Part 3 - Chapter 72. The Last Silence

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_ Part Three: Chapter Seventy Two. The Last Silence

Romola had seemed to hear, as if they had been a cry, the words repeated to her by many lips--the words uttered by Savonarola when he took leave of those brethren of San Marco who had come to witness his signature of the confession: "Pray for me, for God has withdrawn from me the spirit of prophecy."

Those words had shaken her with new doubts as to the mode in which he looked back at the past in moments of complete self-possession. And the doubts were strengthened by more piteous things still, which soon reached her ears.

The nineteenth of May had come, and by that day's sunshine there had entered into Florence the two Papal Commissaries, charged with the completion of Savonarola's trial. They entered amid the acclamations of the people, calling for the death of the Frate. For now the popular cry was, "It is the Frate's deception that has brought on all our misfortunes; let him be burned, and all things right will be done, and our evils will cease."

The next day it is well certified that there was fresh and fresh torture of the shattered sensitive frame; and now, at the first sight of the horrible implements, Savonarola, in convulsed agitation, fell on his knees, and in brief passionate words retracted his confession, declared that he had spoken falsely in denying his prophetic gift, and that if he suffered, he would suffer for the truth--"The things that I have spoken, I had them from God."

But not the less the torture was laid upon him, and when he was under it he was asked why he had uttered those retracting words. Men were not demons in those days, and yet nothing but concessions of guilt were held a reason for release from torture. The answer came: "I said it that I might seem good; tear me no more, I will tell you the truth."

There were Florentine assessors at this new trial, and those words of twofold retraction had soon spread. They filled Romola with dismayed uncertainty.

"But,"--it flashed across her--"there will come a moment when he may speak. When there is no dread hanging over him but the dread of falsehood, when they have brought him into the presence of death, when he is lifted above the people, and looks on them for the last time, they cannot hinder him from speaking a last decisive word. I will be there."

Three days after, on the 23rd of May 1498, there was again a long narrow platform stretching across the great piazza, from the Palazzo Vecchio towards the Tetta de' Pisani. But there was no grove of fuel as before: instead of that, there was one great heap of fuel placed on the circular area which made the termination of the long narrow platform. And above this heap of fuel rose a gibbet with three halters on it; a gibbet which, having two arms, still looked so much like a cross as to make some beholders uncomfortable, though one arm had been truncated to avoid the resemblance.

On the marble terrace of the Palazzo were three tribunals; one near the door for the Bishop, who was to perform the ceremony of degradation on Fra Girolamo and the two brethren who were to suffer as his followers and accomplices; another for the Papal Commissaries, who were to pronounce them heretics and schismatics, and deliver them over to the secular arm; and a third, close to Marzocco, at the corner of the terrace where the platform began, for the Gonfaloniere, and the Eight who were to pronounce the sentence of death.

Again the Piazza was thronged with expectant faces: again there was to be a great fire kindled. In the majority of the crowd that pressed around the gibbet the expectation was that of ferocious hatred, or of mere hard curiosity to behold a barbarous sight. But there were still many spectators on the wide pavement, on the roofs, and at the windows, who, in the midst of their bitter grief and their own endurance of insult as hypocritical Piagnoni, were not without a lingering hope, even at this eleventh hour, that God would interpose, by some sign, to manifest their beloved prophet as His servant. And there were yet more who looked forward with trembling eagerness, as Romola did, to that final moment when Savonarola might say, "O people, I was innocent of deceit."

Romola was at a window on the north side of the Piazza, far away from the marble terrace where the tribunals stood; and near her, also looking on in painful doubt concerning the man who had won his early reverence, was a young Florentine of two-and-twenty, named Jacopo Nardi, afterwards to deserve honour as one of the very few who, feeling Fra Girolamo's eminence, have written about him with the simple desire to be veracious. He had said to Romola, with respectful gentleness, when he saw the struggle in her between her shuddering horror of the scene and her yearning to witness what might happen in the last moment--

"Madonna, there is no need for you to look at these cruel things. I will tell you when he comes out of the Palazzo. Trust to me; I know what you would see."

Romola covered her face, but the hootings that seemed to make the hideous scene still visible could not be shut out. At last her arm was touched, and she heard the words, "He comes." She looked towards the Palace, and could see Savonarola led out in his Dominican garb; could see him standing before the Bishop, and being stripped of the black mantle, the white scapulary and long white tunic, till he stood in a close woollen under-tunic, that told of no sacred office, no rank. He had been degraded, and cut off from the Church Militant.

The baser part of the multitude delight in degradations, apart from any hatred; it is the satire they best understand. There was a fresh hoot of triumph as the three degraded brethren passed on to the tribunal of the Papal Commissaries, who were to pronounce them schismatics and heretics. Did not the prophet look like a schismatic and heretic now? It is easy to believe in the damnable state of a man who stands stripped and degraded.

Then the third tribunal was passed--that of the Florentine officials who were to pronounce sentence, and amongst whom, even at her distance, Romola could discern the odious figure of Dolfo Spini, indued in the grave black lucco, as one of the Eight.

Then the three figures, in their close white raiment, trod their way along the platform, amidst yells and grating tones of insult.

"Cover your eyes, Madonna," said Jacopo Nardi; "Fra Girolamo will be the last."

It was not long before she had to uncover them again. Savonarola was there. He was not far off her now. He had mounted the steps; she could see him look round on the multitude.

But in the same moment expectation died, and she only saw what he was seeing--torches waving to kindle the fuel beneath his dead body, faces glaring with a yet worse light; she only heard what he was hearing-- gross jests, taunts, and curses.

The moment was past. Her face was covered again, and she only knew that Savonarola's voice had passed into eternal silence.

EPILOGUE.

On the evening of the 22nd of May 1509, five persons, of whose history we have known something, were seated in a handsome upper room opening on to a loggia which, at its right-hand corner, looked all along the Borgo Pinti, and over the city gate towards Fiesole and the solemn heights beyond it.

At one end of the room was an archway opening into a narrow inner room, hardly more than a recess, where the light fell from above on a small altar covered with fair white linen. Over the altar was a picture, discernible at the distance where the little party sat only as the small full-length portrait of a Dominican Brother. For it was shaded from the light above by overhanging branches and wreaths of flowers, and the fresh tapers below it were unlit. But it seemed that the decoration of the altar and its recess was not complete. For part of the floor was strewn with a confusion of flowers and green boughs, and among them sat a delicate blue-eyed girl of thirteen, tossing her long light-brown hair out of her eyes, as she made selections for the wreaths she was weaving, or looked up at her mother's work in the same kind, and told her how to do it with a little air of instruction.

For that mother was not very clever at weaving flowers or at any other work. Tessa's fingers had not become more adroit with the years--only very much fatter. She got on slowly and turned her head about a good deal, and asked Ninna's opinion with much deference; for Tessa never ceased to be astonished at the wisdom of her children. She still wore her contadina gown: it was only broader than the old one; and there was the silver pin in her rough curly brown hair, and round her neck the memorable necklace, with a red cord under it, that ended mysteriously in her bosom. Her rounded face wore even a more perfect look of childish content than in her younger days: everybody was so good in the world, Tessa thought; even Monna Brigida never found fault with her now, and did little else than sleep, which was an amiable practice in everybody, and one that Tessa liked for herself.

Monna Brigida was asleep at this moment, in a straight-backed arm-chair, a couple of yards off. Her hair, parting backward under her black hood, had that soft whiteness which is not like snow or anything else, but is simply the lovely whiteness of aged hair. Her chin had sunk on her bosom, and her hands rested on the elbow of her chair. She had not been weaving flowers or doing anything else: she had only been looking on as usual, and as usual had fallen asleep.

The other two figures were seated farther off, at the wide doorway that opened on to the loggia. Lillo sat on the ground with his back against the angle of the door-post, and his long legs stretched out, while he held a large book open on his knee, and occasionally made a dash with his hand at an inquisitive fly, with an air of interest stronger than that excited by the finely-printed copy of Petrarch which he kept open at one place, as if he were learning something by heart.

Romola sat nearly opposite Lillo, but she was not observing him. Her hands were crossed on her lap and her eyes were fixed absently on the distant mountains: she was evidently unconscious of anything around her. An eager life had left its marks upon her: the finely-moulded cheek had sunk a little, the golden crown was less massive; but there was a placidity in Romola's face which had never belonged to it in youth. It is but once that we can know our worst sorrows, and Romola had known them while life was new.

Absorbed in this way, she was not at first aware that Lillo had ceased to look at his book, and was watching her with a slightly impatient air, which meant that he wanted to talk to her, but was not quite sure whether she would like that entertainment just now. But persevering looks make themselves felt at last. Romola did presently turn away her eyes from the distance and met Lillo's impatient dark gaze with a brighter and brighter smile. He shuffled along the floor, still keeping the book on his lap, till he got close to her and lodged his chin on her knee.

"What is it, Lillo?" said Romola, pulling his hair back from his brow. Lillo was a handsome lad, but his features were turning out to be more massive and less regular than his father's. The blood of the Tuscan peasant was in his veins.

"Mamma. Romola, what am I to be?" he said, well contented that there was a prospect of talking till it would be too late to con "Spirto gentil" any longer.

"What should you like to be, Lillo? You might be a scholar. My father was a scholar, you know, and taught me a great deal. That is the reason why I can teach you."

"Yes," said Lillo, rather hesitatingly. "But he is old and blind in the picture. Did he get a great deal of glory?"

"Not much, Lillo. The world was not always very kind to him, and he saw meaner men than himself put into higher places, because they could flatter and say what was false. And then his dear son thought it right to leave him and become a monk; and after that, my father, being blind and lonely, felt unable to do the things that would have made his learning of greater use to men, so that he might still have lived in his works after he was in his grave."

"I should not like that sort of life," said Lillo. "I should like to be something that would make me a great man, and very happy besides-- something that would not hinder me from having a good deal of pleasure."

"That is not easy, my Lillo. It is only a poor sort of happiness that could ever come by caring very much about our own narrow pleasures. We can only have the highest happiness, such as goes along with being a great man, by having wide thoughts, and much feeling for the rest of the world as well as ourselves; and this sort of happiness often brings so much pain with it, that we can only tell it from pain by its being what we would choose before everything else, because our souls see it is good. There are so many things wrong and difficult in the world, that no man can be great--he can hardly keep himself from wickedness--unless he gives up thinking much about pleasure or rewards, and gets strength to endure what is hard and painful. My father had the greatness that belongs to integrity; he chose poverty and obscurity rather than falsehood. And there was Fra Girolamo--you know why I keep to-morrow sacred: he had the greatness which belongs to a life spent in struggling against powerful wrong, and in trying to raise men to the highest deeds they are capable of. And so, my Lillo, if you mean to act nobly and seek to know the best things God has put within reach of men, you must learn to fix your mind on that end, and not on what will happen to you because of it. And remember, if you were to choose something lower, and make it the rule of your life to seek your own pleasure and escape from what is disagreeable, calamity might come just the same; and it would be calamity falling on a base mind, which, is the one form of sorrow that has no balm in it, and that may well make a man say,--'It would have been better for me if I had never been born,' I will tell you something, Lillo."

Romola paused for a moment. She had taken Lillo's cheeks between her hands, and his young eyes were meeting hers.

"There was a man to whom I was very near, so that I could see a great deal of his life, who made almost every one fond of him, for he was young, and clever, and beautiful, and his manners to all were gentle and kind, I believe, when I first knew him, he never thought of anything cruel or base. But because he tried to slip away from everything that was unpleasant, and cared for nothing else so much as his own safety, he came at last to commit some of the basest deeds--such as make men infamous. He denied his father, and left him to misery; he betrayed every trust that was reposed in him, that he might keep himself safe and get rich and prosperous. Yet calamity overtook him."

Again Romola paused. Her voice was unsteady, and Lillo was looking up at her with awed wonder.

"Another time, my Lillo--I will tell you another time. See, there are our old Piero di Cosimo and Nello coming up the Borgo Pinti, bringing us their flowers. Let us go and wave our hands to them, that they may know we see them."

"How queer old Piero is!" said Lillo as they stood at the corner of the loggia, watching the advancing figures. "He abuses you for dressing the altar, and thinking so much of Fra Girolamo, and yet he brings you the flowers."

"Never mind," said Romola. "There are many good people who did not love Fra Girolamo. Perhaps I should never have learned to love him if he had not helped me when I was in great need."

[THE END]
George Eliot's Novel: Romola

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