Gambara

As he spoke Andrea spun a forty-franc piece on the stove, out of which Giardini solemnly gave him two francs and fifty centimes in change, not without a certain ceremonious mystery that amused him hugely.

“In a few minutes now,” the man added, “you will see your donnina. I will seat you next the husband, and if you wish to stand in his good graces, talk about music. I have invited every one for the evening, poor things. Being New Year’s Day, I am treating the company to a dish in which I believe I have surpassed myself.”

Signor Giardini’s voice was drowned by the noisy greetings of the guests, who streamed in two and two, or one at a time, after the manner of tables-d’hote. Giardini stayed by the Count, playing the showman by telling him who the company were. He tried by his witticisms to bring a smile to the lips of a man who, as his Neapolitan instinct told him, might be a wealthy patron to turn to good account.

“This one,” said he, “is a poor composer who would like to rise from song-writing to opera, and cannot. He blames the managers, music-sellers, – everybody, in fact, but himself, and he has no worse enemy. You can see – what a florid complexion, what self-conceit, how little firmness in his features! he is made to write ballads. The man who is with him and looks like a match-hawker, is a great music celebrity – Gigelmi, the greatest Italian conductor known; but he has gone deaf, and is ending his days in penury, deprived of all that made it tolerable. Ah! here comes our great Ottoboni, the most guileless old fellow on earth; but he is suspected of being the most vindictive of all who are plotting for the regeneration of Italy. I cannot think how they can bear to banish such a good man.”

And here Giardini looked narrowly at the Count, who, feeling himself under inquisition as to his politics, entrenched himself in Italian impassibility.

“A man whose business it is to cook for all comers can have no political opinions, Excellenza,” Giardini went on. “But to see that worthy man, who looks more like a lamb than a lion, everybody would say what I say, were it before the Austrian ambassador himself. Besides, in these times liberty is no longer proscribed; it is going its rounds again. At least, so these good people think,” said he, leaning over to speak in the Count’s ear, “and why should I thwart their hopes? I, for my part, do not hate an absolute government. Excellenza, every man of talent is for depotism!

“Well, though full of genius, Ottoboni takes no end of pains to educate Italy; he writes little books to enlighten the intelligence of the children and the common people, and he smuggles them very cleverly into Italy. He takes immense trouble to reform the moral sense of our luckless country, which, after all, prefers pleasure to freedom, – and perhaps it is right.”

The Count preserved such an impenetrable attitude that the cook could discover nothing of his political views.

“Ottoboni,” he ran on, “is a saint; very kind-hearted; all the refugees are fond of him; for, Excellenza, a liberal may have his virtues. Oho! Here comes a journalist,” said Giardini, as a man came in dressed in the absurd way which used to be attributed to a poet in a garret; his coat was threadbare, his boots split, his hat shiny, and his overcoat deplorably ancient. “Excellenza, that poor man is full of talent, and incorruptibly honest. He was born into the wrong times, for he tells the truth to everybody; no one can endure him. He writes theatrical articles for two small papers, though he is clever enough to work for the great dailies. Poor fellow!

“The rest are not worth mentioning, and Your Excellency will find them out,” he concluded, seeing that on the entrance of the musician’s wife the Count had ceased to listen to him.

On seeing Andrea here, Signora Marianna started visibly and a bright flush tinged her cheeks.

“Here he is!” said Giardini, in an undertone, clutching the Count’s arm and nodding to a tall man. “How pale and grave he is poor man! His hobby has not trotted to his mind to-day, I fancy.”

Andrea’s prepossession for Marianna was crossed by the captivating charm which Gambara could not fail to exert over every genuine artist. The composer was now forty; but although his high brow was bald and lined with a few parallel, but not deep, wrinkles; in spite, too, of hollow temples where the blue veins showed through the smooth, transparent skin, and of the deep sockets in which his black eyes were sunk, with their large lids and light lashes, the lower part of his face made him still look young, so calm was its outline, so soft the modeling. It could be seen at a glance that in this man passion had been curbed to the advantage of the intellect; that the brain alone had grown old in some great struggle.

Andrea shot a swift look at Marianna, who was watching him. And he noted the beautiful Italian head, the exquisite proportion and rich coloring that revealed one of those organizations in which every human power is harmoniously balanced, he sounded the gulf that divided this couple, brought together by fate. Well content with the promise he inferred from this dissimilarity between the husband and wife, he made no attempt to control a liking which ought to have raised a barrier between the fair Marianna and himself. He was already conscious of feeling a sort of respectful pity for this man, whose only joy she was, as he understood the dignified and serene acceptance of ill fortune that was expressed in Gambara’s mild and melancholy gaze.

After expecting to see one of the grotesque figures so often set before us by German novelists and writers of libretti, he beheld a simple, unpretentious man, whose manners and demeanor were in nothing strange and did not lack dignity. Without the faintest trace of luxury, his dress was more decent than might have been expected from his extreme poverty, and his linen bore witness to the tender care which watched over every detail of his existence. Andrea looked at Marianna with moistened eyes; and she did not color, but half smiled, in a way that betrayed, perhaps, some pride at this speechless homage. The Count, too thoroughly fascinated to miss the smallest indication of complaisance, fancied that she must love him, since she understood him so well.

From this moment he set himself to conquer the husband rather than the wife, turning all his batteries against the poor Gambara, who quite guilelessly went on eating Signor Giardini’s bocconi, without thinking of their flavor.

The Count opened the conversation on some trivial subject, but at the first words he perceived that this brain, supposed to be infatuated on one point, was remarkably clear on all others, and saw that it would be far more important to enter into this very clever man’s ideas than to flatter his conceits.

The rest of the company, a hungry crew whose brain only responded to the sight of a more or less good meal, showed much animosity to the luckless Gambara, and waited only till the end of the first course, to give free vent to their satire. A refugee, whose frequent leer betrayed ambitious schemes on Marianna, and who fancied he could establish himself in her good graces by trying to make her husband ridiculous, opened fire to show the newcomer how the land lay at the table-d’hote.

“It is a very long time since we have heard anything about the opera on ‘Mahomet’!” cried he, with a smile at Marianna. “Can it be that Paolo Gambara, wholly given up to domestic cares, absorbed by the charms of the chimney-corner, is neglecting his superhuman genius, leaving his talents to get cold and his imagination to go flat?”

Gambara knew all the company; he dwelt in a sphere so far above them all that he no longer cared to repel an attack. He made no reply.

“It is not given to everybody,” said the journalist, “to have an intellect that can understand Monsieur Gambara’s musical efforts, and that, no doubt, is why our divine maestro hesitates to come before the worthy Parisian public.”

“And yet,” said the ballad-monger, who had not opened his mouth but to swallow everything that came within his reach, “I know some men of talent who think highly of the judgments of Parisian critics. I myself have a pretty reputation as a musician,” he went on, with an air of diffidence. “I owe it solely to my little songs in vaudevilles, and the success of my dance music in drawing-rooms; but I propose ere long to bring out a mass composed for the anniversary of Beethoven’s death, and I expect to be better appreciated in Paris than anywhere else. You will perhaps do me the honor of hearing it?” he said, turning to Andrea.

“Thank you,” said the Count. “But I do not conceive that I am gifted with the organs needful for the appreciation of French music. If you were dead, monsieur, and Beethoven had composed the mass, I would not have failed to attend the performance.”

This retort put an end to the tactics of those who wanted to set Gambara off on his high horse to amuse the new guest. Andrea was already conscious of an unwillingness to expose so noble and pathetic a mania as a spectacle for so much vulgar shrewdness. It was with no base reservation that he kept up a desultory conversation, in the course of which Signor Giardini’s nose not infrequently interposed between two remarks. Whenever Gambara uttered some elegant repartee or some paradoxical aphorism, the cook put his head forward, to glance with pity at the musician and with meaning at the Count, muttering in his ear, “E matto!”

Then came a moment when the chef interrupted the flow of his judicial observations to devote himself to the second course, which he considered highly important. During his absence, which was brief, Gambara leaned across to address Andrea.

“Our worthy host,” said he, in an undertone, “threatens to regale us to-day with a dish of his own concocting, which I recommend you to avoid, though his wife has had an eye on him. The good man has a mania for innovations. He ruined himself by experiments, the last of which compelled him to fly from Rome without a passport – a circumstance he does not talk about. After purchasing the good-will of a popular restaurant he was trusted to prepare a banquet given by a lately made Cardinal, whose household was not yet complete. Giardini fancied he had an opportunity for distinguishing himself – and he succeeded! for that same evening he was accused of trying to poison the whole conclave, and was obliged to leave Rome and Italy without waiting to pack up. This disaster was the last straw. Now,” and Gambara put his finger to his forehead and shook his head.

“He is a good fellow, all the same,” he added. “My wife will tell you that we owe him many a good turn.”

Giardini now came in carefully bearing a dish which he set in the middle of the table, and he then modestly resumed his seat next to Andrea, whom he served first. As soon as he had tasted the mess, the Count felt that an impassable gulf divided the second mouthful from the first. He was much embarrassed, and very anxious not to annoy the cook, who was watching him narrowly. Though a French restaurateur may care little about seeing a dish scorned if he is sure of being paid for it, it is not so with an Italian, who is not often satiated with praises.

To gain time, Andrea complimented Giardini enthusiastically, but he leaned over to whisper in his ear, and slipping a gold piece into his hand under the table, begged him to go out and buy a few bottles of champagne, leaving him free to take all the credit of the treat.