In the evening the lovers went to the theatre. This is the way of Italian life: love in the morning; music in the evening; the night for sleep. How far preferable is this existence to that of a country where every one expends his lungs and strength in politics, without contributing any more, single-minded, to the progress of affairs than a grain of sand can make a cloud of dust. Liberty, in those strange lands, consists in the right to squabble over public concerns, to take care of oneself, to waste time in patriotic undertakings each more futile than the last, inasmuch as they all weaken that noble, holy self-concern which is the parent of all great human achievement. At Venice, on the contrary, love and its myriad ties, the sweet business of real happiness, fills up all the time.
In that country, love is so much a matter of course that the Duchess was regarded as a wonder; for, in spite of her violent attachment to Emilio, everybody was confident of her immaculate purity. And women gave their sincere pity to the poor young man, who was regarded as a victim to the virtue of his lady-love. At the same time, no one cared to blame the Duchess, for in Italy religion is a power as much respected as love.
Evening after evening Massimilla's box was the first object of every opera-glass, and each woman would say to her lover, as she studied the Duchess and her adorer:
"How far have they got?"
The lover would examine Emilio, seeking some evidence of success; would find no expression but that of a pure and dejected passion. And throughout the house, as they visited from box to box, the men would say to the ladies:
"La Cataneo is not yet Emilio's."
"She is unwise," said the old women. "She will tire him out."
"/Forse!/" (Perhaps) the young wives would reply, with the solemn accent that Italians can infuse into that great word--the answer to many questions here below.
Some women were indignant, thought the whole thing ill-judged, and declared that it was a misapprehension of religion to allow it to smother love.
"My dear, love that poor Emilio," said the Signora Vulpato to Massimilla, as they met on the stairs in going out.
"I do love him with all my might," replied the Duchess.
"Then why does not he look happy?"
Massimilla's reply was a little shrug of her shoulders.
We in France--France as the growing mania for English proprieties has made it--can form no idea of the serious interest taken in this affair by Venetian society.
Vendramini alone knew Emilio's secret, which was carefully kept between two men who had, for private pleasure, combined their coats of arms with the motto /Non amici, frates/.
The opening night of the opera season is an event at Venice, as in every capital in Italy. The /Fenice/ was crowded.
The five hours of the night that are spent at the theatre fill so important a place in Italian life that it is well to give an account of the customs that have risen from this manner of spending time.
The boxes in Italy are unlike those of any other country, inasmuch as that elsewhere the women go to be seen, and that Italian ladies do not care to make a show of themselves. Each box is long and narrow, sloping at an angle to the front and to the passage behind. On each side is a sofa, and at the end stand two armchairs, one for the mistress of the box, and the other for a lady friend when she brings one, which she rarely does. Each lady is in fact too much engaged in her own box to call on others, or to wish to see them; also no one cares to introduce a rival. An Italian woman almost always reigns alone in her box; the mothers are not the slaves of their daughters, the daughters have no mother on their hands; thus there are no children, no relations to watch and censure and bore, or cut into a conversation.
In front every box is draped in the same way, with the same silk: from the cornice hang curtains, also all to match; and these remain drawn when the family to whom the box belongs is in mourning. With very few exceptions, and those only at Milan, there is no light inside the box; they are illuminated only from the stage, and from a not very brilliant hanging lustre which, in spite of protests, has been introduced into the house in some towns; still, screened by the curtains, they are never very light, and their arrangement leaves the back of the box so dark that it is very difficult to see what is going on.
The boxes, large enough to accommodate eight or ten persons, are decorated with handsome silks, the ceilings are painted and ornamented in light and pleasing colors; the woodwork is gilt. Ices and sorbets are served there, and sweetmeats; for only the plebeian classes ever have a serious meal. Each box is freehold property, and of considerable value; some are estimated at as much as thirty thousand lire; the Litta family at Milan own three adjoining. These facts sufficiently indicate the importance attributed to this incident of fashionable life.
Conversation reigns supreme in this little apartment, which Stendhal, one of the most ingenious of modern writers, and a keen student of Italian manners, has called a boudoir with a window opening on to a pit. The music and the spectacle are in fact purely accessory; the real interest of the evening is in the social meeting there, the all-important trivialities of love that are discussed, the assignations held, the anecdotes and gossip that creep in. The theatre is an inexpensive meeting-place for a whole society which is content and amused with studying itself.
The men who are admitted take their seats on one of the sofas, in the order of their arrival. The first comer naturally is next to the mistress of the box, but when both seats are full, if another visitor comes in, the one who has sat longest rises, takes his leave and departs. All move up one place, and so each in turn is next the sovereign.
