Zanoni — Edward Bulwer-Lytton
sharp steel; this caused surprise and inquiry. The father, who was rich and a miser, had died suddenly, and been buried in haste, owing, it was said, to the heat of the weather. Suspicion once awakened, the examination became minute. The old man’s servant was questioned, and at last confessed that the son had murdered the sire. The contrivance was ingenious: the wire was so slender that it pierced to the brain, and drew but one drop of blood, which the gray hairs concealed. The accomplice will be executed.” “ And Zanoni, — did he give evidence, did he account for —~” “No,” interrupted the count: “he declared that he had by accident visited the church that morning; that he had observed the tombstone of the Count Ughelli; that his guide had told him the count’s son was in Naples, — a spendthrift and a gambler. While we were at play, he had heard the count mentioned by name at the table; and when the challenge was given and accepted, it had occurred to him to name the place of burial, by an instinct which he either could not or would not account for.” “A very lame story,” said Mervale. “Yes! but we Italians are superstitious, — the alleged instinct was regarded by many as the whisper of Providence. The next day the stranger became an object of universal interest and curiosity. His wealth, his manner of living, his extraordinary personal beauty, have assisted also to make him the rage; besides, I have had pleasure in introducing so eminent a person to our gayest cavaliers and our fairest ladies.” “A most interesting narrative,” said Mervale, rising. “Come, Glyndon; shall we seek our hotel? It is almost daylight. Adieu, signor! ”
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p. 15
“What think you of this story?” said Glyndon, as the young men walked homeward. “Why, it is very clear that this Zanoni is some impostor, — some clever rogue; and the Neapolitan shares the booty, and puffs him off with all the hackneyed charlatanism of the marvellous. An unknown adventurer gets into society by being made an object of awe and curiosity; he is more than ordinarily handsome, and the women are quite content to receive him without any other recommendation than his own face and Cetoxa’s fables.” “T cannot agree with you. Cetoxa, though a gambler and a rake, is a nobleman of birth and high repute for courage and honor. Besides, this stranger, with his noble presence and lofty air, — so calm, so unobtrusive, —has nothing in common with the forward garrulity of an impostor.” “My dear Glyndon, pardon me; but you have not yet acquired any knowledge of the world! The stranger makes the best of a fine person, and his grand air is but a trick of the trade. But to change the subject, — how advances the love affair? ” “Oh, Viola could not see me to-day.” “You must not marry her. What would they all say at home?” “Tet us enjoy the present,” said Glyndon, with vivacity; “we are young, rich, good-looking; let us not think of to-morrow.” “ Bravo, Glyndon! Here we are at the hotel. Sleep sound, and don’t dream of Signor Zanoni.”
p. 76
CHAPTER II.
Prende, giovine audace e impaziente, L’ occasione offerta avidamente.1 Ger. Lib., c. vi. xxix.
CLARENCE GLYNDON was a young man of fortune, not large, but easy and independent. His parents were dead, and his nearest relation was an only sister, left in England under the care of her aunt, and many years younger than himself. Early in life he had evinced considerable promise in the art of painting, and rather from enthusiasm than any pecuniary necessity for a profession, he determined to devote himself to a career in which the English artist generaliy commences with rapture and historical composition, to conclude with avaricious calculation and portraits of Alderman Simpkins. Glyndon was supposed by his friends to possess no inconsiderable genius; but it was of a rash and presumptuous order. He was averse from continuous and steady labor, and his ambition rather sought to gather the fruit than to plant the tree. In common with many artists in their youth, he was fond of pleasure and excitement, yielding with little forethought to whatever impressed his fancy or appealed to his passions. He had travelled through the more celebrated cities of Europe, with the avowed purpose and sincere resolution of studying the divine masterpieces of his art. But in each, pleasure had too often allured him from ambition, and living beauty distracted his worship from the sense-
1 Take, youth, bold and impatient, the offered occasion eagerly.
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ZANONI. fo
sharp steel; this caused surprise and inquiry. The father, who was rich and a miser, had died suddenly, and been buried in haste, owing, it was said, to the heat of the weather. Suspicion once awakened, the examination became minute. The old man’s servant was questioned, and at last confessed that the son had murdered the sire. The contrivance was ingenious: the wire was so slender that it pierced to the brain, and drew but one drop of blood, which the gray hairs concealed. The accomplice will be executed.” “ And Zanoni, — did he give evidence, did he account for —~” “No,” interrupted the count: “he declared that he had by accident visited the church that morning; that he had observed the tombstone of the Count Ughelli; that his guide had told him the count’s son was in Naples, — a spendthrift and a gambler. While we were at play, he had heard the count mentioned by name at the table; and when the challenge was given and accepted, it had occurred to him to name the place of burial, by an instinct which he either could not or would not account for.” “A very lame story,” said Mervale. “Yes! but we Italians are superstitious, — the alleged instinct was regarded by many as the whisper of Providence. The next day the stranger became an object of universal interest and curiosity. His wealth, his manner of living, his extraordinary personal beauty, have assisted also to make him the rage; besides, I have had pleasure in introducing so eminent a person to our gayest cavaliers and our fairest ladies.” “A most interesting narrative,” said Mervale, rising. “Come, Glyndon; shall we seek our hotel? It is almost daylight. Adieu, signor! ”
————eEE———EEee oe ee eS
OO eee
p. 15
“What think you of this story?” said Glyndon, as the young men walked homeward. “Why, it is very clear that this Zanoni is some impostor, — some clever rogue; and the Neapolitan shares the booty, and puffs him off with all the hackneyed charlatanism of the marvellous. An unknown adventurer gets into society by being made an object of awe and curiosity; he is more than ordinarily handsome, and the women are quite content to receive him without any other recommendation than his own face and Cetoxa’s fables.” “T cannot agree with you. Cetoxa, though a gambler and a rake, is a nobleman of birth and high repute for courage and honor. Besides, this stranger, with his noble presence and lofty air, — so calm, so unobtrusive, —has nothing in common with the forward garrulity of an impostor.” “My dear Glyndon, pardon me; but you have not yet acquired any knowledge of the world! The stranger makes the best of a fine person, and his grand air is but a trick of the trade. But to change the subject, — how advances the love affair? ” “Oh, Viola could not see me to-day.” “You must not marry her. What would they all say at home?” “Tet us enjoy the present,” said Glyndon, with vivacity; “we are young, rich, good-looking; let us not think of to-morrow.” “ Bravo, Glyndon! Here we are at the hotel. Sleep sound, and don’t dream of Signor Zanoni.”
p. 76
CHAPTER II.
Prende, giovine audace e impaziente, L’ occasione offerta avidamente.1 Ger. Lib., c. vi. xxix.
CLARENCE GLYNDON was a young man of fortune, not large, but easy and independent. His parents were dead, and his nearest relation was an only sister, left in England under the care of her aunt, and many years younger than himself. Early in life he had evinced considerable promise in the are of painting, and rather from enthusiasm than any pecuniary necessity for a profession, he determined to devote himself to a career in which the English artist generaliy commences with rapture and historical composition, to conclude with avaricious calculation and portraits of Alderman Simpkins. Glyndon was supposed by his friends to possess no inconsiderable genius; but it was of a rash and presumptuous order. He was averse from continuous and steady labor, and his ambition rather sought to gather the fruit than to plant the tree. In common with many artists in their youth, he was fond of pleasure and excitement, yielding with little forethought to whatever impressed his fancy or appealed to his passions. He had travelled through the more celebrated cities of Europe, with the avowed purpose and sincere resolution of studying the divine masterpieces of his art. But in each, pleasure had too often allured him from ambition, and living beauty distracted his worship from the sense-
1 Take, youth, bold and impatient, the offered occasion eagerly.
————————
ZANONI. fo
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