn to the side of the road. To these three Zanoni motioned; they advanced; he pointed towards the first mask, who was in fact the Prince di—, and to his unspeakable astonishment the prince was suddenly seized from behind.
“Treason!” he cried. “Treason among my own men! What means this?”
“Place him in his carriage! If he resist, his blood be on his own head!” said Zanoni, calmly.
He approached the men who had detained the coachman.
“You are outnumbered and outwitted,” said he; “join your lord; you are three men—we six, armed to the teeth. Thank our mercy that we spare your lives. Go!”
The men gave way, dismayed. The driver remounted.
“Cut the traces of their carriage and the bridles of their horses,” said Zanoni, as he entered the vehicle containing Viola, which now drove on rapidly, leaving the discomfited ravisher in a state of rage and stupor impossible to describe.
“Allow me to explain this mystery to you,” said Zanoni. “I discovered the plot against you—no matter how; I frustrated it thus: The head of this design is a nobleman, who has long persecuted you in vain. He and two of his creatures watched you from the entrance of the theatre, having directed six others to await him on the spot where you were attacked; myself and five of my servants supplied their place, and were mistaken for his own followers. I had previously ridden alone to the spot where the men were waiting, and informed them that their master would not require their services that night. They believed me, and accordingly dispersed. I then joined my own band, whom I had left in the rear; you know all. We are at your door.”
CHAPTER 2.III.
When most I wink, then do mine eyes best see,
For all the day they view things unrespected;
But when I sleep, in dreams they look on thee,
And, darkly bright, are bright in dark directed.
Shakespeare.
Zanoni followed the young Neapolitan into her house; Gionetta
vanished—they were left alone.
Alone, in that room so often filled, in the old happy days, with the wild melodies of Pisani; and now, as she saw this mysterious, haunting, yet beautiful and stately stranger, standing on the very spot where she had sat at her father’s feet, thrilled and spellbound—she almost thought, in her fantastic way of personifying her own airy notions, that that spiritual Music had taken shape and life, and stood before her glorious in the image it assumed. She was unconscious all the while of her own loveliness. She had thrown aside her hood and veil; her hair, somewhat disordered, fell over the ivory neck which the dress partially displayed; and as her dark eyes swam with grateful tears, and her cheek flushed with its late excitement, the god of light and music himself never, amidst his Arcadian valleys, wooed, in his mortal guise, maiden or nymph more fair.
Zanoni gazed at her with a look in which admiration seemed not unmingled with compassion. He muttered a few words to himself, and then addressed her aloud.
“Viola, I have saved you from a great peril; not from dishonour only, but perhaps from death. The Prince di—, under a weak despot and a venal administration, is a man above the law. He is capable of every crime; but amongst his passions he has such
