"Now do you see wherein lies the pre-eminence of the work you have just heard? I can explain it in a few words. There are two kinds of music: one, petty, poor, second-rate, always the same, based on a hundred or so of phrases which every musician has at his command, a more or less agreeable form of babble which most composers live in. We listen to their strains, their would-be melodies, with more or less satisfaction, but absolutely nothing is left in our mind; by the end of the century they are forgotten. But the nations, from the beginning of time till our own day, have cherished as a precious treasure certain strains which epitomize their instincts and habits; I might almost say their history. Listen to one of these primitive tones,--the Gregorian chant, for instance, is, in sacred song, the inheritance of the earliest peoples,--and you will lose yourself in deep dreaming.
Strange and immense conceptions will unfold within you, in spite of the extreme simplicity of these rudimentary relics. And once or twice in a century--not oftener, there arises a Homer of music, to whom God grants the gift of being ahead of his age; men who can compact melodies full of accomplished facts, pregnant with mighty poetry.
Think of this; remember it. The thought, repeated by you, will prove fruitful; it is melody, not harmony, that can survive the shocks of time.
"The music of this oratorio contains a whole world of great and sacred things. A work which begins with that introduction and ends with that prayer is immortal--as immortal as the Easter hymn, /O filii et filioe/, as the /Dies iroe/ of the dead, as all the songs which in every land have outlived its splendor, its happiness, and its ruined prosperity."
The tears the Duchess wiped away as she quitted her box showed plainly that she was thinking of the Venice that is no more; and Vendramin kissed her hand.
The performance ended with the most extraordinary chaos of noises: abuse and hisses hurled at Genovese and a fit of frenzy in praise of la Tinti. It was a long time since the Venetians had had so lively an evening. They were warmed and revived by that antagonism which is never lacking in Italy, where the smallest towns always throve on the antagonistic interests of two factions: the Geulphs and Ghibellines everywhere; the Capulets and the Montagues at Verona; the Geremei and the Lomelli at Bologna; the Fieschi and the Doria at Genoa; the patricians and the populace, the Senate and tribunes of the Roman republic; the Pazzi and the Medici at Florence; the Sforza and the Visconti at Milan; the Orsini and the Colonna at Rome,--in short, everywhere and on every occasion there has been the same impulse Out in the streets there were already /Genovists/ and /Tintists/.
The Prince escorted the Duchess, more depressed than ever by the loves of Osiride; she feared some similar disaster to her own, and could only cling to Emilio, as if to keep him next her heart.
"Remember your promise," said Vendramin. "I will wait for you in the square."
Vendramin took the Frenchman's arm, proposing that they should walk together on the Piazza San Marco while awaiting the Prince.
"I shall be only too glad if he should not come," he added.
This was the text for a conversation between the two, Vendramin regarding it as a favorable opportunity for consulting the physician, and telling him the singular position Emilio had placed himself in.
The Frenchman did as every Frenchman does on all occasions: he laughed. Vendramin, who took the matter very seriously, was angry; but he was mollified when the disciple of Majendie, of Cuvier, of Dupuytren, and of Brossais assured him that he believed he could cure the Prince of his high-flown raptures, and dispel the heavenly poetry in which he shrouded Massimilla as in a cloud.
"A happy form of misfortune!" said he. "The ancients, who were not such fools as might be inferred from their crystal heaven and their ideas on physics, symbolized in the fable of Ixion the power which nullifies the body and makes the spirit lord of all."
Vendramin and the doctor presently met Genovese, and with him the fantastic Capraja. The melomaniac was anxious to learn the real cause of the tenor's /fiasco/. Genovese, the question being put to him, talked fast, like all men who can intoxicate themselves by the ebullition of ideas suggested to them by a passion.
"Yes, signori, I love her, I worship her with a frenzy of which I never believed myself capable, now that I am tired of women. Women play the mischief with art. Pleasure and work cannot be carried on together. Clara fancies that I was jealous of her success, that I wanted to hinder her triumph at Venice; but I was clapping in the side-scenes, and shouted /Diva/ louder than any one in the house."
"But even that," said Cataneo, joining them, "does not explain why, from being a divine singer, you should have become one of the most execrable performers who ever piped air through his larynx, giving none of the charm even which enchants and bewitches us."
"I!" said the singer. "I a bad singer! I who am the equal of the greatest performers!"
By this time, the doctor and Vendramin, Capraja, Cataneo, and Genovese had made their way to the piazzetta. It was midnight. The glittering bay, outlined by the churches of San Giorgio and San Paulo at the end of the Giudecca, and the beginning of the Grand Canal, that opens so mysteriously under the /Dogana/ and the church of Santa Maria della Salute, lay glorious and still. The moon shone on the barques along the Riva de' Schiavoni. The waters of Venice, where there is no tide, looked as if they were alive, dancing with a myriad spangles. Never had a singer a more splendid stage.
