PAGANINA.

XVIII.

We must not conclude that Master Swibert gave only a musical education to his child. His instruction was solid, and intended, beyond every thing, to develop in her a religious sentiment.

For metaphysics he had a love that years had not lessened. His philosophy was very simple; a few lines could comprise it—only what he took a liking to; and he never pretended to have invented it.

His soul exercised itself in applying every creature as a connection with the Infinite. He said summarily that if a thinker could not so comprehend things, he retarded his progress and lost his end.

Paganina could not always understand her father, but this did not distress him. Like the good laborer, he sowed thickly the land he had prepared, knowing well that much would be lost; but knowing, too, that he would come, some day, and find the luxuriant verdure that would repay his pains.

The young girl adopted with eagerness all that could elevate character and ennoble life. Happy to repose in the artistic emotions that shook her so deeply, she relaxed into the serene contemplation of the truth toward which her father conducted her.

XIX.

Such, in its principal characteristics, is the life Paganina led until she was twenty-two years of age. Her beauty had developed radiantly. She held her head aloft, as one who looks on high; and her eyes so sought the distance that she won the name of proud from the good women who met her in their daily walks.

She never was without her father, and the contrast between the two was painful. He was an old man—more from the effect of sickness than old age; and although he appeared active, it was easy to see that, undermined by an inward malady, he would soon be completely wrecked.

He felt it himself, and employed all his strength to instruct and enlighten his daughter.

Without saddening her in advance, by announcing his approaching malady, he endeavored to accustom her to a future separation, but she could not comprehend it. The last thing in which youth can believe is the rupture of holy affections. It never learns that such love can be interrupted.

One day, Master Swibert and his daughter were seated at the turn of the road, where they generally rested in their daily walk. The organist returned to the subject with which his mind was always preoccupied—that future in which he had no part—and finished by saying, "My daughter, your cousin loves you. What he felt for you here he has not lost by separation; his heart is devotedly yours. You are all in all to him, and I have long understood his affection for you. I should feel happy to know you returned his love."

Paganina, surprised, replied, "I love but you, my father; must you leave me?" The organist replied by this verse of St. Paul, "Insipiens: tu quod seminas, non vivificatur, nisi prius moriatur", and Paganina, who did not know Latin, began to weep.

From this day, Master Swibert declined rapidly. He made what he called his will; his last instructions, only to arm his daughter for the struggles of life. He urged her to see, through him, the immortality of the soul; so especially visible in the early Christians, in the mournful hour when, their bodies, falling to ruin, betrayed the interior flame that disengaged them from earth, to shine for ever among the stars in unfading lustre.

After several days of agony, the good musician found his peroration. He died.

It was morning. He had talked a long time with his daughter, and the peace he enjoyed announced the end of the struggle. His large, troubled eyes looked once more toward the mountain, on her, and on his crucifix, then closed for ever.

XX.

The world—even the best of it—don't like to be entertained with the sufferings of others; so I will not stop to relate those of Paganina. I will pause longer on the chapter of her consolations. She drew these from two sources, her memories and her labors.

Her memories were realities. She felt that her father had never left her; and lived in his presence, meditating on and practising his lessons. Her ardor for the study of her art redoubled. Often in the silence of the night, at a late hour, her voice was heard by an admiring crowd beneath her window. The young artist, without knowing or desiring it, became popular.

She had other joys, too, which helped her to live her isolated life. It is not of those of love I speak. Paganina did not know the passion. She lived apart from the world, and her character became half legendary. Fancy held play where love was excluded; and in the regions of the ideal grew her immortal works, and their imperishable beauty, to be shed on humanity.

Perhaps the memory of such things should only be intruded on the very few; for it is said that often a ray from on high illuminated the chamber where the young girl sat, and in that moment she felt a new world tremble in her heart.

XXI.

Happiness is not the guest of earth. The miserable and deceptive pleasure that pretends to this glorious name is a bait rather than a food, and never nourishes any body. Therefore such moments as we have spoken of are fugitive, and are mostly followed by exhaustion and bitter disgust, which would be a good price for them, could such moments be paid for. Paganina experienced the common law. She could not live on ecstasy. Her days, therefore, were mingled and diverse.

I must relate the crisis of her life; but I turn with regret to the chamber that sheltered her genius and her innocence. I see in spirit—shut in this place—a treasure that no one was permitted to contemplate; for Paganina bloomed in the shade, and reserved for her solitude her beauty and the perfume of her loveliness.

Sometimes, only when debauch slept and idleness prolonged its useless repose, the beautiful young girl appeared before her opened window. Robed with the reflection of the aurora, she saluted the growing day; and, as the antique statue, she exhaled divine harmony by contact with its earliest rays.

XXII.

Having, not without success, terminated his musical studies, André quitted Naples. His affection for his cousin had greatly increased. Love sang in his heart; for, if we may borrow such an expression from the poetical vocabulary, it assuredly belongs to a musician.

From the day he was free, he had but one desire—to see Paganina. He set out with this intention, and restless regarding his reception. Indeed, his future depended upon it.

During the journey, his thoughts went ahead, and heaped up every imaginable supposition on the manner in which his cousin would receive him; but she did not receive him at all. He entered a deserted mansion.

He wandered among the deserted places, where every thing recalled the days of his childhood. Death had passed by, and left, perhaps, some unknown scourge. In his poignant distress, he imagined the worst.

Perhaps he did not deceive himself. Paganina was to appear the next day at the theatre of Milan.

I must add that she was always worthy of her father, in the strictest sense of the word; though for three months, it is true, in order to prepare herself for the stage, she had mixed in the world of the theatres, and, what is far worse, in the world of parasites, insinuating themselves by every means and with every end. She breathed a poisoned air in the incense of impure flatteries. Her bitter contempt prevented its injuring her; but as soon as she was free, she ran to conceal her wounds in a retreat where no one could discover her.

XXIII.

Extract from the Gazette of Lombardy, the 20th of September, 18—.

"Her father was German, her mother an Italian; her father belonged to the church, her mother to the theatre. Both were superior musicians. Such a birth could promise her a more than common destiny, and this birth had a singular predestination. She was born in the side-scenes of the theatre during a soirée, the memory of which is still fresh among us. Her first cries were drowned in the passionate strains of the violin of Paganini, and the bursts of admiration from his auditory. The little creature, as if in reply to the powerful invocation of the master, appeared before the hour fixed by nature.

"This is all her history. From that hour she disappeared. Without doubt, the new-born vestal sought the retreat of the sacred fire.

"To-day she returns to the place of her birth. The words are literally true; we will hear her this evening in La Scala.

"I have desired to announce this fête. Let no one fail to be there, for I predict it will be an event.

"My task is finished. I would like to describe this cantatrice, but she belongs to no formula. It would require two to express the dualism of which her person and character bear the imprint.

"She seems to have received from her parents two natures which by turns inspire her. Even now we hear her pure and original voice mount to heaven; no breath of human passion seems to agitate it. We listen enchanted, lifted far above ourselves, and share the serenity, the peace she inspires; suddenly the air changes, the color mounts to her cheeks, passion absorbs her, and she bursts out in its most marvellous tones. I could see the spectre of the old Paganini grimacing by the side of his beautiful god-child, and goading on her enchained genius."

XXIV.

The result was as predicted. The young cantatrice excited immense enthusiasm.

The Italians are quickly roused, and never sell the evidences of their admiration. To show more than ordinary emotion, they invent unheard-of and extravagant expressions.

When Paganina could withdraw from these ovations, the night was far advanced; she took refuge in solitude.

Let us follow her. It will be curious to observe in her the intoxication of applause, and see how she bore her first triumph—she who had elicited such flattering testimony of love and admiration.

She wept, but not with happy emotions.

"My father," she cried, "my father, you are already revenged. To punish me, you have fulfilled my desires. I wished for the clatter of applause, for the tumult of bravos. I am satisfied already. Is it for this, great God, that I have deserted thy ways? Is it for such fugitive pleasure, whose bitterness I have known before even I have tasted it? O happiness of solitude! ineffable family joys! where have you fled?

"Those who have just applauded me little know the inexpressible sadness that overcame me. For a moment despair drew tears to my eyes. They thought it the triumph of my art—but I wept for thee, my father; for thee, my childhood—and the peace of the old, happy hours."

André at this moment appeared.

XXV.

He watched her in silence—he on the threshold, and she half turning toward him proudly in her surprise.

André was the first to break the silence.

"Paganina," said he, "I come from the home that you have left. I found the house deserted, and I went to seek you at the tomb of your father."

"Yes," she replied with bitterness, "and you find me here in the garb of a comedian. What do you wish with me?"

"I wish to snatch you from this cursed place; to fly with you so far that you may forget this fatal evening, and again become obedient to the voice of your father. Come, I will be your protector, your guardian, your slave—until the day," he added in a lower voice, "when I dare breathe to you my secret, and tell you that I love you."

"André, listen to me. I will speak to you sincerely. I wish to love you. I swear to you I wish it. To quit this country, fly with you, go into Germany and inhabit the house of my father, and there raise a family, would be my happiness; but it can never be."

"The love I bear you, Paganina, has taken deep root. Near you alone am I happy; but if it must be so, speak! If you have given your heart to a man worthy of you, tell me, and destroy in me all hope for ever. For you I can bear any thing. But if it is not so, do not answer me yet. Wait; my humility may disarm you, and some day my patience may end in moving your heart."

"No! my heart is but ashes; no affection blooms nor will bloom within it. It is too late."

"Do not speak so, I beg of you. You do not know what the future has in store for you, nor see the Providence that watches over you. It has sent me to you, and with me the remembrance of happy years and the presence of your father."

"The angel itself is not yet arrested in its fall. Go! let me hang suspended between the heaven that is shut against me, and the abyss whose depths I seek."

She burst into tears. André, after a silence, approached her.

"Paganina," said he, "do not weep. Come; see! the dawn already whitens the fields. Let the God of the morning comfort you. The wind rises forerunner of a new day. Bathe your forehead in its breath, and respire with its penetrating odors the forgetfulness of your sufferings. To-day, perhaps, will bring us back peace and happiness."

"No, to-day will be fatal. The beauty of the morning moves me no longer; for me the evening fires, the flames of the foot-lights, the éclat of triumph. I will go from fête to fête, from ovation to ovation. I want the whirlpool of the world to seize and carry me until I lose my health—and forget every thing. Immediately I set out for the Château Sarrasin."

"Ah! this, then," cried André with a sudden explosion of passion, "this, then, is the secret of your resistance and the avowal of your shame. The public cry that brought me here had already warned me. I refused to listen to it. Well, go; but fear every thing. You have roused in me a monster that I knew not of."

And raising his hands to heaven, the unhappy one fled.

XXVI.

Paganina was calumniated by her cousin; she was pure, though it is true she slid on a fatal declivity. Already appearances were against her reputation. André was deceived; but he was not the only one; and from thence the reports to which he had made allusion, and the pretext of which will be explained.

The Count Ludovic, proprietor of the Château Sarrasin and actual head of the house of the Ligonieri, inscribed in the golden book of European aristocracy, was a man of proud appearances, endowed with masculine beauty quite in accordance with his character; for he was superior to his race, and possessed many noble qualities.

His life was not without stain; but even his faults bore that chivalrous character that renders them honorable in the eyes of the world. We well know that the code of the world is not that of the saints.

And the Count Ludovic, who willingly mingled with the people of the theatre, had known Paganina while she was preparing for her début. At the first glance he had rightly judged the soul of the young artist, and saw her superior to her companions.

His heart was touched. Penetrated with sincere sentiments, he preserved in her presence an attitude of reserve and respect, and his influence was secretly employed to isolate and protect her. His manner toward her was observed; for it was not his usual way of adding to the conquests for which he was famous. It might have been believed a mutual admiration; but it is not well to credit the judgments of one's neighbors.

The Count Ludovic wished to celebrate the début of Paganina by one of those fêtes that an ostentatious tradition had preserved in his family. He made important preparations at the Château Sarrasin and sent out his invitations.

The delicate point was to gain for his project her who was the soul of it; so he proposed it to her at the moment when she received her first applause, trusting, no doubt, to her excitement and wish for future conquests. He knew his auditory would be of the first distinction; he knew his motive—but no matter.

The young girl, warned as if by instinct, feeling herself at the fatal point of her destiny, made him no reply. The next day, under the influence of her bad angel, she consented.

XXVII.

They set out alone in an open chariot. The Count Ludovic had proposed for himself a gallant tête-à-tête, without, however, the desired success; for all day long Paganina spoke not a word. Her wandering looks were on the horizon, perhaps there to discover the mysterious and avenging power with which she believed herself menaced.

Toward evening they arrived at Arèse. The young cantatrice was recognized and applauded; but she appeared totally unconscious of sight or sound, and maintained her obstinate silence. The count had long since renounced all effort at conversation. He rather liked the oddity of the adventure, and dreamed of the legend where the paladin carried away his bride and wondered she was pale—so pale that she was dead.

Meanwhile, the carriage labored on the declivity of the road to Germany. The heat was excessive, not a breath stirred the air; but a dull and heavy murmuring announced that the midday wind was pent up in the higher mountain regions. The setting sun was red as blood. At a turn of the road, Paganina shuddered, for she saw André on a rock above them; she could never explain by what energy of passion he had reached this point.

When the carriage neared him he seized the branch of a tree, and, throwing it before the horses' feet, cried out, "Paganina, stop! or, by the soul of thy father, be cursed for ever!" The Count Ludovic had some difficulty in managing his frightened horses; he did not observe that his companion was as pale as the bride of the paladin.

A little further on, in returning, he saw the same man in the same place, illuminated by the burning sky, and pointing with the laugh of a madman to the black mass of the Château Sarrasin.

The adventure was becoming more and more singular. The count wondered what part this man took in this unheard-of drama.

He was too much the gentleman to betray any surprise; but he profited by the incident to renew his efforts at conversation. "Do you know," he said to Paganina, "that these slight accidents might have had a tragical ending? The horses we drive have already caused the death of a man, and, like those of the fable, may be said to feed their ferocity on human blood. The whip has never touched them. If it had not been my pride to place at your disposal the most beautiful equipage in the world, I should have hesitated to trust you to them."

Still she did not reply. But the moment was approaching when she would speak, and in terrible words reveal her anguish.

The carriage entered the road that ended at the Château Sarrasin. As we said before, this road descends by a steep and dangerous declivity, and on the very edge of the precipice. The horses walked quietly. Seizing the whip, Paganina struck them violently, crying out,

"Go on, then! Is it not said that you can lead to death?"

"To death, indeed!" cried the count, surprised and alarmed. "In this road, and at this hour, a miracle only can save us."

The horses, breathing fire, made frightful bounds, leaving starry tracks behind them. The stones rolled heavily into the abyss. The few inhabitants of these solitudes, stopping on the borders of the road, looked on pale and as in a dream, to see this fantastic chariot drawn by such furious horses, while a young girl, standing, and her hair flying in the wind, lashed them on to desperation.

If it needed a miracle to save them, this miracle took place. The team stopped; upset the carriage on the steps of the château. One of the horses was killed, the carriage broken to pieces. The count sprang up safe and sound, his first inquiry for Paganina.

"I am here," she replied; "the hand of God has led us hither."

With her intention, such words were blasphemy; but she spoke in delirium.

XXVIII.

Paganina, leaning on the arm of the count, promenades with him the highest terrace. The guests, in groups at a distance, regard them with hungry eyes.

A hot and violent wind agitates the half-stripped trees. The clouds traverse the sky hurriedly and quickly, and their moving shadows rest on the mountains. The moon, disengaging itself here and there, throws its pure light on the white form of the young girl. She seems to grow in the estimation of the admirers who seek her.

The Count Ludovic is strangely moved. His sincere sentiments are rekindled by the newness of the situation, and the strangeness of the adventure. He thanks his companion for having, at one stroke, played with their two lives. Exalted and nervous, enervated with the perfume of the life that she had so nearly lost only a few moments before, Paganina replies to him. The observers of the scene listen attentively. Detached from the murmur of the distant storm, their words are heard for a moment, but the tempest again arises and carries them away in its roar. Yes, ardent and mysterious breath, bear away these words of irony, of revolt, and of despair—bear afar the bitter laugh that accompanies them.

For a long time, O powerful voice! have men listened to your painful harmony. Long have you roamed the earth, picking up the notes of grief, the cries of the new-born, the sobs of mothers, the sighs of the dying, and the groaning of the crowds who groan and groan on. But never, never have you borne away any thing more sad or desolate than the laugh of this unhappy child.

XXIX.

The night advances. Already the moon has commenced to decline. Some of the invited ones have retired; others, grouped here and there, seated or half-extended, are sleeping in the hot breath of the storm. There are two powers that watch—Paganina and the tempest, and the thunder rolls and shakes the mountains.

Silent and isolated, Paganina looks at the shadow of the Château Sarrasin. She sees it advance and recede. She thinks of the legend of this cursed place—so fatal to the honor of women. And yet fate has led her there—the gulf is yawning for her. She advances; she will enter never there.

A cry is heard; the sleepers, wakened suddenly, run to and fro, pale and frightened. They find Paganina fainting and covered with blood. A deep wound is found in her throat. The count sustains her, and in a voice thundering above the tempest orders his people to seize the assassin.

The assassin was André!

When they wished to carry the wounded one into the Château Sarrasin, she could not speak, but betrayed, in signs of such mortal terror, her repugnance to enter, that they were obliged to relinquish the idea.

She said since, at the moment that the doors opened to make way for her, she again saw the scene which, several years before, had so forcibly struck her. Nothing was wanting; the brightness of the light, or the luxury of the dress. All the actors were there, all—but they were hideous skeletons; they still made gestures of applause, while above them, the woman with the green diamond showed a livid face, the eyes extinct, and an open mouth, from which no sound proceeded.

Paganina was laid on a litter and carried to Arèse.

André followed her, chained, and guarded from sight. They arrived next morning.

It is said the infuriated crowd rushed upon the assassin and his guard, and obliged them to fly for their lives. Paganina had him brought to her, took him by the hand, and so passed through the moved and disarmed assemblage.

XXX.

For a long time her life was despaired of. A burning fever consumed her. Her sufferings were such as belonged to her thirsty nature. She experienced the most terrible of earthly tortures; and prayed in her delirium for a stream of water to flow into her parched lips.

Her moral sufferings were still greater. Every evening she became the prey to a terrible hallucination, that she regarded as the punishment of her wish for popularity; she saw herself raised far above an immense crowd, and this crowd becoming by turns insulting and mocking. Its waves of fury flowed and reflowed at the feet of their victim, and covered her with their froth. Paganina, in despair, would have thrown herself into this shoreless tide; but in vain; she felt herself enchained to her height, and obliged to wait for the rays of morning to dissipate her phantoms.

These two features suffice to characterize her malady, which was moral as well as physical. Its intensity lasted during the winter months. In the spring only she appeared to be restored to health, but the blow had been a severe one, and the rest of her life was merely a prolonged convalescence.

XXXI.

But suffering in silence accomplished its work. Her long confinement had curbed if not wholly subdued her ardent nature, and those who thought to find the revived Paganina on the declivity where they had left her, were greatly mistaken.

Their surprise was greater, too, as no indication had prepared them for the change. The work in her soul was well and firmly done, and she remained calmly impenetrable to her friends, until there escaped from her, in spite of herself, a jet of revealing flame.

The Count Ludovic had never ceased his attentions during her illness. His passion, far from weakening, had grown stronger during his separation. When he could be admitted to her presence, he expressed his sentiments, perhaps, too tenderly; he who knew her, knew of what sudden movements and prompt returns she was capable, strove with all his energy, but remained confounded. Not without reason, for so Paganina answered him:

"Since the day when I first heard all you have just repeated to me, I have stood on the borders of eternity. New lights have been shed on all things since then; do not be surprised that my language is no longer the same.

"It must be true that you place yourself in very high and me in very low esteem! Do you consider my honor a worthy prey for your vanity? Do you not think that a few days of pleasure might be too well paid for by my past and my future? What, then, do you wish? You ask that I abjure the past, that I sacrifice to you my whole future, and even more! My immortal soul is what you would wish to debase. And in a few days you would give me, in exchange, your contempt, to run, freer and more honored than ever, into new pleasures. This is what you wish, and yet you say you love me.

"Good God! what might I have been to-day, if heaven had not arrested me—and what am I now?

"Ah! forgive me; I have lost the right to be severe. Words of blame or bitterness should not come from my lips. No, it is myself I despise; and this contempt, to which I am consecrated, plunges into my heart a poisoned iron. It oppresses, it stifles me, and leaves for my punishment the life I hate.

"Count Ludovic, you are the son of chevaliers. I know at the bottom of your heart is the nobility of your ancestors. Adieu; we have met for the last time."

And the count, retiring on this command, lost his reputation for a man of gallantry.

XXXII.

It was Easter-Sunday, the feast of eternal life. The sun shed through the clouds its humid rays, the trees—clothed in new verdure and brightly agitated—sent forth their sweet and subtle perfumes.

Paganina, still weak, was placed by the open window; she turned toward the church her eyes, grown larger in suffering, and listened to the notes of the feast, weakened by the distance. When Faust heard such songs the poisoned cup fell from his hands. In his desperation he believed no longer in God. The earth had reclaimed him. Heaven was going to reconquer Paganina.

The angels, approaching her, brought back a world of innocent and gentle memories; she wept.

At this moment the bells, pealing their joyous notes, announced the end of the ceremony.

The virgins, clothed in white, quitted the church in silent swarms. Paganina saw them pass before her in a vision, for they appeared in groups of such supernatural beauty that she was thrown into an ecstasy.

She saw them leave the second banquet—some retiring sweetly within themselves, as slender stalks bending under the weight of the heavenly dew; others, pale, with foreheads high and open, and eyes pure and ardent. They crossed their arms on their breasts, the better to guard their treasure. All wore the trace of that fire which for eighteen hundred years has marked the victory of the virgins and the martyrs. The ray of divine beauty which fell on these figures was reflected back on Paganina; her soul was transfixed and vanquished for ever.

She rose, and standing, pale as her long white vestments, she prayed:

"Thou seekest me again, my God; behold! I come. To thee I return, and with the frightful experience of the darkness of oblivion, and penetrated with the horror of those places where thou art not.

"Thou art witness that, before I abandoned the heights where thou residest, I sustained an infernal struggle. That day my vision was lowered, the dragon of the abyss mounted toward me, to drag me to its depths.... Thy angels have fallen, my God! But while they are lost for ever, why, why am I reclaimed?

"I come trembling in thy light. Do not reject thy victim; acknowledge the blood-stain with which thou hast marked me to save me, I hope; let me again contemplate thy eternal beauty. Thy beauty, my Lord, I must see. I thirst for it; one of its bright rays has shone before me, and the world has nothing more to offer.

"My last hour will be the hour of my deliverance; I wait for it. Accept the offering of a broken life, whose failing forces will be employed to repair the evil I have done. And thou, my father, I bless thee, because I may yet sleep again in thy bosom."

XXXIII.

The day fixed for the trial of André having arrived, a great mass of people pressed around the court of justice. In the memory of man, no celebrated cause had ever attracted so great a multitude. At every hour, the waves of the crowd mounted higher and higher against the walls of the palace. When it was known that Paganina would appear to give her testimony, such tumult and agitation arose that the judges were obliged to suspend proceedings. Calm being somewhat reëstablished, the president called Paganina to testify against the assassin. Then, without raising her eyes, in a low and trembling voice, which ran shuddering through the crowd, she answered, "He saved my honor!" Twice she said it, and when the president, renewing his interrogation, menaced her with the penalties of the law if she refused her testimony, she fixed upon him a steady gaze and repeated in a strong voice,

"He saved my honor!"

At these words there was a shout of enthusiasm. Men threw their caps into the air, and cried, "Hurrah!" Women wept and were agitated; and André, sobbing aloud, held out to her his trembling hands.

It is easily known he was acquitted.

XXXIV.

Soon after, a strange, unheard-of rumor was afloat. They said the Count Ludovic asked Paganina in marriage. The Count Ludovic! This flower of nobility, this last of an antique chivalry, condescend to propose to an actress, and tarnish his escutcheon! It was not to be believed. But the evidence was excellent. He said so himself, and even rudely, to the unlucky flatterers who thought to make capital out of the enormity of the story.

We can conceive the emotion was great, and spread rapidly.

Things stood so, when two other pieces of news, following closely on this, caused it to be forgotten.

And these were, first, that the demand of the Count Ludovic was not acceded to; the second, that his preferred rival was André, an obscure musician with a weak brain; and, even worse than that, that all his merit rested in his attempt at the assassination of the object of his passion.

I give the facts in their entire simplicity. Truth is worth more than its resemblance; so any extenuation, any covering of phrases, would be useless, and neither make them accepted nor understood by practical people—those who judge every thing from their own stand-point, and name it so well "common sense."

Paganina wished to repair the evil of which she was the cause. She found "at her hand" the sacrifice she desired.

From the terrible night passed at the Château Sarrasin, André had never resumed the complete use of his reason. To have the right to devote herself to him, his cousin married him; surrounded him with every care, and watched over the flame of his vacillating intelligence with a love more maternal than conjugal. In our existence, many things are strange. She never seemed the wife of André. She lived with him as a sister. And can you imagine what was her life, tête-à-tête with an idiot? Calculate the energy to sustain, and the patience to calm him.

When the spectres of madness approached the poor invalid, warned by his cries of terror, Paganina ran to him. Her presence, and the sound of her voice, dispelled the phantoms. Delivered from his terrors, he threw himself at her feet, covered her hands with kisses and tears, and invoked her as his angel, swearing to her inviolable obedience.

Since King David's time, we all know the power of music to dispel the spirits of darkness. Paganina made use of it, and found consolation in the mingled studies that brought her cousin such relief. So even they had hours of happiness.

The genius, too, of Paganina was not entirely lost to her contemporaries. She was heard once in Milan, in a religious ceremony; and once again in Germany, where she had gone, nearly two years after her marriage, to make, with André, a pilgrimage to the house of her father. For her it was the song of the swan, for her exhausted and uncertain life went out soon afterward.

This song of songs will reveal her last thoughts and conclude her history.

XXXV.

In one of those festivals which are the noble pleasure and the glory of Germany, an oratorio was to be given for the first time, the expectation of which excited a passionate impatience.

This composition, called The Angels' Fall, is due to a musician whose name will descend to the latest posterity, carried onward by the tempests his genius has evoked.

The part of the archangel Lucifer was awarded to Paganina. These phlegmatic Germans, when they give themselves to enthusiasm, lose all bounds; and Paganina might have been satisfied could she have known her success; but her soul was elsewhere.

This oratorio was divided into three parts. The first expressed heaven. If there is any thing in this world that can make man see what his eyes cannot, and understand what his ears have never heard, it is music; for the true musician knows that such harmony, quitting earth, mounts to the vaults of paradise, where it wakens the echoes that have nothing of earth, and falls again on us—the messenger of hope and consolation.

Paganina's rôle, in this part, was less important than in that which followed. Her voice was rarely detached from the whole; but now and then two or three dazzling notes rose through the harmony, and the transported auditors believed they saw the fluttering wings of the archangel already hovering on the eternal heights.

I will say nothing of the second part, although several found it superior to the two others, on account of the sombre energy, the terrible power with which is rendered the insurrection of the rebel angels.

Paganina should have been perfectly at her ease, to display here the richness of her voice—this voice which, in other parts, rang as a trumpet of gold and brass. But these accents of revolt choked her, and here she was unequal. She would soon surpass herself in the last air.

The composer, by one of those happy mistakes from which the best works grow, forgot the tradition. His angels were not thunder-struck in their pride, and shrieking in blasphemy; but vanquished. They were condemned, and wept. They weep for the heaven they have lost. Admiration believed there was nothing more to expect; but here the master recalls his power, reanimates his genius, and finds an inspiration supreme to chant the farewell to infinite happiness of the guilty phalanx.

The sobs of the orchestra and chorus are heard alternately, and the voice of the archangel rises once again. At this moment, Paganina sang her last air on earth with an intensity of love and grief that cannot be described.

No, Paganina! one who can so weep has not lost heaven.

Those who saw her then will never forget her. In this high-vaulted room, lofty as a church, she stood above the others, in a long black robe covered with stars. Her beauty was that of an archangel.

As she finished, a ray of sunlight, streaming through the red glass, and sparkling as the flaming sword that forbade the entrance into Eden, rested a moment at her feet and expired.