Learn to be poor in spirit, my son, if you would penetrate that sacred night which environs truth. Learn of the Sages to allow to the Devils no power in Nature, since the fatal stone has shut ’em up in the depth of the abyss. Learn of the Philosophers always to look for natural causes in all extraordinary events; and when such natural causes are wanting, recur to God.
The Count de Gabalis.
All these additions to his knowledge of Zanoni, picked up in the various lounging-places and resorts that he frequented, were unsatisfactory to Glyndon. That night Viola did not perform at the theatre; and the next day, still disturbed by bewildered fancies, and averse to the sober and sarcastic companionship of Mervale, Glyndon sauntered musingly into the public gardens, and paused under the very tree under which he had first heard the voice that had exercised upon his mind so singular an influence. The gardens were deserted. He threw himself on one of the seats placed beneath the shade; and again, in the midst of his reverie, the same cold shudder came over him which Zanoni had so distinctly defined, and to which he had ascribed so extraordinary a cause.
He roused himself with a sudden effort, and started to see, seated next him, a figure hideous enough to have personated one of the malignant beings of whom Zanoni had spoken. It was a small man, dressed in a fashion strikingly at variance with the elaborate costume of the day: an affectation of homeliness and poverty approaching to squalor, in the loose trousers, coarse as a ship’s sail; in the rough jacket, which appeared rent wilfully into holes; and the black, ragged, tangled locks that streamed from their confinement under a woollen cap, accorded but ill with other details which spoke of comparative wealth. The shirt, open at the throat, was fastened by a brooch of gaudy stones; and two pendent massive gold chains announced the foppery of two watches.
The man’s figure, if not absolutely deformed, was yet marvellously ill-favoured; his shoulders high and square; his chest flattened, as if crushed in; his gloveless hands were knotted at the joints, and, large, bony, and muscular, dangled from lean, emaciated wrists, as if not belonging to them. His features had the painful distortion sometimes seen in the countenance of a cripple,— large, exaggerated, with the nose nearly touching the chin; the eyes small, but glowing with a cunning fire as they dwelt on Glyndon; and the mouth was twisted into a grin that displayed rows of jagged, black, broken teeth. Yet over this frightful face there still played a kind of disagreeable intelligence, an expression at once astute and bold; and as Glyndon, recovering from the first impression, looked again at his neighbour, he blushed at his own dismay, and recognised a French artist, with whom he had formed an acquaintance, and who was possessed of no inconsiderable talents in his calling.
Indeed, it was to be remarked that this creature, whose externals were so deserted by the Graces, particularly delighted in designs aspiring to majesty and grandeur. Though his colouring was hard and shallow, as was that generally of the French school at the time, his DRAWINGS were admirable for symmetry, simple elegance, and classic vigour; at the same time they unquestionably wanted ideal grace. He was fond of selecting subjects from Roman history, rather than from the copious world of Grecian beauty, or those still more sublime stories of scriptural record from which Raphael and Michael Angelo borrowed their inspirations. His grandeur was that not of gods and saints, but mortals. His delineation of beauty was that which the eye cannot blame and the soul does not acknowledge. In a word, as it was said of Dionysius, he was an Anthropographos, or Painter of Men. It was also a notable contradiction in this person, who was addicted to the most extravagant excesses in every passion, whether of hate or love, implacable in revenge, and insatiable in debauch, that he was in the habit of uttering the most beautiful sentiments of exalted purity and genial philanthropy. The world was not good enough for him; he was, to use the expressive German phrase, A WORLD-BETTERER! Nevertheless, his sarcastic lip often seemed to mock the sentiments he uttered, as if it sought to insinuate that he was above even the world he would construct.
Finally, this painter was in close correspondence with the Republicans of Paris, and was held to be one of those missionaries whom, from the earliest period of the Revolution, the regenerators of mankind were pleased to despatch to the various states yet shackled, whether by actual tyranny or wholesome laws. Certainly, as the historian of Italy (Botta.) has observed, there was no city in Italy where these new doctrines would be received with greater favour than Naples, partly from the lively temper of the people, principally because the most hateful feudal privileges, however partially curtailed some years before by the great minister, Tanuccini, still presented so many daily and practical evils as to make change wear a more substantial charm than the mere and meretricious bloom on the cheek of the harlot, Novelty. This man, whom I will call Jean Nicot, was, therefore, an oracle among the younger and bolder spirits of Naples; and before Glyndon had met Zanoni, the former had not been among the least dazzled by the eloquent aspirations of the hideous philanthropist.
“It is so long since we have met, cher confrere,” said Nicot, drawing his seat nearer to Glyndon’s, “that you cannot be surprised that I see you with delight, and even take the liberty to intrude on your meditations.
“They were of no agreeable nature,” said Glyndon; “and never was intrusion more welcome.”
“You will be charmed to hear,” said Nicot, drawing several letters from his bosom, “that the good work proceeds with marvellous rapidity. Mirabeau, indeed, is no more; but, mort Diable! the French people are now a Mirabeau themselves.” With this remark, Monsieur Nicot proceeded to read and to comment upon several animated and interesting passages in his correspondence, in which the word virtue was introduced twenty-seven times, and God not once. And then, warmed by the cheering prospects thus opened to him, he began to indulge in those anticipations of the future, the outline of which we have already seen in the eloquent extravagance of Condorcet. All the old virtues were dethroned for a new Pantheon: patriotism was a narrow sentiment; philanthropy was to be its successor. No love that did not embrace all mankind, as warm for Indus and the Pole as for the hearth of home, was worthy the breast of a generous man. Opinion was to be free as air; and in order to make it so, it was necessary to exterminate all those whose opinions were not the same as Mons. Jean Nicot’s. Much of this amused, much revolted Glyndon; but when the painter turned to dwell upon a science that all should comprehend, and the results of which all should enjoy,— a science that, springing from the soil of equal institutions and equal mental cultivation, should give to all the races of men wealth without labour, and a life longer than the Patriarchs’, without care,— then Glyndon listened with interest and admiration, not unmixed with awe. “Observe,” said Nicot, “how much that we now cherish as a virtue will then be rejected as meanness. Our oppressors, for instance, preach to us of the excellence of gratitude. Gratitude, the confession of inferiority! What so hateful to a noble spirit as the humiliating sense of obligation? But where there is equality there can be no means for power thus to enslave merit. The benefactor and the client will alike cease, and —”
“And in the mean time,” said a low voice, at hand,—“in the mean time, Jean Nicot?”
The two artists started, and Glyndon recognised Zanoni.
He gazed with a brow of unusual sternness on Nicot, who, lumped together as he sat, looked up at him askew, and with an expression of fear and dismay upon his distorted countenance.
Ho, ho! Messire Jean Nicot, thou who fearest neither God nor Devil, wh............