Antonina; Or, The Fall of Rome by Wilkie Collins (classic novels for teens .TXT) 📖

I shall be changed into Vetranio the Sardonic. Pride, honour, curiosity, and love all urge me to her conquest. To prepare for my banquet is an excuse to the Court for my sudden departure from this place; the real object of my journey is Antonina alone.'

'Ah, now I recognise my friend again in his own character,' remarked the lady approvingly.

'You will ask me how I purpose to obtain another interview with her?' continued Vetranio. 'I answer, that the girl's attendant has voluntarily offered himself as an instrument for the prosecution of my plans. The very day before I departed from Rome, he suddenly presented himself to my in my garden, and proposed to introduce me into Numerian's house—having first demanded, with the air more of an equal than an inferior, whether the report that I was still a secret adherent of the old religion, of the worship of the gods, was true. Suspicious of the fellow's motives (for he abjured all recompense as the reward of his treachery), and irritated by the girl's recent ingratitude, I treated his offer with contempt. Now, however, that my dissatisfaction is calmed and my anxiety aroused, I am determined, at all hazards, to trust myself to this man, be his motives for aiding me what they may. If my efforts at my expected interview—and I will not spare them—are rewarded with success, it will be necessary to obtain some refuge for Antonina that will neither be suspected nor searched. For such a hiding-place, nothing can be more admirably adapted than your Arician villa. Do you—now that you know for what use it is intended—repent of your generous disposal of it in aid of my design?'

'I am delighted to have had it to bestow on you,' replied the liberal Julia, pressing Vetranio's hand. 'Your adventure is indeed uncommon—I burn with impatience to hear how it will end. Whatever happens, you may depend on my secrecy and count on my assistance. But see, the sun is already verging towards the west; and yonder comes one of your slaves to inform you, I doubt not, that your equipage is prepared. Return with me to the palace, and I will supply you with the letter necessary to introduce you as master to my country abode.'

The worthy citizens of Ravenna assembled in the square before the palace to behold the senator's departure, had entirely exhausted such innocent materials for amusement as consisted in staring at the guards, catching the clouds of gnats that hovered about their ears, and quarrelling with each other; and were now reduced to a state of very noisy and unanimous impatience, when their discontent was suddenly and most effectually appeased by the appearance of the travelling equipage with Vetranio and Camilla outside the palace gates.

Uproarious shouts greeted the appearance of the senator and his magnificent retinue; but they were increased a hundred-fold when the chief slaves, by their master's command, each scattered a handful of small coin among the poorer classes of the spectators. Every man among that heterogeneous assemblage of rogues, fools, and idlers roared his loudest and capered his highest, in honour of the generous patrician. Gradually and carefully the illustrious travellers moved through the crowd around them to the city gate; and thence, amid incessant shouts of applause, raised with imposing unanimity of lung, and wrought up to the most distracting discordancy of noise, Vetranio and his lively companion departed in triumph for Rome.

A few days after this event the citizens were again assembled at the same place and hour—probably to witness another patrician departure—when their ears were assailed by the unexpected sound produced by the call to arms, which was followed immediately by the closing of the city gates. They had scarcely asked each other the meaning of these unusual occurrences, when a peasant, half frantic with terror, rushed into the square, shouting out the terrible intelligence that the Goths were in sight!

The courtiers heard the news, and starting from a luxurious repast, hurried to the palace windows to behold the portentous spectacle. For the remainder of the evening the banqueting tables were unapproached by the guests.

The wretched emperor was surprised among his poultry by that dreaded intelligence. He, too, hastened to the windows, and looking forth, saw the army of avengers passing in contempt his solitary fortress, and moving swiftly onward towards defenceless Rome. Long after the darkness had hidden the masses of that mighty multitude from his eyes, did he remain staring helplessly upon the fading landscape, in a stupor of astonishment and dread; and, for the first time since he had possessed them, his flocks of fowls were left for that night unattended by their master's hand.

CHAPTER 3. ROME.

The perusal of the title to this chapter will, we fear, excite emotions of apprehension, rather than of curiosity, in the breasts of experienced readers. They will doubtless imagine that it is portentous of long rhapsodies on those wonders of antiquity, the description of which has long become absolutely nauseous to them by incessant iteration. They will foresee wailings over the Palace of the Caesars, and meditations among the arches of the Colosseum, loading a long series of weary paragraphs to the very chapter's end; and, considerately anxious to spare their attention a task from which it recoils, they will unanimously hurry past the dreaded desert of conventional reflection, to alight on the first oasis that may present itself, whether it be formed by a new division of the story, or suddenly indicated by the appearance of a dialogue. Animated, therefore, by apprehensions such as these, we hasten to assure them that in no instance will the localities of our story trench upon the limits of the well-worn Forum, or mount the arches of the exhausted Colosseum. It is with the beings, and not the buildings of old Rome, that their attention is to be occupied. We desire to present them with a picture of the inmost emotions of the times—of the living, breathing actions and passions of the people of the doomed Empire. Antiquarian topography and classical architecture we leave to abler pens, and resign to other readers.

It is, however, necessary that the sphere in which the personages of our story are about to act should be in some measure indicated, in order to facilitate the comprehension of their respective movements. That portion of the extinct city which we design to revive has left few traces of its existence in the modern town. Its sites are traditionary—its buildings are dust. The church rises where the temple once stood, and the wine-shop now lures the passing idler where the bath invited his ancestor of old.

The walls of Rome are in extent, at the present day, the same as they were at the period of which we now write. But here all analogy between the ancient and modern city ends. The houses that those walls were once scarcely wide enough to enclose have long since vanished, and their modern successors occupy but a third of the space once allotted to the capital of the Empire.

Beyond the walls immense suburbs stretched forth in the days of old. Gorgeous villas, luxurious groves, temples, theatres, baths—interspersed by colonies of dwellings belonging to the lower orders of the people—surrounded the mighty city. Of these innumerable abodes hardly a trace remains. The modern traveller, as he looks forth over the site of the famous suburbs, beholds, here and there, a ruined aqueduct, or a crumbling tomb, tottering on the surface of a pestilential marsh.

The present entrance to Rome by the Porta del Popolo occupies the same site as the ancient Flaminian Gate. Three great streets now lead from it towards the southern extremity of the city, and form with their tributaries the principal portion of modern Rome. On one side they are bounded by the Pincian Hill, on the other by the Tiber. Of these streets, those nearest the river occupy the position of the famous Campus Martius; those on the other side, the ancient approaches to the gardens of Sallust and Lucullus, on the Pincian Mount.

On the opposite bank of the Tiber (gained by the Ponte St. Angelo, formerly the Pons Elius), two streets pierced through an irregular and populous neighbourhood, conduct to the modern Church of St. Peter. At the period of our story this part of the city was of much greater consequence, both in size and appearance, than it is at present, and led directly to the ancient Basilica of St. Peter, which stood on the same site as that now occupied by the modern edifice.

The events about to be narrated occur entirely in the parts of the city just described. From the Pincian Hill, across the Campus Martius, over the Pons Elius, and on to the Basilica of St. Peter, the reader may be often invited to accompany us, but he will be spared all necessity of penetrating familiar ruins, or mourning over the sepulchres of departed patriots.

Ere, however, we revert to former actors or proceed to new characters, it will be requisite to people the streets that we here attempt to rebuild. By this process it is hoped that the reader will gain that familiarity with the manners and customs of the Romans of the fifth century on which the influence of this story mainly depends, and which we despair of being able to instil by a philosophical disquisition on the features of the age. A few pages of illustration will serve our purpose better, perhaps, than volumes of historical description. There is no more unerring index to the character of a people than the streets of their cities.

It is near evening. In the widest part of the Campus Martius crowds of people are assembled before the gates of a palace. They are congregated to receive several baskets of provisions, distributed with ostentatious charity by the owner of the mansion. The incessant clamour and agitation of the impatient multitude form a strange contrast to the stately serenity of the natural and artificial objects by which they are enclosed on all sides.

The space they occupy is oblong in shape and of great extent in size. Part of it is formed by a turf walk shaded with trees, part by the paved approaches to the palace and the public baths which stand in its immediate neighbourhood. These two edifices are remarkable by their magnificent outward adornments of statues, and the elegance and number of the flights of steps by which they are respectively entered. With the inferior buildings, the market-places and the gardens attached to them, they are sufficiently extensive to form the boundary of one side of the immediate view. The appearance of monotony which might at other times be remarked in the vastness and regularity of their white fronts, is at this moment agreeably broken by several gaily-coloured awnings stretched over their doors and balconies. The sun is now shining on them with overpowering brightness; the metallic ornaments on their windows glitter like gems of fire; even the trees which form their groves partake of the universal flow of light, and fail, like the objects around them, to offer to the weary eye either refreshment or repose.

Towards the north, the Mausoleum of Augustus, towering proudly up into the brilliant sky, at once attracts the attention. From its position, parts of this noble building are already in shade. Not a human being is visible on any part of its mighty galleries—it stands solitary and sublime, an impressive embodiment of the emotions which it was raised to represent.

On the side opposite the palace and the baths is the turf walk already mentioned. Trees, thickly planted and interlaced by vines, cast a luxurious shade over this spot. In their interstices, viewed from a distance, appear glimpses of gay dresses, groups of figures in repose, stands loaded with fruit and flowers, and innumerable white marble statues of fauns and wood-nymphs. From this delicious retreat the rippling of fountains is to be heard, occasionally interrupted by the rustling of leaves, or the plaintive cadences of the Roman flute.

Southward two pagan temples stand in lonely grandeur among a host of monuments and trophies. The symmetry of their first construction still remains unimpaired, their white marble pillars shine in the sunlight brightly as of old, yet they now present to the eye an aspect of strange desolation, of unnatural mysterious gloom. Although the laws forbid the worship for which they were built, the hand of reform has as yet not ventured to doom them to ruin or adapt them to Christian purposes. None venture to tread their once-crowded colonnades. No priest appears to give the oracles from their doors; no sacrifices reek upon their naked altars. Under their roofs, visited only by the light that steals through their narrow