Monday, July 29, 2013

The Monster Garden; Bomarzo

A Giant getting rid of an enemy
Pegasus






The Garden of Bomarzo
Parco dei Mostri
Bosco dei Mostri

Venus in an alcove.
This garden is located in Viterbo, Lazio, Italy, approx. 68 km NNW of Rome. The town has Estruscan and Roman roots, and was a fiefdom of the powerful Roman Orsini family. It's creator called it a 'Sacred Grove' or 'The Monsters' Grove' (Bosco dei Mostri). The grove was built on the property of the Prince, Vicino Orsini. Orsini enlisted the popular architect Pirro Ligorio to help create the grove. Ligorio was also called upon to complete St. Peter's Cathedral after the death of Michelangelo, so he was an important figure at the time. It is said Orsini created the garden, or grove, to honor his wife, Guilia Farnese and was heart broken after her death. In the grove there is symbolism using the Orsini and Farnese coats of arms and crests. The grove was greated in the mid-1500's. Some say it was a purposeful deviation from the careful symmetrical gardens of the time period.
Nymph
Cerbero, Three Headed Dog

The grove lay forgotten after the death of it's creator, Vicino Orsini, but in 1954, it was purchased by Giovanni Bettini and repaired and restored. The garden is the private property of the Bettini family but is open to tourists and is a destination in the area.

Themes shown in the garden are mythological and fantastical. It is intended to astonish. The sculptures are made from 'peperino', volcanic rock, which is easily sculpted but is not known to hold fine detail. It is a garden of symbolism, an example of Mannerist or High Renaissance Art.
Mannerist art was seen in Italy around the time period 1520 to 1580. It is naturalistic and artificial using compositional tension and instability for expression unlike earlier Renaissance art. Artist Salvador Dali said this about the garden, "Bomarzo is in fashion" and wrote an essay about it.
Ogre Face




Listing of some of the larger sculptures:

The Estruscan Bench, where the inscription reads "Voi che pel mondo gite errando, vaghi
di vedere maraviglie alte e stupende
venite qua, dove son faccie horrende,
elefanti, leoni, orsi, orchi e draghi."

"You who travel the world,
in search of great and beautiful wonders,
come here, where there are horrible elephants,
lions, bear, and dragons."

Winged Siren

Entry Statuary-depicting heads of Roman Gods
Proteus and Glaucus- marine monster

A masoleum- which has deteriorated much and fallen over.

A statue of Hercules slaughtering Cacus representing the fight of good vs. Evil

The Tortoise, 
Woman and Whale

Pegasus- with the three graces, "The cavern, the source, there of every obscure thought."

Venus- in an alcove

The old Roman Theatre- "To remind us of the tragedy and comedy of life."

The Hanging House- an unsusal sideways actual crooked house made out of stone

Neptune- larger than life and majestically seated

The Nymph- which is the 'sleeping beauty' of the garden

Ceres-the Goddess patron of Rome

The War elephant- with tower and striking down a legionaire

The Dragon- it fights with a dog, a lion, and a wolf

The Ogre or mouth of Hell- beware it eats children, and inside are a table and benches used by
Orsini and his guests in the heat of the day, are you brave enough to
enter?

The Face of Jupiter- the 'mouth of truth'

The Cerberes- the 3 headed dog who is the guardian of hell

Prosperina- with arms and legs outstretched

Echidna- with the lions and a fury, woman and snake

The Temple-built to honor the wife of Vicino Orsini

The face of Proteus
Winged Dragon
War Elephant gripping a soldier's body.

"Monster must be understood in the Latin meaning of monstrare, which means to show and demonstrate." Pirro Ligorio, architect.

Sources: Bomarzo.net, wikipedia, www.parcodimostri.com, romeartlover.it/Bomarzo, goitaly.about.com




Neptune







Friday, July 19, 2013

A Ghostly legend...based on a true story…



Torquay…Torre Abbey and The Spanish Barn
On the edge of the sea…
(A Ghostly legend for you, based on a true story…)
 
Oldest part of Torre Abbey
     Along the south England coast, beacons were lit to warn the inhabitants in the Channel of the threat of arriving Spanish Ships.
     In the 1580’s a Spaniard and his love (who disguised herself as a sailor to be with him on the ship) were on board the Nuestra Senora del Rosario. The ship was once part of the proud Spanish Armada.
     The Nuestra Senora del Rosario was captured by the English and brought to Torquay. All on board, numbering 397, became prisoners and were shuffled off to the Tithe Barn next to Torre Abbey.
     Torre Abbey, one of the first buildings in Torquay, had been a former monastery but at the present time it was the home of a wealthy English family, The Seymour’s. Predictably, before much time passed, the prisoners began to die of illness, disease, and hunger.  The disguised female lover was numbered among the dead.
The Spanish Barn
     Ever since that time the Tithe Barn has been known as the Spanish Barn because of the prisoners which were held there.  Soon, stories were being told of a ghostly female figure, described as a young Spanish girl, who on moonlit nights would search among the trees and bushes and shadows of the Abbey, trying to find the lover she lost.
 
Inside Torre Abbey

Torquay is an English vacation spot on the coast of the Channel. There are stories of a few haunted happenings here and the story of the Spanish Barn is one of them.
Mystery Writer Agatha Christie had a winter home in Torquay, the book “The Man in the Brown Suit,” includes in the setting a place called ‘Hempsley Cavern’. This cavern is based on a real cavern in Torquay called ‘Kent’s Cavern’. Kent’s Cavern is a stone-age site where ancient caverns and passages can be seen. The caverns have been occupied for millennia by ancient native populations of the British Isles. The caverns are believed to be a Paleolithic site and have been declared as an ancient monument, they are of special scientific interest. In cavern #4 part of a human jaw bone was found in 1927, it is on display in the local museum. The jaw bone is believed to be one of the earliest specimens of Homo Sapiens ever discovered in North-Western Europe. There are engravings on stalagmite formations in the caverns from the 1500’s recording the names of persons who explored there. Flint tools have also been found, below the strata, from excavations which have taken place in the cave.
The 2011 Movie ‘The Watcher’s: The Greatest of These’ was supposedly filmed with Kent’s Cavern as the setting.

(Adapted by Deborah Niven)
Torre Abey, with the oldest part on the right side.

Sunday, July 14, 2013

Chapters 11-14 (End) The Song of Triumphant Love by Ivan Turgenev


Ivan Turgenev, Russian Author

XI
Fabio intended to wait till she awakened, and then to set off to Ferrara,
when suddenly some one tapped lightly at the bedroom door. Fabio went
out, and saw his old steward, Antonio. ‘Signor,’ began the old man, ‘the
Malay has just informed me that Signor Muzzio has been taken ill, and
wishes to be moved with all his belongings to the town; and that he begs
you to let him have servants to assist in packing his things; and that at
dinner-time you would send pack-horses, and saddle-horses, and a few
attendants for the journey. Do you allow it?’

‘The Malay informed you of this?’ asked Fabio. ‘In what manner? Why,
he is dumb.’
‘Here, signor, is the paper on which he wrote all this in our language,
and very correctly.’
‘And Muzzio, you say, is ill?’ ‘Yes, he is very ill, and can see no one.’
‘Have they sent for a doctor?’ ‘No. The Malay forbade it.’ ‘And was it the
Malay wrote you this?’ ‘Yes, it was he.’ Fabio did not speak for a moment.
‘Well, then, arrange it all,’ he said at last. Antonio withdrew.
Fabio looked after his servant in bewilderment. ‘Then, he is not dead?’
he thought ... and he did not know whether to rejoice or to be sorry. ‘Ill?’
But a few hours ago it was a corpse he had looked upon!
Fabio returned to Valeria. She waked up and raised her head. The hus-
band and wife exchanged a long look full of significance. ‘He is gone?’
Valeria said suddenly. Fabio shuddered. ‘How gone? Do you mean ...’ ‘Is
he gone away?’ she continued. A load fell from Fabio’s heart. ‘Not yet; but
he is going to-day.’ ‘And I shall never, never see him again?’ ‘Never.’ ‘And
these dreams will not come again?’ ‘No.’ Valeria again heaved a sigh of
relief; a blissful smile once more appeared on her lips. She held out both
hands to her husband. ‘And we will never speak of him, never, do you
hear, my dear one? And I will not leave my room till he is gone. And do
you now send me my maids ... but stay: take away that thing!’ she pointed
to the pearl necklace, lying on a little bedside table, the necklace given her
by Muzzio, ‘and throw it at once into our deepest well.
...throw it at once into our deepest well
Embrace me. I am
your Valeria; and do not come in to me till ... he has gone.’ Fabio took the
necklace—the pearls he fancied looked tarnished—and did as his wife
had directed. Then he fell to wandering about the garden, looking from a
distance at the pavilion, about which the bustle of preparations for depar-
ture was beginning. Servants were bringing out boxes, loading the horses
... but the Malay was not among them. An irresistible impulse drew Fabio
to look once more upon what was taking place in the pavilion. He recol-
lected that there was at the back a secret door, by which he could reach the
inner room where Muzzio had been lying in the morning. He stole round
to this door, found it unlocked, and, parting the folds of a heavy curtain,
turned a faltering glance upon the room within.


XII
Muzzio was not now lying on the rug. Dressed as though for a journey,
he sat in an arm-chair, but seemed a corpse, just as on Fabio’s first visit.
His torpid head fell back on the chair, and his outstretched hands hung
lifeless, yellow, and rigid on his knees. His breast did not heave. Near the
chair on the floor, which was strewn with dried herbs, stood some flat
bowls of dark liquid, which exhaled a powerful, almost suffocating, odour,
the odour of musk. 
Around each bowl was coiled a small snake of brazen
hue, with golden eyes that flashed from time to time; while directly facing
Muzzio, two paces from him, rose the long figure of the Malay, wrapt in a
mantle of many-coloured brocade, girt round the waist with a tiger’s tail,
with a high hat of the shape of a pointed tiara on his head. But he was not
motionless: at one moment he bowed down reverently, and seemed to be
praying, at the next he drew himself up to his full height, even rose on
tiptoe; then, with a rhythmic action, threw wide his arms, and moved
them persistently in the direction of Muzzio, and seemed to threaten or
command him, frowning and stamping with his foot. All these actions
seemed to cost him great effort, even to cause him pain: he breathed heavily,
the sweat streamed down his face. All at once he sank down to the ground,
and drawing in a full breath, with knitted brow and immense effort, drew
his clenched hands towards him, as though he were holding reins in them
... and to the indescribable horror of Fabio, Muzzio’s head slowly left the
back of the chair, and moved forward, following the Malay’s hands....
The Malay let them fall, and Muzzio’s head fell heavily back again; the
Malay repeated his movements, and obediently the head repeated them
after him. The dark liquid in the bowls began boiling; the bowls them-
selves began to resound with a faint bell-like note, and the brazen snakes
coiled freely about each of them. Then the Malay took a step forward, and
raising his eyebrows and opening his eyes immensely wide, he bowed his
head to Muzzio ... and the eyelids of the dead man quivered, parted un-
certainly, and under them could be seen the eyeballs, dull as lead. The
Malay’s face was radiant with triumphant pride and delight, a delight al-
most malignant; he opened his mouth wide, and from the depths of his
chest there broke out with effort a prolonged howl.... Muzzio’s lips parted
too, and a faint moan quivered on them in response to that inhuman
sound.... But at this point Fabio could endure it no longer; he imagined
he was present at some devilish incantation! He too uttered a shriek and
rushed out, running home, home as quick as possible, without looking
round, repeating prayers and crossing himself as he ran.


XIII
Three hours later, Antonio came to him with the announcement that
everything was ready, the things were packed, and Signor Muzzio was
preparing to start. Without a word in answer to his servant, Fabio went
out on to the terrace, whence the pavilion could be seen.

A few pack horses were grouped before it...
A few pack-
horses were grouped before it; a powerful raven horse, saddled for two
riders, was led up to the steps, where servants were standing bare-headed,
together with armed attendants. The door of the pavilion opened, and
supported by the Malay, who wore once more his ordinary attire, ap-
peared Muzzio. His face was death-like, and his hands hung like a dead
man’s—but he walked ... yes, positively walked, and, seated on the charger,
he sat upright and felt for and found the reins. The Malay put his feet in
the stirrups, leaped up behind him on the saddle, put his arm round him,
and the whole party started. The horses moved at a walking pace, and
when they turned round before the house, Fabio fancied that in Muzzio’s
dark face there gleamed two spots of white.... Could it be he had turned
his eyes upon him? Only the Malay bowed to him ... ironically, as ever.
Did Valeria see all this? The blinds of her windows were drawn ... but it
maybe she was standing behind them.


XIV
At dinner time she came into the dining-room, and was very quiet and
affectionate; she still complained, however, of weariness. But there was no
agitation about her now, none of her former constant bewilderment and
secret dread; and when, the day after Muzzio’s departure, Fabio set to
work again on her portrait, he found in her features the pure expression,
the momentary eclipse of which had so troubled him ... and his brush
moved lightly and faithfully over the canvas.
The husband and wife took up their old life again. Muzzio vanished for
them as though he had never existed. Fabio and Valeria were agreed, as it
seemed, not to utter a syllable referring to him, not to learn anything of his
later days; his fate remained, however, a mystery for all. Muzzio did actually
disappear, as though he had sunk into the earth. Fabio one day thought it his
duty to tell Valeria exactly what had taken place on that fatal night ... but she eyes, as though she were expecting a blow.... And Fabio understood her; he
did not inflict that blow upon her.
One fine Autumn day...
One fine autumn day, Fabio was putting the last touches to his picture
of his Cecilia; Valeria sat at the organ, her fingers straying at random over
the keys.... Suddenly, without her knowing it, from under her hands came
the first notes of that song of triumphant love which Muzzio had once
played; and at the same instant, for the first time since her marriage, she
felt within her the throb of a new palpitating life.... Valeria started,
stopped....What did it mean? Could it be....
* * *
At this word the manuscript ended…..

Friday, July 12, 2013

Chapters 6-10 The Song of Triumphant Love by Ivan Turgenev



VI
A few weeks before Muzzio’s return, Fabio had begun a portrait of his
wife, depicting her with the attributes of Saint Cecilia. He had made con-
siderable advance in his art; the renowned Luini, a pupil of Leonardo da
Vinci, used to come to him at Ferrara, and while aiding him with his own
counsels, pass on also the precepts of his great master. The portrait was
almost completely finished; all that was left was to add a few strokes to the
face, and Fabio might well be proud of his creation. After seeing Muzzio
off on his way to Ferrara, he turned into his studio, where Valeria was
usually waiting for him; but he did not find her there; he called her, she
did not respond. Fabio was overcome by a secret uneasiness; he began
looking for her. She was nowhere in the house; Fabio ran into the garden,
and there in one of the more secluded walks he caught sight of Valeria.
She was sitting on a seat, her head drooping on to her bosom and her
hands folded upon her knees; while behind her, peeping out of the dark
green of a cypress, a marble satyr, with a distorted malignant grin on his
face, was putting his pouting lips to a Pan’s pipe. Valeria was visibly re-
lieved at her husband’s appearance, and to his agitated questions she re-
plied that she had a slight headache, but that it was of no consequence,
and she was ready to come to sit to him. Fabio led her to the studio, posed
her, and took up his brush; but to his great vexation, he could not finish
the face as he would have liked to. And not because it was somewhat pale
and looked exhausted ... no; but the pure, saintly expression, which he
liked so much in it, and which had given him the idea of painting Valeria
as Saint Cecilia, he could not find in it that day. He flung down the brush
at last, told his wife he was not in the mood for work, and that he would
not prevent her from lying down, as she did not look at all well, and put
the canvas with its face to the wall.
Saint Cecilia
Valeria agreed with him that she ought
to rest, and repeating her complaints of a headache, withdrew into her
bedroom. Fabio remained in the studio. He felt a strange confused sensa-
tion incomprehensible to himself. Muzzio’s stay under his roof, to which
he, Fabio, had himself urgently invited him, was irksome to him. And not
that he was jealous—could any one have been jealous of Valeria!—but he
did not recognise his former comrade in his friend. All that was strange,
unknown and new that Muzzio had brought with him from those distant
lands—and which seemed to have entered into his very flesh and blood—
all these magical feats, songs, strange drinks, this dumb Malay, even the
spicy fragrance diffused by Muzzio’s garments, his hair, his breath—all
this inspired in Fabio a sensation akin to distrust, possibly even to timid-
ity. And why did that Malay waiting at table stare with such disagreeable
intentness at him, Fabio? Really any one might suppose that he under-
stood Italian. Muzzio had said of him that in losing his tongue, this Malay
had made a great sacrifice, and in return he was now possessed of great
power. What sort of power? and how could he have obtained it at the
price of his tongue? All this was very strange! very incomprehensible! Fabio
went into his wife’s room; she was lying on the bed, dressed, but was not
asleep. Hearing his steps, she started, then again seemed delighted to see
him just as in the garden. Fabio sat down beside the bed, took Valeria by
the hand, and after a short silence, asked her, ‘What was the extraordinary
dream that had frightened her so the previous night? And was it the same
sort at all as the dream Muzzio had described?’ Valeria crimsoned and said
hurriedly: ‘O! no! no! I saw ... a sort of monster which was trying to tear
me to pieces.’ ‘A monster? in the shape of a man?’ asked Fabio. ‘No, a
beast ... a beast!’ Valeria turned away and hid her burning face in the
pillows. Fabio held his wife’s hand some time longer; silently he raised it
to his lips, and withdrew.
Both the young people passed that day with heavy hearts. Something
dark seemed hanging over their heads ... but what it was, they could not
tell. They wanted to be together, as though some danger threatened them;
but what to say to one another they did not know. Fabio made an effort to
take up the portrait, and to read Ariosto, whose poem had appeared not
long before in Ferrara, and was now making a noise all over Italy; but
nothing was of any use.... Late in the evening, just at supper-time, Muzzio
returned.


VII
He seemed composed and cheerful—but he told them little; he devoted
himself rather to questioning Fabio about their common acquaintances,
about the German war, and the Emperor Charles: he spoke of his own
desire to visit Rome, to see the new Pope. He again offered Valeria some
Shiraz wine, and on her refusal, observed as though to himself, ‘Now it’s
not needed, to be sure.’ Going back with his wife to their room, Fabio
soon fell asleep; and waking up an hour later, felt a conviction that no one
was sharing his bed; Valeria was not beside him. He got up quickly and at
the same instant saw his wife in her night attire coming out of the garden
into the room. The moon was shining brightly, though not long before a
light rain had been falling. With eyes closed, with an expression of myste-
rious horror on her immovable face, Valeria approached the bed, and feel-
ing for it with her hands stretched out before her, lay down hurriedly and
in silence.
Fabio turned to her with a question, but she made no reply; she
seemed to be asleep. He touched her, and felt on her dress and on her hair
drops of rain, and on the soles of her bare feet, little grains of sand. Then
he leapt up and ran into the garden through the half-open door. The
crude brilliance of the moon wrapt every object in light. Fabio looked
about him, and perceived on the sand of the path prints of two pairs of
feet—one pair were bare; and these prints led to a bower of jasmine, on
one side, between the pavilion and the house. He stood still in perplexity,
and suddenly once more he heard the strains of the song he had listened
to the night before. Fabio shuddered, ran into the pavilion.... Muzzio was
standing in the middle of the room playing on the violin. Fabio rushed up
to him.
‘You have been in the garden, your clothes are wet with rain.’
‘No ... I don’t know ... I think ... I have not been out ...’ Muzzio answered
slowly, seeming amazed at Fabio’s entrance and his excitement.
Fabio seized him by the hand. ‘And why are you playing that melody
again? Have you had a dream again?’
Muzzio glanced at Fabio with the same look of amazement, and said
nothing.
‘Answer me!’
‘“The moon stood high like a round shield ...
Like a snake, the river shines ...,
The friend’s awake, the foe’s asleep ...
The bird is in the falcon’s clutches.... Help!”’
muttered Muzzio, humming to himself as though in delirium.
Fabio stepped back two paces, stared at Muzzio, pondered a moment
... and went back to the house, to his bedroom.
Valeria, her head sunk on her shoulder and her hands hanging lifelessly,
was in a heavy sleep. He could not quickly awaken her ... but directly she
saw him, she flung herself on his neck, and embraced him convulsively;
she was trembling all over. ‘What is the matter, my precious, what is it?’
Fabio kept repeating, trying to soothe her. But she still lay lifeless on his
breast. ‘Ah, what fearful dreams I have!’ she whispered, hiding her face
against him. Fabio would have questioned her ... but she only shuddered.
The window-panes were flushed with the early light of morning when at
last she fell asleep in his arms.


VIII
The next day Muzzio disappeared from early morning, while Valeria in-
formed her husband that she intended to go away to a neighbouring mon-
astery, where lived her spiritual father, an old and austere monk, in whom
she placed unbounded confidence.
She intended to go away to a neighboring mon-
astery...
To Fabio’s inquiries she replied, that
she wanted by confession to relieve her soul, which was weighed down by
the exceptional impressions of the last few days. As he looked upon Valeria’s
sunken face, and listened to her faint voice, Fabio approved of her plan;
the worthy Father Lorenzo might give her valuable advice, and might
disperse her doubts.... Under the escort of four attendants, Valeria set off
to the monastery, while Fabio remained at home, and wandered about the
garden till his wife’s return, trying to comprehend what had happened to
her, and a victim to constant fear and wrath, and the pain of undefined
suspicions.... More than once he went up to the pavilion; but Muzzio had
not returned, and the Malay gazed at Fabio like a statue, obsequiously
bowing his head, with a well-dissembled—so at least it seemed to Fabio—
smile on his bronzed face. Meanwhile, Valeria had in confession told ev-
erything to her priest, not so much with shame as with horror. The priest
heard her attentively, gave her his blessing, absolved her from her involun-
tary sin, but to himself he thought: ‘Sorcery, the arts of the devil ... the
matter can’t be left so,’ ... and he returned with Valeria to her villa, as
though with the aim of completely pacifying and reassuring her. At the
sight of
the priest Fabio was thrown into some agitation; but the experi-
enced old man had thought out beforehand how he must treat him. When
he was left alone with Fabio, he did not of course betray the secrets of the
confessional, but he advised him if possible to get rid of the guest they had
invited to their house, as by his stories, his songs, and his whole behaviour
he was troubling the imagination of Valeria. Moreover, in the old man’s
opinion, Muzzio had not, he remembered, been very firm in the faith in
former days, and having spent so long a time in lands unenlightened by the
truths of Christianity, he might well have brought thence the contagion of
false doctrine, might even have become conversant with secret magic arts;
and, therefore, though long friendship had indeed its claims, still a wise
prudence pointed to the necessity of separation. Fabio fully agreed with the
excellent monk. Valeria was even joyful when her husband reported to her
the priest’s counsel; and sent on his way with the cordial good-will of both
the young people, loaded with good gifts for the monastery and the poor,
Father Lorenzo returned home.
Fabio intended to have an explanation with Muzzio immediately after
supper; but his strange guest did not return to supper. Then Fabio de-
cided to defer his conversation with Muzzio until the following day; and
both the young people retired to rest.

IX
Valeria soon fell asleep; but Fabio could not sleep. In the stillness of the
night, everything he had seen, everything he had felt presented itself more
vividly; he put to himself still more insistently questions to which as be-
fore he could find no answer. Had Muzzio really become a sorcerer, and
had he not already poisoned Valeria? She was ill ... but what was her
disease? While he lay, his head in his hand, holding his feverish breath,
and given up to painful reflection, the moon rose again upon a cloudless
sky; and together with its beams, through the half-transparent window-
panes, there began, from the direction of the pavilion—or was it Fabio’s
fancy?—to come a breath, like a light, fragrant current ... then an urgent,
passionate murmur was heard ... and at that instant he observed that
Valeria was beginning faintly to stir. He started, looked; she rose up, slid
first one foot, then the other out of the bed, and like one bewitched of the
moon, her sightless eyes fixed lifelessly before her, her hands stretched out,
she began moving towards the garden! Fabio instantly ran out of the other
door of the room, and running quickly round the corner of the house,
bolted the door that led into the garden.... He had scarcely time to grasp
at the bolt, when he felt someone trying to open the door from the inside,
pressing against it ... again and again ... and then there was the sound of
piteous passionate moans....
‘But Muzzio has not come back from the town,’ flashed through Fabio’s
head, and he rushed to the pavilion....
What did he see?
Coming towards him, along the path dazzlingly lighted up by the moon’s
rays, was Muzzio, he too moving like one moonstruck, his hands held out
before him, and his eyes open but unseeing.... Fabio ran up to him, but
he, not heeding him, moved on, treading evenly, step by step, and his
rigid face smiled in the moonlight like the Malay’s. Fabio would have
called him by his name ... but at that instant he heard, behind him in the
house, the creaking of a window.... He looked round....
Yes, the window of the bedroom was open from top to bottom, and putting
one foot over the sill, Valeria stood in the window ... her hands seemed to be
seeking Muzzio ... she seemed striving all over towards him....
Unutterable fury filled Fabio’s breast with a sudden inrush. ‘Accursed sor-
cerer!’ he shrieked furiously, and seizing Muzzio by the throat with one
hand, with the other he felt for the dagger in his girdle, and plunged the
blade into his side up to the hilt.

Muzzio uttered a shrill scream, and clapping his hand to the wound,
ran staggering back to the pavilion.... But at the very same instant when
Fabio stabbed him, Valeria screamed just as shrilly, and fell to the earth
like grass before the scythe.
Fabio flew to her, raised her up, carried her to the bed, began to speak to
her....
She lay a long time motionless, but at last she opened her eyes, heaved a
deep, broken, blissful sigh, like one just rescued from imminent death,
saw her husband, and twining her arms about his neck, crept close to him.
‘You, you, it is you,’ she faltered. Gradually her hands loosened their hold,
her head sank back, and murmuring with a blissful smile, ‘Thank God, it
is all over.... But how weary I am!’ she fell into a sound but not heavy
sleep.

X
Fabio sank down beside her bed, and never taking his eyes off her pale
and sunken, but already calmer, face, began reflecting on what had hap-
pened ... and also on how he ought to act now. What steps was he to take?
If he had killed Muzzio—and remembering how deeply the dagger had
gone in, he could have no doubt of it—it could not be hidden. He would
have to bring it to the knowledge of the archduke, of the judges ... but
how explain, how describe such an incomprehensible affair? He, Fabio,
had killed in his own house his own kinsman, his dearest friend? They will
inquire, What for? on what ground?... But if Muzzio were not dead?
Fabio could not endure to remain longer in uncertainty, and satisfying
himself that Valeria was asleep, he cautiously got up from his chair, went
out of the house, and made his way to the pavilion. Everything was still in
it; only in one window a light was visible. With a sinking heart he opened
the outer door (there was still the print of blood-stained fingers on it, and
there were black drops of gore on the sand of the path), passed through
the first dark room ... and stood still on the threshold, overwhelmed with
amazement.
In the middle of the room, on a Persian rug, with a brocaded cushion
under his head, and all his limbs stretched out straight, lay Muzzio, covered
with a wide, red shawl with a black pattern on it.


His face, yellow as wax,
with closed eyes and bluish eyelids, was turned towards the ceiling, no breath-
ing could be discerned: he seemed a corpse. At his feet knelt the Malay, also
wrapt in a red shawl. He was holding in his left hand a branch of some
unknown plant, like a fern, and bending slightly forward, was gazing fixedly
at his master. A small torch fixed on the floor burnt with a greenish flame,
and was the only light in the room. The flame did not flicker nor smoke.
The Malay did not stir at Fabio’s entry, he merely turned his eyes upon him,
and again bent them upon Muzzio. From time to time he raised and low-
ered the branch, and waved it in the air, and his dumb lips slowly parted and
moved as though uttering soundless words. On the floor between the Malay
and Muzzio lay the dagger, with which Fabio had stabbed his friend; the
Malay struck one blow with the branch on the blood-stained blade. A minute
passed ... another. Fabio approached the Malay, and stooping down to him,
asked in an undertone, ‘Is he dead?’ The Malay bent his head from above
downwards, and disentangling his right hand from his shawl, he pointed
imperiously to the door. Fabio would have repeated his question, but the
gesture of the commanding hand was repeated, and Fabio went out, indig-
nant and wondering, but obedient.
He found Valeria sleeping as before, with an even more tranquil expres-
sion on her face. He did not undress, but seated himself by the window,
his head in his hand, and once more sank into thought. The rising sun
found him still in the same place. Valeria had not waked up.

(See the next blog entry for a continuation of the story)