The German Classics of the Nineteenth and Twentieth Centuries, Volume 11: Masterpieces of German Literature Translated Into English
General
The German Classics of the Nineteenth and Twentieth Centuries, Volume 11: Masterpieces of German Literature Translated Into English
German literature -- 19th century -- Translations into English; German literature -- 20th century -- Translations into English
Antonio dropped his eyelashes, and his glance glided down his
slender figure to the points of his patent-leather shoes--but only
for a moment. The next instant his black eyes were fastened with a
melancholy, passionate expression upon the beautiful girl, who stood
before him in her simple dark house-dress and her work-apron, holding
the modeling tool in her hand.
"You do not need to make yourself beautiful. You are always beautiful."
He said this in German. He was proud of his German, since she had
praised his accent repeatedly during the Italian lessons he had given
her, and had said that every word sounded to her, when he uttered it,
new and precious, like an acquaintance one meets in a foreign land.
"I think I am anything but beautiful, this morning," said Ferdinande.
"But I need your help. My model did not come; I wanted to work on the
eyes today. You have prettier eyes than your countrywomen, Antonio; do
pose for me--only a few minutes."
A proud smile of satisfaction passed over the beautiful face of the
youth. He took the same attitude toward Ferdinande that she had given
her statue.
"Fine!" she said. "One never knows whether you are greater as actor or
as sculptor."
"_Un povero abbozzatore!_" he muttered.
"You are not a workingman!" said Ferdinande. "You know you are an
artist."
"I am an artist as you are a princess!"
"What do you mean by that?"
"I was born to be an artist and yet am not one, as you were born to be
a princess and yet are not one."
"You are crazy!"
It was not a tone of irritation in which she said this; there was
something like acquiescence in it, which did not escape the ear of the
Italian.
"And now you know it," he added.
She made no reply, and kept on with her work, but only mechanically.
"She called you to tell you something," said Antonio to himself.
"Where were you last evening, Antonio?" she asked after a pause.
"In my club, Signora."
"When did you come home?"
"Late."
"But when?"
"At one o'clock, _ma perchè_?"
She had turned around to her little table on which lay her tools, which
she was fingering.
"I only asked the question. We did not go to bed till late at night. We
had a visitor--a cousin of mine--there was much talking and smoking--I
got a fearful headache, and spent an hour in the garden. Will you pose
again? Or shall we give it up? It is hard for you; I think you look
tired."
"No, no!" he muttered.
He took the pose again, but less gracefully than before. Strange
thoughts whirled through his brain, and made his heart throb.--"When
did you come home?"--"I was in the garden for an hour."--Was it
possible--but no, no, it was impossible, it was chance! But if he had
met her alone in the garden, alone, late at night--what would he have
said, what would he have done?
His eyes swam--he pressed his hands, which he should have held to his
brow, to his eyes.
"What is the matter?" exclaimed Ferdinande.
His hand dropped; his eyes, which were fixed upon her, were aflame.
Public-domain text, read in full here on John Shaqi.
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