The Tales of Haunted Nights (Gothic Horror: Bulwer-Lytton-Series). Эдвард Бульвер-Литтон

himself, and refused to communicate the secret. The answer he obtained to his remonstrances on this head was more stern than satisfactory:

      “Dost thou think,” said Mejnour, “that I would give to the mere pupil, whose qualities are not yet tried, powers that might change the face of the social world? The last secrets are intrusted only to him of whose virtue the Master is convinced. Patience! It is labour itself that is the great purifier of the mind; and by degrees the secrets will grow upon thyself as thy mind becomes riper to receive them.”

      At last Mejnour professed himself satisfied with the progress made by his pupil. “The hour now arrives,” he said, “when thou mayst pass the great but airy barrier—when thou mayst gradually confront the terrible Dweller of the Threshold. Continue thy labours—continue to surpass thine impatience for results until thou canst fathom the causes. I leave thee for one month; if at the end of that period, when I return, the tasks set thee are completed, and thy mind prepared by contemplation and austere thought for the ordeal, I promise thee the ordeal shall commence. One caution alone I give thee: regard it as a peremptory command, enter not this chamber!” (They were then standing in the room where their experiments had been chiefly made, and in which Glyndon, on the night he had sought the solitude of the mystic, had nearly fallen a victim to his intrusion.)

      “Enter not this chamber till my return; or, above all, if by any search for materials necessary to thy toils thou shouldst venture hither, forbear to light the naphtha in those vessels, and to open the vases on yonder shelves. I leave the key of the room in thy keeping, in order to try thy abstinence and self-control. Young man, this very temptation is a part of thy trial.”

      With that, Mejnour placed the key in his hands; and at sunset he left the castle.

      For several days Glyndon continued immersed in employments which strained to the utmost all the faculties of his intellect. Even the most partial success depended so entirely on the abstraction of the mind, and the minuteness of its calculations, that there was scarcely room for any other thought than those absorbed in the occupation. And doubtless this perpetual strain of the faculties was the object of Mejnour in works that did not seem exactly pertinent to the purposes in view. As the study of the elementary mathematics, for example, is not so profitable in the solving of problems, useless in our after-callings, as it is serviceable in training the intellect to the comprehension and analysis of general truths.

      But in less than half the time which Mejnour had stated for the duration of his absence, all that the mystic had appointed to his toils was completed by the pupil; and then his mind, thus relieved from the drudgery and mechanism of employment, once more sought occupation in dim conjecture and restless fancies. His inquisitive and rash nature grew excited by the prohibition of Mejnour, and he found himself gazing too often, with perturbed and daring curiosity, upon the key of the forbidden chamber. He began to feel indignant at a trial of constancy which he deemed frivolous and puerile. What nursery tales of Bluebeard and his closet were revived to daunt and terrify him! How could the mere walls of a chamber, in which he had so often securely pursued his labours, start into living danger? If haunted, it could be but by those delusions which Mejnour had taught him to despise—a shadowy lion—a chemical phantasm! Tush! he lost half his awe of Mejnour, when he thought that by such tricks the sage could practise upon the very intellect he had awakened and instructed! Still he resisted the impulses of his curiosity and his pride, and, to escape from their dictation, he took long rambles on the hills, or amidst the valleys that surrounded the castle—seeking by bodily fatigue to subdue the unreposing mind. One day suddenly emerging from a dark ravine, he came upon one of those Italian scenes of rural festivity and mirth in which the classic age appears to revive. It was a festival, partly agricultural, partly religious, held yearly by the peasants of that district. Assembled at the outskirts of a village, animated crowds, just returned from a procession to a neighbouring chapel, were now forming themselves into groups: the old to taste the vintage, the young to dance—all to be gay and happy. This sudden picture of easy joy and careless ignorance, contrasting so forcibly with the intense studies and that parching desire for wisdom which had so long made up his own life, and burned at his own heart, sensibly affected Glyndon. As he stood aloof and gazing on them, the young man felt once more that he was young. The memory of all he had been content to sacrifice spoke to him like the sharp voice of remorse. The flitting forms of the women in their picturesque attire, their happy laughter ringing through the cool, still air of the autumn noon, brought back to the heart, or rather perhaps to the senses, the images of his past time, the “golden shepherd hours,” when to live was but to enjoy.

      He approached nearer and nearer to the scene, and suddenly a noisy group swept round him; and Maestro Paolo, tapping him familiarly on the shoulder, exclaimed in a hearty voice, “Welcome, Excellency!—we are rejoiced to see you amongst us.” Glyndon was about to reply to this salutation, when his eyes rested upon the face of a young girl leaning on Paolo’s arm, of a beauty so attractive that his colour rose and his heart beat as he encountered her gaze. Her eyes sparkled with a roguish and petulant mirth, her parted lips showed teeth like pearls; as if impatient at the pause of her companion from the revel of the rest, her little foot beat the ground to a measure that she half-hummed, half-chanted. Paolo laughed as he saw the effect the girl had produced upon the young foreigner.

      “Will you not dance, Excellency? Come, lay aside your greatness, and be merry, like us poor devils. See how our pretty Fillide is longing for a partner. Take compassion on her.”

      Fillide pouted at this speech, and, disengaging her arm from Paolo’s, turned away, but threw over her shoulder a glance half inviting, half defying. Glyndon, almost involuntarily, advanced to her, and addressed her.

      Oh, yes; he addresses her! She looks down, and smiles. Paolo leaves them to themselves, sauntering off with a devil-me-carish air. Fillide speaks now, and looks up at the scholar’s face with arch invitation. He shakes his head; Fillide laughs, and her laugh is silvery. She points to a gay mountaineer, who is tripping up to her merrily. Why does Glyndon feel jealous? Why, when she speaks again, does he shake his head no more? He offers his hand; Fillide blushes, and takes it with a demure coquetry. What! is it so, indeed! They whirl into the noisy circle of the revellers. Ha! ha! is not this better than distilling herbs, and breaking thy brains on Pythagorean numbers? How lightly Fillide bounds along! How her lithesome waist supples itself to thy circling arm! Tara-ra-tara, ta-tara, rara-ra! What the devil is in the measure that it makes the blood course like quicksilver through the veins? Was there ever a pair of eyes like Fillide’s? Nothing of the cold stars there! Yet how they twinkle and laugh at thee! And that rosy, pursed-up mouth that will answer so sparingly to thy flatteries, as if words were a waste of time, and kisses were their proper language. Oh, pupil of Mejnour! Oh, would-be Rosicrucian, Platonist, Magian, I know not what! I am ashamed of thee! What, in the names of Averroes and Burri and Agrippa and Hermes have become of thy austere contemplations? Was it for this thou didst resign Viola? I don’t think thou hast the smallest recollection of the elixir or the Cabala. Take care! What are you about, sir? Why do you clasp that small hand locked within your own? Why do you—Tara-rara tara-ra tara-rara-ra, rarara, ta-ra, a-ra! Keep your eyes off those slender ankles and that crimson bodice! Tara-rara-ra! There they go again! And now they rest under the broad trees. The revel has whirled away from them. They hear—or do they not hear—the laughter at the distance? They see—or if they have their eyes about them, they should see—couple after couple gliding by, love-talking and love-looking. But I will lay a wager, as they sit under that tree, and the round sun goes down behind the mountains, that they see or hear very little except themselves.

      “Hollo, Signor Excellency! and how does your partner please you? Come and join our feast, loiterers; one dances more merrily after wine.”

      Down goes the round sun; up comes the autumn moon. Tara, tara, rarara, rarara, tarara-ra! Dancing again; is it a dance, or some movement gayer, noisier, wilder still? How they glance and gleam through the night shadows, those flitting forms! What confusion!—what order! Ha, that is the Tarantula dance; Maestro Paolo foots it bravely! Diavolo, what fury! the Tarantula has stung them all. Dance or die; it is fury—the Corybantes, the Maenads, the—Ho, ho! more wine! the Sabbat of the Witches at Benevento is a joke to this! From cloud to cloud wanders the moon—now shining, now lost. Dimness while the maiden blushes; light when the maiden smiles.