Weird Tales Volume 2, E. T. A. Hoffmann
Weird Tales Volume 2
E. T. A. Hoffmann
15:13 h Novels Lvl 8.73
Weird Tales is a collection of short stories by E.T.A. Hoffman, In Two Volumes, first published in 1885. Ernst Theodor Amadeus Hoffmann was a German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist. Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement. This volume includes such stories as "The Doge and Dogess", "Master Martin, the Cooper, and His Journeyman", "Mademoiselle De Scudéri. A Tale of the times of Louis XIV", "Gambler’s Luck", "Master Johannes Wacht".

Weird Tales

E. T. A. Hoffmann

Volume II

The Doge and Dogess

This was the title that distinguished in the art-catalogue of the works exhibited by the Berlin Academy of Arts in September, 1816, a picture which came from the brush of the skilful clever Associate of the Academy, C. Kolbe. There was such a peculiar charm in the piece that it attracted all observers. A Doge, richly and magnificently dressed, and a Dogess at his side, as richly adorned with jewellery, are stepping out on to a balustered balcony; he is an old man, with a grey beard and rusty red face, his features indicating a peculiar blending of expressions, now revealing strength, now weakness, again pride and arrogance, and again pure good-nature; she is a young woman, with a far-away look of yearning sadness and dreamy aspiration not only in her eyes but also in her general bearing. Behind them is an elderly lady and a man holding an open sun-shade. At one end of the balcony is a young man blowing a conch-shaped horn, whilst in front of it a richly decorated gondola, bearing the Venetian flag and having two gondoliers, is rocking on the sea. In the background stretches the sea itself studded with hundreds and hundreds of sails, whilst the towers and palaces of magnificent Venice are seen rising out of its waves. To the left is Saint Mark’s, to the right, more in the front, San Giorgio Maggiore. The following words were cut in the golden frame of the picture.

Ah! senza amare,
Andare sul mare
Col sposo del mare,
Non puo consolare.

To go on the sea
With the spouse of the sea,
When loveless I be,
Is no comfort to me.

One day there arose before this picture a fruitless altercation as to whether the artist really intended it for anything more than a mere picture, that is, the temporary situation, sufficiently indicated by the verse, of a decrepit old man who with all his splendour and magnificence is unable to satisfy the desires of a heart filled with yearning aspirations, or whether he intended to represent an actual historical event. One after the other the visitors left the place, tired of the discussion, so that at length there were only two men left, both very good friends to the noble art of painting. “I can’t understand,” said one of them, “how people can spoil all their enjoyment by eternally hunting after some jejune interpretation or explanation. Independently of the fact that I have a pretty accurate notion of what the relations in life between this Doge and Dogess were, I am more particularly struck by the subdued richness and power that characterises the picture as a whole. Look at this flag with the winged lions, how they flutter in the breeze as if they swayed the world. O beautiful Venice!” He began to recite Turandot’s riddle of Lion of the Adriatic, “Dimmi, qual sia quella terribil fera,” &c. He had hardly come to the end when a sonorous masculine voice broke in with Calaf’s solution, “Tu quadrupede fera,” &c. Unobserved by the friends, a man of tall and noble appearance, his grey mantle thrown picturesquely across his shoulder, had taken up a position behind them, and was examining the picture with sparkling eyes. They got into conversation, and the stranger said almost in atone of solemnity, “It is indeed a singular mystery, how a picture often arises in the mind of an artist, the figures of which, previously indistinguishable, incorporate mist driving about in empty space, first seem to shape themselves into vitality in his mind, and there seem to find their home. Suddenly the picture connects itself with the past, or even with the future, representing something that has really happened or that will happen. Perhaps it was not known to Kolbe himself that the persons he was representing in this picture are none other than the Doge Marino Falieri and his lady Annunciata.”

The stranger paused, but the two friends urgently entreated him to solve for them this riddle as he had solved that of the Lion of the Adriatic. Whereupon he replied, “If you have patience, my inquisitive sirs, I will at once explain the picture to you by telling you Falieri’s history. But have you patience? I shall be very circumstantial, for I cannot speak otherwise of things which stand so life-like before my eyes that I seem to have seen them myself. And that may very well be the case, for all historians — amongst whom I happen to be one — are properly a kind of talking ghost of past ages.”

The friends accompanied the stranger into a retired room, when, without further preamble, he began as follows: —

It is now a long time ago, and if I mistake not, it was in the month of August, 1354, that the valiant Genoese captain, Paganino Doria by name, utterly routed the Venetians and took their town of Parenzo. And his well-manned galleys were now cruising backwards and forwards in the Lagune, close in front of Venice, like ravenous beasts of prey which, goaded by hunger, roam restlessly up and down spying out where they may most safely pounce upon their victims; and both people and seignory were panic-stricken with fear. All the male population, liable to military service, and everybody who could lift an arm, flew to their weapons or seized an oar. The harbour of Saint Nicholas was the gathering-place for the bands. Ships and trees were sunk, and chains riveted to chains, to lock the harbour-mouth against the enemy. Whilst there was heard the rattle of arms and the wild tumult of preparation, and whilst the ponderous masses thundered down into the foaming sea, on the Rialto the agents of the seignory were wiping the cold sweat from their pale brows, and with troubled countenances and hoarse voices offering almost fabulous percentage for ready money, for the straitened republic was in want of this necessary also. Moreover, it was determined by the inscrutable decree of Providence that just at this period of extreme distress and anxiety, the faithful shepherd should be taken away from his troubled flock. Completely borne down by the burden of the public calamity, the Doge Andrea Dandolo died; the people called him the “dear good count” (il caro contino), because he was always cordial and kind, and never crossed Saint Mark’s Square without speaking a word of comfort to those in need of good advice, or giving a few sequins to those who were in want of money. And as every blow is wont to fall with double sharpness upon those who are discouraged by misfortune, when at other times they would hardly have felt it at all, so now, when the people heard the bells of Saint Mark’s proclaim in solemn muffled tones the death of their Duke, they were utterly undone with sorrow and grief. Their support, their hope, was now gone, and they would have to bend their necks to the Genoese yoke, they cried, in despite of the fact that Dandolo’s loss did not seem to have any very counteractive effect upon the progress that was being made with all necessary warlike preparations. The “dear good count” had loved to live in peace and quietness, preferring to follow the wondrous courses of the stars rather than the problematical complications of state policy; he understood how to arrange a procession on Easter Day better than how to lead an army.

The object now was to elect a Doge who, endowed at one and the same time with the valour and genius of a war captain, and with skill in statecraft, should save Venice, now tottering on her foundations, from the threatening power of her bold and ever-bolder enemy. But when the senators assembled there was none but what had a gloomy face, hopeless looks, and head bent earthwards and resting on his supporting hand. Where were they to find a man who could seize the unguided helm and direct the bark of the state aright? At last the oldest of the councillors, called Marino Bodoeri, lifted up his voice and said, “You will not find him here around us, or amongst us; direct your eyes to Avignon, upon Marino Falieri, whom we sent to congratulate Pope Innocent on his elevation to the Papal dignity; he can find better work to do now; he’s the man for us; let us choose him Doge to stem this current of adversity. You will urge by way of objection that he is now almost eighty years old, that his hair and beard are white as silver, that his blithe appearance, fiery eye, and the deep red of his nose and cheeks are to be ascribed, as his traducers maintain, to good Cyprus wine rather than to energy of character; but heed not that. Remember what conspicuous bravery this Marino Falieri showed as admiral of the fleet in the Black Sea, and bear in mind the great services which prevailed with the Procurators of Saint Mark to invest this Falieri with the rich countship of Valdemarino.” Thus highly did Bodoeri extol Falieri’s virtues; and he had a ready answer for all objections, so that at length all voices were unanimous in electing Falieri. Several, however, still continued to allude to his hot, passionate temper, his ambition, and his self-will; but they were met with the reply: “And it is exactly because all these have gone from the old man, that we choose the grey-beard Falieri and not the youth Falieri.” And these censuring voices were completely silenced when the people, learning upon whom the choice had fallen, greeted it with the loudest and most extravagant demonstrations of delight. Do we not know that in such dangerous times, in times of such tension and unrest, any resolution that really is a resolution is accepted as an inspiration from Heaven? Thus it came to pass that the “dear good count” and all his gentleness and piety were forgotten, and every one cried, “By Saint Mark, this Marino ought long ago to have been our Doge, and then we should not have yon arrogant Doria before our very doors.” And crippled soldiers painfully lifted up their wounded arms and cried, “That is Falieri who beat the Morbassanthe valiant captain whose victorious banners waved in the Black Sea.” Wherever a knot of people gathered, there was one amongst them telling of Falieri’s heroic deeds; and, as though Doria were already defeated, the air rang with wild shouts of triumph. An additional reason for this was that Nicolo Pisani who, Heaven knows why! instead of going to meet Doria with his fleet, had coolly sailed away to Sardinia, was now returned. Doria withdrew from the Lagune; and what was really due to the approach of Pisani’s fleet was ascribed to the formidable name of Marino Falieri. Then the people and the seignory were seized by a kind of frantic ecstasy that such an auspicious choice had been made; and as an uncommon way of testifying the same, it was determined to welcome the newly elected Doge as if he were a messenger from heaven bringing honour, victory, and abundance of riches. Twelve nobles, each accompanied by a numerous retinue in rich dresses, had been sent by the Seignory to Verona, where the ambassadors of the Republic were again to announce to Falieri, on his arrival, with all due ceremony, his elevation to the supreme office in the state. Then fifteen richly decorated vessels of state, equipped by the Podesta of Chioggia, and under the command of his own son Taddeo Giustiniani, took the Doge and his attendant company on board at Chiozza; and now they moved on like the triumphal procession of a most mighty and victorious monarch to St. Clement’s, where the Bucentaur was awaiting the Doge.

At this very moment, namely, when Marino Falieri was about to set foot on board the Bucentaur, — and that was on the evening of the 3d of October about sunset — a poor unfortunate man lay stretched at full length on the hard marble pavement in front of the Customhouse. A few rags of striped linen, of a colour now no longer recognisable, the remains of what apparently had once been a sailor’s dress, such as was worn by the very poorest of the people — porters and assistant oarsmen, hung about his lean starved body. There was not a trace of a shirt to be seen, except the poor fellow’s own skin, which peeped through his rags almost everywhere, and was so white and delicate that the very noblest need not have been shy or ashamed of it. Accordingly, his leanness only served to display more fully the perfect proportions of his well-knit frame. A careful scrutiny of the unfortunate’s light-chestnut hair, now hanging all tangled and dishevelled about his exquisitely beautiful forehead, his blue eyes dimmed with extreme misery, his Roman nose, his fine formed lips — he seemed to be not more than twenty years old at the most — inevitably suggested that he was of good birth, and had by some adverse turn of fortune been thrown amongst the meanest classes of the people.

As remarked, the youth lay in front of the pillars of the Custom-house, his head resting on his right arm, and his eyes riveted in a vacant stare upon the sea, without movement or change of posture. An observer might well have fancied that he was devoid of life, or that death had fixed him there whilst turning him into an image of stone, had not a deep sigh escaped him from time to time, as if wrung from him by unutterable pain. And they were in fact occasioned by the pain of his left arm, which had apparently been seriously wounded, and was lying stretched out on the pavement, wrapped up in bloody rags.

All labour had ceased; the hum of trade was no longer heard; all Venice, in thousands of boats and gondolas, was gone out to meet the much-lauded Falieri. Hence it was that the unhappy youth was sighing away his pain in utter helplessness. But just as his weary head fell back upon the pavement, and he seemed on the point of fainting, a hoarse and very querulous voice cried several times in succession, “Antonio, my dear Antonio.” At length Antonio painfully raised himself partly up; and, turning his head towards the pillars of the Custom-house, whence the voice seemed to proceed, he replied very faintly, and in a scarce intelligible voice, “Who is calling me? Who has come to cast my dead body into the sea, for it will soon be all over with me.” Then a little shrivelled wrinkled crone came up panting and coughing, hobbling along by the aid of her staff; she approached the wounded youth, and squatting down beside him, she burst out into a most repulsive chuckling and laughing. “You foolish child, you foolish child,” whispered the old woman, “are you going to perish here — will you stay here to die, while a golden fortune is waiting for you? Look yonder, look yonder at yon blazing fire in the west; there are sequins for you! But you must eat, dear Antonio, eat and drink; for it’s only hunger which has made you fall down here on this cold pavement. Your arm is now quite well again, yes, that it is.” Antonio recognised in the old crone the singular beggar-woman who was generally to be seen on the steps of the Franciscan Church, chuckling to herself and laughing, and soliciting alms from the worshippers; he himself, urged by some inward inexplicable propensity, had often thrown her a hard-earned penny, which he had not had to spare. “Leave me, leave me in peace, you insane old woman,” he said; “but you are right, it is hunger more than my wound which has made me weak and miserable; for three days I have not earned a farthing. I wanted to go over to the monastery and see if I could get a spoonful or two of the soup that is made for invalids; but all my companions have gone; there is not one to have compassion upon me and take me in his barca; and now I have fallen down here, and shall, I expect, never get up again.” “Hi! hi! hi! hi!” chuckled the old woman; “why do you begin to despair so soon? Why lose heart so quickly? You are thirsty and hungry, but I can help you. Here are a few fine dried fish which I bought only to-day in the Mint; here is lemon-juice and a piece of nice white bread; eat, my son; and then we will look at the wounded arm.” And the old woman proceeded to bring forth fish, bread, and lemon juice from the bag which hung like a hood down her back, and also projected right above her bent head. As soon as Antonio had moistened his parched and burning lips with the cool drink, he felt the pangs of hunger return with double fury, and he greedily devoured the bread and the fish.

Meanwhile the old woman was busy unwrapping the rags from his wounded arm, and it was found that, though it was badly crushed, the wound was progressing favourably towards healing. The old woman took a salve out of a little box and warmed it with the breath of her mouth, and as she rubbed it on the wound she asked, “But who then has given you such a nasty blow, my poor boy?” Antonio was so refreshed and charged anew with vital energy that he had raised himself completely up; his eyes flashed, and he shook his doubled fist above his head, crying, “Oh! that rascal Nicolo; he tried to maim me, because he envies me every wretched penny that any generous hand bestows upon me. You know, old dame, that I barely managed to hold body and soul together by helping to carry bales of goods from ships and freight-boats to the dépôt of the Germans, the so-called Fontego of course you know the building” — Directly Antonio uttered the word Fontego, the old woman began to chuckle and laugh most abominably, and to mumble, “Fontego — Fontego — Fontego.” “Have done with your insane laughing if I am to go on with my story,” added Antonio angrily. At once the old woman grew quiet, and Antonio continued, “after a time I saved a little bit of money, and bought a new jerkin, so that I looked quite fine; and then I got enrolled amongst the gondoliers. As I was always in a blithe humour, worked hard, and knew a great many good songs, I soon earned a good deal more than the rest. This, however, awakened my comrades’ envy. They blackened my character to my master, so that he turned me adrift; and everywhere where I went or where I stood they cried after me, ‘German cur! Cursed heretic!’ Three days ago, as I was helping to unload a boat near St. Sebastian, they fell upon me with sticks and stones. I defended myself stoutly, but that malicious Nicolo dealt me a blow with his oar, which grazed my head and severely injured my arm, and knocked me on the ground. Ay, you’ve given me a good meal, old woman, and I am sure I feel that your salve has done my arm a world of good. See, I can already move it easily — now I shall be able to row bravely again.” Antonio had risen up from the ground, and was swinging his arm violently backwards and forwards, but the old woman again fell to chuckling and laughing loudly, whilst she hobbled round about him in the most extraordinary fashion — dancing with short tripping steps as it were — and she cried, “My son, my good boy, my good lad — row on bravely — he is coming — he is coming. The gold is shining red in the bright flames. Row on stoutly, row on; but only once more, only once more; and then never again.”

But Antonio was not paying the slightest heed to the old woman’s words, for the most splendid of spectacles was unfolding itself before his eyes. The Bucentaur, with the Lion of the Adriatic on her fluttering standard, was coming along from St. Clement’s to the measured stroke of the oars like a mighty winged golden swan. Surrounded by innumerable barcas and gondolas, and with her head proudly and boldly raised, she appeared like a princess commanding a triumphing army, that had emerged from the depths of the sea, wearing bright and gaily decked helmets. The evening sun was sending down his fiery rays upon the sea and upon Venice, so that everything appeared to have been plunged into a bath of blazing fire; but whilst Antonio, completely forgetful of all his unhappiness, was standing gazing with wonder and delight, the gleams of the sun grew more bloody and more bloody. The wind whistled shrilly and harshly, and a hollow threatening echo came rolling in from the open sea outside. Down burst the storm in the midst of black clouds, and enshrouded all in thick darkness, whilst the waves rose higher and higher, pouring in from the thundering sea like foaming hissing monsters, threatening to engulf everything. The gondolas and barcas were driven in all directions like scattered feathers. The Bucentaur, unable to resist the storm owing to its flat bottom, was yawing from side to side. Instead of the jubilant notes of trumpets and cornets, there was heard through the storm the anxious cries of those in distress.

Antonio gazed upon the scene like one stupefied, without sense and motion. But then there came a rattling of chains immediately in front of him; he looked down, and saw a little canoe, which was chained to the wall, and was being tossed up and down by the waves; and a thought entered his mind like a flash of lightning. He leaped into the canoe, unfastened it, seized the oar which he found in it, and pushed out boldly and confidently into the sea, directly towards the Bucentaur. The nearer he came to it the more distinctly could he hear shouts for help. “Here, here, come here — save the Doge, save the Doge.” It is well known that little fisher-canoes are safer and better to manage in the Lagune when it is stormy than are larger boats; and accordingly these little craft were hastening from all sides to the rescue of Marino Falieri’s invaluable person. But it is an invariable principle in life that the Eternal Power reserves every bold deed as a brilliant success to the one specially chosen for it, and hence all others have all their pains for nothing. And as on this occasion it was poor Antonio who was destined to achieve the rescue of the newly elected Doge, he alone succeeded in working his way on to the Bucentaur in his little insignificant fisher-canoe. Old Marino Falieri, familiar with such dangers, stepped firmly, without a moment’s hesitation, from the sumptuous but treacherous Bucentaur into poor Antonio’s little craft, which, gliding smoothly over the raging waves like a dolphin, brought him in a few minutes to St. Mark’s Square. The old man, his clothing saturated with wet, and with large drops of sea-spray in his grey beard, was conducted into the church, where the nobles with blanched faces concluded the ceremonies connected with the Doge’s public entry. But the people, as well as the seignory, confounded by this unfortunate contretemps, to which was also added the fact that the Doge, in the hurry and confusion, had been led between the two columns where common malefactors were generally executed, grew silent in the midst of their triumph, and thus the day that had begun in festive fashion ended in gloom and sadness.

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