The Count of Monte Cristo Alexandre Dumas (classic novels to read TXT) 📖

from the principal dancers to the humblest supernumerary, are all engaged on the stage at the same time; and a hundred and fifty persons may be seen exhibiting the same attitude, or elevating the same arm or leg with a simultaneous movement, that would lead you to suppose that but one mind, one act of volition, influenced the moving mass.

The ballet was called Poliska.

However much the ballet might have claimed his attention, Franz was too deeply occupied with the beautiful Greek to take any note of it; while she seemed to experience an almost childlike delight in watching it, her eager, animated looks contrasting strongly with the utter indifference of her companion, who, during the whole time the piece lasted, never even moved, not even when the furious, crashing din produced by the trumpets, cymbals, and Chinese bells sounded their loudest from the orchestra. Of this he took no heed, but was, as far as appearances might be trusted, enjoying soft repose and bright celestial dreams.

The ballet at length came to a close, and the curtain fell amid the loud, unanimous plaudits of an enthusiastic and delighted audience.

Owing to the very judicious plan of dividing the two acts of the opera with a ballet, the pauses between the performances are very short, the singers in the opera having time to repose themselves and change their costume, when necessary, while the dancers are executing their pirouettes and exhibiting their graceful steps.

The overture to the second act began; and, at the first sound of the leader’s bow across his violin, Franz observed the sleeper slowly arise and approach the Greek girl, who turned around to say a few words to him, and then, leaning forward again on the railing of her box, she became as absorbed as before in what was going on.

The countenance of the person who had addressed her remained so completely in the shade, that, though Franz tried his utmost, he could not distinguish a single feature. The curtain rose, and the attention of Franz was attracted by the actors; and his eyes turned from the box containing the Greek girl and her strange companion to watch the business of the stage.

Most of my readers are aware that the second act of Parisina opens with the celebrated and effective duet in which Parisina, while sleeping, betrays to Azzo the secret of her love for Ugo. The injured husband goes through all the emotions of jealousy, until conviction seizes on his mind, and then, in a frenzy of rage and indignation, he awakens his guilty wife to tell her that he knows her guilt and to threaten her with his vengeance.

This duet is one of the most beautiful, expressive and terrible conceptions that has ever emanated from the fruitful pen of Donizetti. Franz now listened to it for the third time; yet its notes, so tenderly expressive and fearfully grand as the wretched husband and wife give vent to their different griefs and passions, thrilled through the soul of Franz with an effect equal to his first emotions upon hearing it. Excited beyond his usual calm demeanor, Franz rose with the audience, and was about to join the loud, enthusiastic applause that followed; but suddenly his purpose was arrested, his hands fell by his sides, and the half-uttered “bravos” expired on his lips.

The occupant of the box in which the Greek girl sat appeared to share the universal admiration that prevailed; for he left his seat to stand up in front, so that, his countenance being fully revealed, Franz had no difficulty in recognizing him as the mysterious inhabitant of Monte Cristo, and the very same person he had encountered the preceding evening in the ruins of the Colosseum, and whose voice and figure had seemed so familiar to him.

All doubt of his identity was now at an end; his singular host evidently resided at Rome. The surprise and agitation occasioned by this full confirmation of Franz’s former suspicion had no doubt imparted a corresponding expression to his features; for the countess, after gazing with a puzzled look at his face, burst into a fit of laughter, and begged to know what had happened.

“Countess,” returned Franz, totally unheeding her raillery, “I asked you a short time since if you knew any particulars respecting the Albanian lady opposite; I must now beseech you to inform me who and what is her husband?”

“Nay,” answered the countess, “I know no more of him than yourself.”

“Perhaps you never before noticed him?”

“What a question⁠—so truly French! Do you not know that we Italians have eyes only for the man we love?”

“True,” replied Franz.

“All I can say is,” continued the countess, taking up the lorgnette, and directing it toward the box in question, “that the gentleman, whose history I am unable to furnish, seems to me as though he had just been dug up; he looks more like a corpse permitted by some friendly gravedigger to quit his tomb for a while, and revisit this earth of ours, than anything human. How ghastly pale he is!”

“Oh, he is always as colorless as you now see him,” said Franz.

“Then you know him?” almost screamed the countess. “Oh, pray do, for heaven’s sake, tell us all about⁠—is he a vampire, or a resuscitated corpse, or what?”

“I fancy I have seen him before; and I even think he recognizes me.”

“And I can well understand,” said the countess, shrugging up her beautiful shoulders, as though an involuntary shudder passed through her veins, “that those who have once seen that man will never be likely to forget him.”

The sensation experienced by Franz was evidently not peculiar to himself; another, and wholly uninterested person, felt the same unaccountable awe and misgiving.

“Well.” inquired Franz, after the countess had a second time directed her lorgnette at the box, “what do you think of our opposite neighbor?”

“Why, that he is no other than Lord Ruthven himself in a living form.”

This fresh allusion to Byron5 drew a smile to Franz’s countenance; although