Romola

Romola

by George Eliot

More than three centuries and a half ago, in the mid spring-time of 1492, we are sure that the angel of the dawn, as he travelled with broad slow wing from the Levant to the Pillars of Hercules, and from the summits of the Caucasus across all the snowy Alpine ridges to the dark nakedness of the Western isles, saw nearly the same outline of firm land and unstable sea—saw the same great mountain shadows on the same valleys as he has seen to-day—saw olive mounts, and pine forests, and the broad plains green with young corn or rain-freshened grass—saw the domes and spires of cities rising by the river-sides or mingled with the sedge-like masts on the many-curved sea-coast, in the same spots where they rise to-day. And as the faint light of his course pierced into the dwellings of men, it fell, as now, on the rosy warmth of nestling children; on the haggard waking of sorrow and sickness; on the hasty uprising of the hard-handed labourer; and on the late sleep of the night-student, who had been questioning the stars or the sages, or his own soul, for that hidden knowledge which would break through the barrier of man’s brief life, and show its dark path, that seemed to bend no whither, to be an arc in an immeasurable circle of light and glory. The great river-courses which have shaped the lives of men have hardly changed; and those other streams, the life-currents that ebb and flow in human hearts, pulsate to the same great needs, the same great loves and terrors. As our thought follows close in the slow wake of the dawn, we are impressed with the broad sameness of the human lot, which never alters in the main headings of its history—hunger and labour, seed-time and harvest, love and death.

Even if, instead of following the dim daybreak, our imagination pauses on a certain historical spot and awaits the fuller morning, we may see a world-famous city, which has hardly changed its outline since the days of Columbus, seeming to stand as an almost unviolated symbol, amidst the flux of human things, to remind us that we still resemble the men of the past more than we differ from them, as the great mechanical principles on which those domes and towers were raised must make a likeness in human building that will be broader and deeper than all possible change. And doubtless, if the spirit of a Florentine citizen, whose eyes were closed for the last time while Columbus was still waiting and arguing for the three poor vessels with which he was to set sail from the port of Palos, could return from the shades and pause where our thought is pausing, he would believe that there must still be fellowship and understanding for him among the inheritors of his birthplace.

Let us suppose that such a Shade has been permitted to revisit the glimpses of the golden morning, and is standing once more on the famous hill of San Miniato, which overlooks Florence from the south.

The Spirit is clothed in his habit as he lived: the folds of his well-lined black silk garment or lucco hang in grave unbroken lines from neck to ankle; his plain cloth cap, with its becchetto, or long hanging strip of drapery, to serve as a scarf in case of need, surmounts a penetrating face, not, perhaps, very handsome, but with a firm, well-cut mouth, kept distinctly human by a close-shaven lip and chin. It is a face charged with memories of a keen and various life passed below there on the banks of the gleaming river; and as he looks at the scene before him, the sense of familiarity is so much stronger than the perception of change, that he thinks it might be possible to descend once more amongst the streets, and take up that busy life where he left it. For it is not only the mountains and the westward-bending river that he recognises; not only the dark sides of Mount Morello opposite to him, and the long valley of the Arno that seems to stretch its grey low-tufted luxuriance to the far-off ridges of Carrara; and the steep height of Fiesole, with its crown of monastic walls and cypresses; and all the green and grey slopes sprinkled with villas which he can name as he looks at them. He sees other familiar objects much closer to his daily walks. For though he misses the seventy or more towers that once surmounted the walls, and encircled the city as with a regal diadem, his eyes will not dwell on that blank; they are drawn irresistibly to the unique tower springing, like a tall flower-stem drawn towards the sun, from the square turreted mass of the Old Palace in the very heart of the city—the tower that looks none the worse for the four centuries that have passed since he used to walk under it. The great dome, too, greatest in the world, which, in his early boyhood, had been only a daring thought in the mind of a small, quick-eyed man—there it raises its large curves still, eclipsing the hills. And the well-known bell-towers—Giotto’s, with its distant hint of rich colour, and the graceful-spired Badia, and the rest—he looked at them all from the shoulder of his nurse.

The Loggia de’ Cerchi stood in the heart of old Florence, within a labyrinth of narrow streets behind the Badia, now rarely threaded by the stranger, unless in a dubious search for a certain severely simple doorplace, bearing this inscription:

Qui Nacque Il Divino Poeta.

To the ear of Dante, the same streets rang with the shout and clash of fierce battle between rival families; but in the fifteenth century, they were only noisy with the unhistorical quarrels and broad jests of woolcarders in the cloth-producing quarters of San Martino and Garbo.

Under this loggia, in the early morning of the 9th of April 1492, two men had their eyes fixed on each other: one was stooping slightly, and looking downward with the scrutiny of curiosity; the other, lying on the pavement, was looking upward with the startled gaze of a suddenly-awakened dreamer.

The standing figure was the first to speak. He was a grey-haired, broad-shouldered man, of the type which, in Tuscan phrase, is moulded with the fist and polished with the pickaxe; but the self-important gravity which had written itself out in the deep lines about his brow and mouth seemed intended to correct any contemptuous inferences from the hasty workmanship which Nature had bestowed on his exterior. He had deposited a large well-filled bag, made of skins, on the pavement, and before him hung a pedlar’s basket, garnished partly with small woman’s-ware, such as thread and pins, and partly with fragments of glass, which had probably been taken in exchange for those commodities.

“Young man,” he said, pointing to a ring on the finger of the reclining figure, “when your chin has got a stiffer crop on it, you’ll know better than to take your nap in street-corners with a ring like that on your forefinger. By the holy ’vangels! if it had been anybody but me standing over you two minutes ago—but Bratti Ferravecchi is not the man to steal. The cat couldn’t eat her mouse if she didn’t catch it alive, and Bratti couldn’t relish gain if it had no taste of a bargain. Why, young man, one San Giovanni, three years ago, the Saint sent a dead body in my way—a blind beggar, with his cap well-lined with pieces—but, if you’ll believe me, my stomach turned against the money I’d never bargained for, till it came into my head that San Giovanni owed me the pieces for what I spend yearly at the Festa; besides, I buried the body and paid for a mass—and so I saw it was a fair bargain. But how comes a young man like you, with the face of Messer San Michele, to be sleeping on a stone bed with the wind for a curtain?”

The deep guttural sounds of the speaker were scarcely intelligible to the newly-waked, bewildered listener, but he understood the action of pointing to his ring: he looked down at it, and, with a half-automatic obedience to the warning, took it off and thrust it within his doublet, rising at the same time and stretching himself.

“Your tunic and hose match ill with that jewel, young man,” said Bratti, deliberately. “Anybody might say the saints had sent you a dead body; but if you took the jewels, I hope you buried him—and you can afford a mass or two for him into the bargain.”

Something like a painful thrill appeared to dart through the frame of the listener, and arrest the careless stretching of his arms and chest. For an instant he turned on Bratti with a sharp frown; but he immediately recovered an air of indifference, took off the red Levantine cap which hung like a great purse over his left ear, pushed back his long dark-brown curls, and glancing at his dress, said, smilingly—

“You speak truth, friend: my garments are as weather-stained as an old sail, and they are not old either, only, like an old sail, they have had a sprinkling of the sea as well as the rain. The fact is, I’m a stranger in Florence, and when I came in footsore last night I preferred flinging myself in a corner of this hospitable porch to hunting any longer for a chance hostelry, which might turn out to be a nest of blood-suckers of more sorts than one.”