Under the Hill, and Other Essays in Prose and Verse — John Shaqi
Under the Hill, and Other Essays in Prose and VerseBeardsley, Aubrey
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Under the Hill, and Other Essays in Prose and Verse
Beardsley, Aubrey
Beardsley, Aubrey, 1872-1898; English literature -- 19th century
The Abbé Fanfreluche, having lighted off his horse, stood doubtfully
for a moment beneath the ombre gateway of the mysterious Hill, troubled
with an exquisite fear lest a day's travel should have too cruelly
undone the laboured niceness of his dress. His hand, slim and gracious
as La Marquise du Deffand's in the drawing by Carmontelle, played
nervously about the gold hair that fell upon his shoulders like a
finely-curled peruke, and from point to point of a precise toilet the
fingers wandered, quelling the little mutinies of cravat and ruffle.
It was taper-time; when the tired earth puts on its cloak of mists and
shadows, when the enchanted woods are stirred with light footfalls and
slender voices of the fairies, when all the air is full of delicate
influences, and even the beaux, seated at their dressing-tables, dream
a little.
A delicious moment, thought Fanfreluche, to slip into exile.
The place where he stood waved drowsily with strange flowers, heavy
with perfume, dripping with odours. Gloomy and nameless weeds not to
be found in Mentzelius. Huge moths, so richly winged they must have
banqueted upon tapestries and royal stuffs, slept on the pillars that
flanked either side of the gateway, and the eyes of all the moths
remained open and were burning and bursting with a mesh of veins.
The pillars were fashioned in some pale stone and rose up like hymns
in the praise of pleasure, for from cap to base, each one was carved
with loving sculptures, showing such a cunning invention and such a
curious knowledge, that Fanfreluche lingered not a little in reviewing
them. They surpassed all that Japan has ever pictured from her maisons
vertes, all that was ever painted in the cool bath-rooms of Cardinal
La Motte, and even outdid the astonishing illustrations to Jones's
"Nursery Numbers."
"A pretty portal," murmured the Abbé, correcting his sash.
As he spoke, a faint sound of singing was breathed out from the
mountain, faint music as strange and distant as sea-legends that are
heard in shells.
"The Vespers of Helen, I take it," said Fanfreluche, and struck a few
chords of accompaniment, ever so lightly, upon his little lute. Softly
across the spell-bound threshold the song floated and wreathed itself
about the subtle columns, till the moths were touched with passion
and moved quaintly in their sleep. One of them was awakened by the
intenser notes of the Abbé's lute-strings, and fluttered into the cave.
Fanfreluche felt it was his cue for entry.
[Illustration: "The Abbé"]
"Adieu," he exclaimed with an inclusive gesture, and "good-bye,
Madonna," as the cold circle of the moon began to show, beautiful and
full of enchantments. There was a shadow of sentiment in his voice as
he spoke the words.
"Would to heaven," he sighed, "I might receive the assurance of a
looking-glass before I make my debut! However, as she is a Goddess, I
doubt not her eyes are a little sated with perfection, and may not be
displeased to see it crowned with a tiny fault."
Public-domain text, read in full here on John Shaqi.
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