LITMIR.BIZ

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mean it?”

      “What, signor Carlo?”

      “This; will you venture to do such a thing?”

      “Oh, will I venture? What can you think of me? It is my own request.”

      “But, signorina, in mercy, listen and consider.”

      Carlo turned impetuously to the Chief. “The signorina can’t know the danger she is running. She will be seized on the boards, and shut up between four walls before a man of us will be ready,—or more than one,” he added softly. “The house is sure to be packed for a first night; and the Polizia have a suspicion of her. She has been off her guard in the Conservatorio; she has talked of a country called Italy; she has been indiscreet;—pardon, pardon, signorina! but it is true that she has spoken out from her noble heart. And this opera! Are they fools?—they must see through it. It will never,—it can’t possibly be reckoned on to appear. I knew that the signorina was heart and soul with us; but who could guess that her object was to sacrifice herself in the front rank,—to lead a forlorn hope! I tell you it’s like a Pagan rite. You are positively slaying a victim. I beg you all to look at the case calmly!”

      A burst of laughter checked him; for his seniors by many years could not hear such veteran’s counsel from a hurried boy without being shrewdly touched by the humour of it, while one or two threw a particular irony into their tones.

      “When we do slay a victim, we will come to you as our augur, my Carlo,” said Agostino.

      Corte was less gentle. As a Milanese and a mere youth Ammiani was antipathetic to Corte, who closed his laughter with a windy rattle of his lips, and a “pish!” of some emphasis.

      Carlo was quick to give him a challenging frown.

      “What is it?” Corte bent his head back, as if inquiringly.

      “It’s I who claim that question by right,” said Carlo.

      “You are a boy.”

      “I have studied war.”

      “In books.”

      “With brains, Colonel Corte.”

      “War is a matter of blows, my little lad.”

      “Let me inform you, signor Colonel, that war is not a game between bulls, to be played with the horns of the head.”

      “You are prepared to instruct me?” The fiery Bergamasc lifted his eyebrows.

      “Nay, nay!” said Agostino. “Between us two first;” and he grasped Carlo’s arm, saying in an underbreath, “Your last retort was too long-winded. In these conflicts you must be quick, sharp as a rifle-crack that hits echo on the breast-bone and makes her cry out. I correct a student in the art of war.” Then aloud: “My opera, young man!—well, it’s my libretto, and you know we writers always say ‘my opera’ when we have put the pegs for the voice; you are certainly aware that we do. How dare you to make calumnious observations upon my opera? Is it not the ripe and admirable fruit of five years of confinement? Are not the lines sharp, the stanzas solid? and the stuff, is it not good? Is not the subject simple, pure from offence to sensitive authority, constitutionally harmless? Reply!”

      “It’s transparent to any but asses,” said Carlo.

      “But if it has passed the censorship? You are guilty, my boy, of bestowing upon those highly disciplined gentlemen who govern your famous city—what title? I trust a prophetic one, since that it comes from an animal whose custom is to turn its back before it delivers a blow, and is, they remark, fonder of encountering dead lions than live ones. Still, it is you who are indiscreet,—eminently so, I must add, if you will look lofty. If my opera has passed the censorship! eh, what have you to say?”

      Carlo endured this banter till the end of it came.

      “And you—you encourage her!” he cried wrathfully. “You know what the danger is for her, if they once lay hands on her. They will have her in Verona in four-and-twenty hours; through the gates of the Adige in a couple of days, and at Spielberg, or some other of their infernal dens of groans, within a week. Where is the chance of a rescue then? They torture, too, they torture! It’s a woman; and insult will be one mode of torturing her. They can use rods—”

      The excited Southern youth was about to cover his face, but caught back his hands, clenching them.

      “All this,” said Agostino, “is an evasion, manifestly, of the question concerning my opera, on which you have thought proper to cast a slur. The phrase, ‘transparent to any but asses,’ may not be absolutely objectionable, for transparency is, as the critics rightly insist, meritorious in a composition. And, according to the other view, if we desire our clever opponents to see nothing in something, it is notably skilful to let them see through it. You perceive, my Carlo. Transparency, then, deserves favourable comment. So, I do not complain of your phrase, but I had the unfortunate privilege of hearing it uttered. The method of delivery scarcely conveyed a compliment. Will you apologize?”

      Carlo burst from him with a vehement question to the Chief: “Is it decided?”

      “It is, my friend,” was the reply.

      “Decided! She is doomed! Signorina! what can you know of this frightful risk? You are going to the slaughter. You will be seized before the first verse is out of your lips, and once in their clutches, you will never breathe free air again. It’s madness!—ah, forgive me!—yes, madness! For you shut your eyes; you rush into the trap blindfolded. And that is how you serve our Italy! She sees you an instant, and you are caught away;—and you who might serve her, if you would, do you think you can move dungeon walls?”

      “Perhaps, if I have been once seen, I shall not be forgotten,” said the signorina smoothly, and then cast her eyes down, as if she felt the burden of a little possible accusation of vanity in this remark. She raised them with fire.

      “No; never!” exclaimed Carlo. “But, now you are ours. And—surely it is not quite decided?”

      He had spoken imploringly to the Chief. “Not irrevocably?” he added.

      “Irrevocably!”

      “Then she is lost!”

      “For shame, Carlo Ammiani;” said old Agostino, casting his sententious humours aside. “Do you not hear? It is decided! Do you wish to rob her of her courage, and see her tremble? It’s her scheme and mine: a case where an old head approves a young one. The Chief says Yes! and you bellow still! Is it a Milanese trick? Be silent.”

      “Be silent!” echoed Carlo. “Do you remember the beast Marschatska’s bet?” The allusion was to a black incident concerning a young Italian ballet girl who had been carried off by an Austrian officer, under the pretext of her complicity in one of the antecedent conspiracies.

      “He rendered payment for it,” said Agostino.

      “He perished; yes! as we shake dust to the winds; but she!—it’s terrible! You place women in the front ranks—girls! What can defenceless creatures do? Would you let the van-regiment in battle be the one without weapons? It’s slaughter. She’s like a lamb to them. You hold up your jewel to the enemy, and cry, ‘Come and take it.’ Think of the insults! think of the rough hands, and foul mouths! She will be seized on the boards—”

      “Not if you keep your tongue from wagging,” interposed Ugo Corte, fevered by this unseasonable exhibition of what was to him manifestly a lover’s frenzied selfishness. He moved off, indifferent to Carlo’s retort. Marco Sana and Giulio Bandinelli were already talking aside with the Chief.

      “Signor Carlo, not a hand shall touch me,” said the signorina. “And I am not a lamb, though it is good of you to think me one. I passed through the streets of Milan in the last rising. I was unharmed. You must have some confidence in me.”

      “Signorina, there’s the danger,” rejoined Carlo. “You trust to your good angels once, twice—the third time they fail you! What are you among a host of armed savages? You would be tossed like weed on the sea. In pity, do not look so scornfully! No, there is no unjust meaning in it; but you despise me for seeing danger. Can nothing persuade

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