Have you ever thought about what fiction is? Probably, such a question may seem surprising: and so everything is clear. Every person throughout his life has to repeatedly create the works he needs for specific purposes - statements, autobiographies, dictations - using not gypsum or clay, not musical notes, not paints, but just a word. At the same time, almost every person will be very surprised if he is told that he thereby created a work of fiction, which is very different from visual art, music and sculpture making. However, everyone understands that a student's essay or dictation is fundamentally different from novels, short stories, news that are created by professional writers. In the works of professionals there is the most important difference - excogitation. But, oddly enough, in a school literature course, you don’t realize the full power of fiction. So using our website in your free time discover fiction for yourself. Rienzi, the Last of the Roman Tribunes by Baron Edward Bulwer Lytton Lytton (distant reading .txt) 📖
Book online «Rienzi, the Last of the Roman Tribunes by Baron Edward Bulwer Lytton Lytton (distant reading .txt) 📖». Author Baron Edward Bulwer Lytton Lytton
But through all that crowded court—crowded with beauty and with birth, with the strength of the young and the honours of the old, and the valour of the brave, and the wisdom of the learned, and the wit of the scorner, and the piety of the faithful—one only figure attracted Adrian’s eye. Apart from the rest, a latecomer—the long locks streaming far and dark over arm and breast—lay a female, the face turned partially aside, the little seen not recognisable even by the mother of the dead,—but wrapped round in that fatal mantle, on which, though blackened and tarnished, was yet visible the starry heraldry assumed by those who claimed the name of the proud Tribune of Rome. Adrian saw no more—he fell back in the arms of the gravediggers: when he recovered, he was still without the gates of Florence—reclined upon a green mound—his guide stood beside him—holding his steed by the bridle as it grazed patiently on the neglected grass. The other brethren of the axe had resumed their seat under the shed.
“So, you have revived! Ah! I thought it was only the effluvia; few stand it as we do. And so, as your search is over, deeming you would now be quitting Florence if you have any sense left to you, I went for your good horse. I have fed him since your departure from the palace. Indeed I fancied he would be my perquisite, but there are plenty as good. Come, young sir, mount. I feel a pity for you, I know not why, except that you are the only one I have met for weeks who seem to care for another more than for yourself. I hope you are satisfied now that I showed some brains, eh! in your service; and as I have kept my promise, you’ll keep yours.”
“Friend,” said Adrian, “here is gold enough to make thee rich; here, too, is a jewel that merchants will tell thee princes might vie to purchase. Thou seemest honest, despite thy calling, or thou mightest have robbed and murdered me long since. Do me one favour more.”
“By my poor mother’s soul, yes.”
“Take yon—yon clay from that fearful place. Inter it in some quiet and remote spot—apart—alone! You promise me?—you swear it?—it is well! And now help me on my horse. Farewell Italy, and if I die not with this stroke, may I die as befits at once honour and despair—with trumpet and banner round me—in a well-fought field against a worthy foe!—Save a knightly death, nothing is left to live for!”
BOOK VII. THE PRISON. “Fu rinchiuso in una torre grossa e larga; avea libri assai, suo Tito Livio, sue storie di Roma, la Bibbia.” &c.—“Vita di Cola di Rienzi”, lib. ii. c. 13. “He was immured in a high and spacious tower; he had books enough, his Titus Livius, his histories of Rome, the Bible,” &c.
Chapter 7.I. Avignon.—The Two Pages.—The Stranger Beauty.
There is this difference between the Drama of Shakspeare, and that of almost every other master of the same art; that in the first, the catastrophe is rarely produced by one single cause—one simple and continuous chain of events. Various and complicated agencies work out the final end. Unfettered by the rules of time and place, each time, each place depicted, presents us with its appropriate change of action, or of actors. Sometimes the interest seems to halt, to turn aside, to bring us unawares upon objects hitherto unnoticed, or upon qualities of the characters hitherto hinted at, not developed. But, in reality, the pause in the action is but to collect, to gather up, and to grasp, all the varieties of circumstance that conduce to the Great Result: and the art of fiction is only deserted for the fidelity of history. Whoever seeks to place before the world the true representation of a man’s life and times, and, enlarging the Dramatic into the Epic, extends his narrative over the vicissitudes of years, will find himself unconsciously, in this, the imitator of Shakspeare. New characters, each conducive to the end—new scenes, each leading to the last, rise before him as he proceeds, sometimes seeming to the reader to delay, even while they advance, the dread catastrophe. The sacrificial procession sweeps along, swelled by new comers, losing many that first joined it; before, at last, the same as a whole, but differing in its components, the crowd reach the fated bourn of the Altar and the Victim!
It is five years after the date of the events I have recorded, and my story conveys us to the Papal Court at Avignon—that tranquil seat of power, to which the successors of St. Peter had transplanted the luxury, the pomp, and the vices, of the Imperial City. Secure from the fraud or violence of a powerful and barbarous nobility, the courtiers of the See surrendered themselves to a holyday of delight—their repose was devoted to enjoyment, and Avignon presented, at that day, perhaps the gayest and most voluptuous society of Europe. The elegance of Clement VI. had diffused an air of literary refinement over the grosser pleasures of the place, and the spirit of Petrarch still continued to work its way through the councils of faction and the orgies of debauch.
Innocent VI. had lately succeeded Clement, and whatever his own claims to learning, (Matteo Villani (lib. iii. cap. 44) says, that Innocent VI. had not much pretension to learning. He is reported, however, by other authorities, cited by Zefirino Re, to have been “eccellente canonista.” He had been a professor in the University of Toulouse.) he, at least, appreciated knowledge and intellect in others; so that the graceful pedantry of the time continued to mix itself with the pursuit of pleasure. The corruption which reigned through the whole place was too confirmed to yield to the example of Innocent, himself a man of simple habits and exemplary life. Though, like his predecessor, obedient to the policy of France, Innocent possessed a hard and an extended ambition. Deeply concerned for the interests of the Church, he formed the project of confirming and re-establishing her shaken dominion in Italy; and he regarded the tyrants of the various states as the principal obstacles to his ecclesiastical ambition. Nor was this the policy of Innocent VI. alone. With such exceptions as peculiar circumstances necessarily occasioned, the Papal See was, upon the whole, friendly to the political liberties of Italy. The Republics of the Middle Ages grew up under the shadow of the Church; and there, as elsewhere, it was found, contrary to a vulgar opinion, that Religion, however prostituted and perverted, served for the general protection of civil freedom,—raised the lowly, and resisted the oppressor.
At this period there appeared at Avignon a lady of singular and matchless beauty. She had come with a slender but well appointed retinue from Florence, but declared herself of Neapolitan birth; the widow of a noble of the brilliant court of the unfortunate Jane. Her name was Cesarini. Arrived at a place where, even in the citadel of Christianity, Venus retained her ancient empire, where Love made the prime business of life, and to be beautiful was to be of power; the Signora Cesarini had scarcely appeared in public before she saw at her feet half the rank and gallantry of Avignon. Her female attendants were beset with bribes and billets; and nightly, beneath her lattice, was heard the plaintive serenade. She
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