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Monte-Cristo's Daughter

<h1>Monte-Cristo's Daughter.</h1> <h3>By</h3> <h2>Edmund Flagg</h2> <h2>CHAPTER I.</h2> <h3>MONTE-CRISTO AND THE PRIMA DONNA.</h3> The Count of Monte-Cristo was in Rome. He had hired one of the numerous private palaces, the Palazzo Costi, situated on a broad thoroughfare near the point where the Ponte St. Angelo connects Rome proper with that transtiberine suburb known as the Leonine City or Trastavere. The impecunious Roman nobility were ever ready to let their palaces to titled foreigners of wealth, and Ali, acting for the Count, had experienced no difficulty in procuring for his master an abode that even a potentate might have envied him. It was a lofty, commodious edifice, built of white marble in antique architectural design, and commanded from its ample balconies a fine view of the Tiber and its western shore, upon which loomed[Pg 22] up that vast prison and citadel, the Castle of St. Angelo, and the largest palace in the world, the Vatican. The Count of Monte-Cristo had always liked Rome because of its picturesque, mysterious antiquity, but his present mission there had nothing whatever to do with his individual tastes. He had fixed himself for a time in the Eternal City that his daughter Zuleika, Haydée's[1] child, might finish her education at a famous convent school conducted under the auspices of the Sisterhood of the Sacred Heart. Zuleika was fifteen years of age, but looked much older, having the early maturity of the Greeks, whose ardent blood, on her dead mother's side, flowed in her youthful veins. She had attained her full height, and was tall and well-developed. She strongly resembled her mother, possessing brilliant beauty of the dreamy, voluptuous oriental type. Her hair was abundant and black as night. She had dark, flashing eyes, pearly teeth, full ruby lips and feet and hands that were of fairylike diminutiveness, as well as miracles of grace and dainty shapeliness. In temperament she was more like Haydée than the Count, though she possessed her father's quick decision and firmness, with the addition of much of his enthusiasm. The Palazzo Costi was magnificently furnished, so the Count had made no alterations in that respect, bringing with him only the family wardrobe and a[Pg 23] portion of his library, consisting mainly of oriental manuscripts written in weird, cabalistic characters and intelligible to no one but himself. The household was made up solely of the Count, his son Espérance,[2] his daughter Zuleika, the faithful Nubian mute Ali and five or six male and female domestics. Having no other object than his daughter's education, the Count wished to live in as thorough retirement as he could, but it was impossible for him to keep his presence a secret, and no sooner had it become known that he was in Rome than he was besieged by hosts of callers belonging to the highest nobility, mingled with whom came numerous patriots, disciples of the unfortunate Savonarola, distinguished for their firm devotion to the cause of Italian liberty. At an early hour of the morning upon which this narrative opens the Count of Monte-Cristo sat alone in a small apartment of the Palazzo Costi, which had been arranged as his study and in which his precious manuscripts were stored in closely locked cabinets. The Count had a copy of a Roman newspaper before him, and his eyes were fixed on a paragraph that seemed to have fascinated him as the serpent fascinates the bird. The paragraph read as follows: "Mlle. Louise d' Armilly, the famous prima donna, who will sing to-night at the Apollo Theatre her great rôle of Lucrezia Borgia, has, it appears, a deep impenetrable mystery surrounding her. She is French[Pg 24] by birth, and is said to be the daughter of a banker, who vanished under peculiar circumstances, but, as she positively declines to speak of her history, we can only give the rumors concerning her for what they are worth. M. Léon d' Armilly, brother of the prima donna, who supports her in Donizetti's opera, also refuses to be communicative. At any rate, the mere hint of the mystery has already caused quite a flutter of excitement in high society circles and that is sufficient to insure a crowded house." "Louise d' Armilly!" murmured the Count, half-audibly. "The name is familiar, certainly, though where I have seen or heard it before I cannot now recall. The lady is French by birth, the paper says, and that fact, at least, is a sufficient pretext for me to visit her. I will call on her as a fellow countryman, and the interview will demonstrate if she is known to me." The Count arose, went to his desk and, seating himself there, wrote the following brief epistle: "Edmond Dantès,[3] Count of Monte-Cristo, desires permission to call upon Mlle. Louise d' Armilly at ten o'clock this morning. In this desire M. Dantès is actuated solely by the wish to lay the homage of a Frenchman at the feet of so distinguished an artiste of his own nation as Mlle. d' Armilly." Having finished, sealed and addressed this note, the Count touched a bell which was immediately answered by the ever-watchful Nubian. [Pg 25] "Ali," said the Count, in the Arabic tongue, "take this letter to the Hôtel de France and wait for a reply." The faithful servant bowed almost to the floor, took the missive and departed. When he had gone, the Count walked the apartment with the long strides habitual to him at such times as he was engrossed by some all-powerful thought. "Surely," he muttered, "this artiste can in no way interest me personally, and yet I feel a subtile premonition that it would be wise in me to see her." He was still pacing the study when Ali returned. The Nubian's usually impassible face bore traces of excitement and horror. He prostrated himself at his master's feet and, with his visage pressed against the floor, held up his hand, presenting to the Count the identical letter of which he had been the bearer. "Why, how is this, Ali?" asked the Count, frowning. "My letter sent back without an answer. The seal has been broken, too. It must have been read." The mute slowly arose and began an eloquent pantomime which his master readily translated into words: "You went to the Hôtel de France and sent up the letter. In ten minutes it was returned to you by the lady's valet, who said all the answer the Count of Monte-Cristo deserved from his mistress was written on the back." Ali nodded his head in confirmation of his master's translation, looking as if he expected to be severely reprimanded for being the bearer of such an indignity. The Count, however, merely smiled. Curiosity rather[Pg 26] than anger predominated in him. He turned the letter over and read, scrawled in pencil in a woman's hand, the following brief and enigmatical but insulting communication: "Any Frenchman save the ignominious M. Dantès, the so-called Count of Monte-Cristo, would be welcome to Mlle. d' Armilly. That person she does not wish to see and will not." The Count was perplexed and also amused. The fervor of the prima donna made him smile. He certainly did not know her, certainly had never seen her. Why then was she so bitter against him? He could make nothing out of it. Was it possible her name was really as familiar to him as it had seemed? The irate artiste had surely heard of the Count of Monte-Cristo and, therefore, could not be mistaken in regard to his identity, but in what way could he have injured her or incurred her anger? The more he thought of the matter the more perplexed he grew. As he was debating within himself what action he ought to take, there was a knock at the door and a domestic entered, handing him a card upon which was inscribed: "Captain Joliette." "Ha!" cried Monte-Cristo, "he comes in time. He will aid me in solving this mystery." He motioned Ali from the study, and directed the valet who had brought the card to show the visitor up at once. In another instant Captain Joliette entered the room. The Count sprang forward to greet him. "Welcome, Captain," said he. "I have not seen[Pg 27] you since our stirring adventures in Algeria.[4] I hope you are well and happy. By the way, what are you doing, in Rome? I was not aware you were here." "I am here simply by chance," answered the young soldier, with a blush that belied his words. "I was in Italy on a little pleasure trip and naturally drifted to the Eternal City. I learned only this morning that you were installed at the Palazzo Costi and instantly hastened to pay my respects." When their cordial greetings were over and they were seated side by side upon a commodious sofa luxuriously upholstered in crimson silk, the Count said, abruptly: "Captain, did you ever hear of a French opera singer named Louise d' Armilly?" Again the young man colored deeply, a circumstance that did not escape the close observation of his companion, who instantly divined that the famous prima donna counted for more in the reasons that had brought the Captain to Rome than that gallant warrior was willing to admit. "Yes," stammered Joliette, "I have heard of her, and report says she is a remarkably charming lady as well as a great artiste." "Your tone is enthusiastic, my dear Captain," returned Monte-Cristo, smiling pleasantly. "Perhaps you are acquainted with Mlle. d' Armilly." "Well, to confess, Count," said Joliette, with a laugh, "I am acquainted with her, and, curiously[Pg 28] enough, part of my mission here to-day was to ask you to occupy a box at the performance of 'Lucrezia Borgia' this evening. Will you accept?" "With genuine delight," was Monte-Cristo's ready answer. "I desire to see this mysterious prima donna for more than one reason. In the first place, her name is dimly familiar to me, though I cannot remember where I ever heard it, and, in the second place, she flatly refused a visit from me no later than this morning." Joliette looked greatly surprised. "Refused a visit from you, Count! I would not believe it did I not hear it from your own lips. Mlle. d' Armilly must be mad! She surely cannot know what an honor it is to receive a visit from the Count of Monte-Cristo!" The Count smiled in his peculiar way, and handed the Captain Mlle. d' Armilly's singular reply to his note. The young man glanced at it in amazement, reading it again and again; finally he stammered out: "It is her handwriting, but what can she mean?" "That is exactly what I would like to know, and I see by your manner and words that you are powerless to enlighten me. Still, you can tell me who this Mlle. d' Armilly is, and that will in all probability furnish me with the key to her rather shabby treatment of me." "My dear Count, I am acquainted with the young lady, it is true, but, like yourself, I am in total ignorance so far as her history is concerned. She is French, that is evident, and she has gone so far as to[Pg 29] admit to me that Louise d' Armilly is only her professional name, but what her real name is she has more than once positively refused to disclose to me. She is equally reticent as to the rumors afloat regarding her. You are, doubtless, aware that she is reputed to be the daughter of a French banker who mysteriously disappeared. This she neither denies nor affirms; she merely maintains an obstinate silence whenever it is mentioned in her presence." "Your recital interests me greatly, Captain," said Monte-Cristo. "You are more privileged than myself in that you enjoy the acquaintance of this eccentric young lady, but she does not seem to repose a greater degree of confidence in you than in me, for she has told you absolutely nothing." "Well," said Joliette, "you will see her to-night, at any rate, despite her prohibition. She cannot keep you out of the theatre, for the box is purchased and here are the tickets." "But she will be angry with you, Captain," said the Count, slyly, "for bringing such an undesirable auditor. I had better go alone and occupy some obscure seat. I do not wish you to forfeit Mlle. d' Armilly's smiles for me." "Pshaw!" replied Joliette, "there is plainly some mistake. She does not know you, will not recognize you. She has certainly confounded you with some one else." "Perhaps so," said Monte-Cristo; "but women's memories are good, and I warn you that you are taking a grave risk." [Pg 30] "None whatever, I assure you. It is more than likely that, in answering your note as she did, Mlle. d' Armilly was influenced solely by caprice. If she should ask me after the performance who was my companion, I have only to give you a fictitious name and she will be none the wiser." That evening Captain Joliette and the Count of Monte-Cristo made their way through the dense throng in front of the Apollo Theatre, and were finally shown into a lower proscenium box commanding a full view of the stage. Monte-Cristo instinctively sought refuge behind the curtains and drapery of the box, where he could sit unobserved and yet be enabled to closely scrutinize the mysterious singer who appeared to have such an intense aversion for him. Although still early the house was already crowded in every part, and throngs were unable to gain even admission. The vast audience was made up chiefly of the best and most fashionable society in Rome. It included many of the highest nobility, who occupied the boxes they held for the season. Everywhere the bright colored, elegant toilets of the ladies met the eye, while the gentlemen were brilliant in fête attire. Fresh young faces and noble old visages were side by side, the beauty of youth and the impressiveness of age, and the male countenances were not less striking than those of the females. Truly, it was a grand assemblage, one that should delight the heart and flatter the vanity of even the most capricious of prima donnas. [Pg 31] At first there was a low hum of conversation throughout the theatre, together with preliminary visits from box to box, but the flutter began to subside as the musicians appeared, and by the time they were in their places in the orchestra absolute silence reigned. When the conductor made his appearance he was greeted with a burst of applause, which he gracefully acknowledged with a profound bow. Then he grasped his bâton, tapped lightly upon the rack in front of him, and the delightful overture to Donizetti's great work commenced. At its conclusion the curtain slowly rose and the opera began. Mlle. d' Armilly came forth in due course, and the house fairly rung with plaudits of welcome. She sang divinely and acted with consummate art, receiving loud encores for all her numbers. Monte-Cristo who was passionately fond of music, caught the prevailing enthusiasm and gradually emerged from the shelter of the protecting curtains and drapery. He had scanned Mlle. d' Armilly carefully through his opera-glass and was thoroughly convinced that she was a perfect stranger to him, although now and then a tone, a gesture or a movement of the body vaguely conveyed a sense of recognition of some tone, gesture or movement he had heard or seen somewhere before. The Count, however, reflected that all women possessed certain points of resemblance in voice and bearing; he, therefore, passed the present coincidences over as purely accidental, thinking no more of them. For a long while Mlle. d' Armilly did not glance at the box occupied by Captain Joliette and the Count[Pg 32] of Monte-Cristo,[5] and it was not until the former threw her a costly wreath of flowers that she turned her eyes in that direction. She was about bowing her acknowledgments, when her gaze rested upon the stately form of the Count. Instantly she paused in the centre of the stage, turned deadly pale beneath the paint of her make-up, and, with a loud scream, fell in a swoon. The curtain was at once rung down, and the director, stating that the prima donna had been seized with sudden and alarming indisposition, dismissed the audience. Captain Joliette rushed to Mlle. d' Armilly's dressing-room and the Count of Monte-Cristo wended his way back to the Palazzo Costi, utterly bewildered by what had taken place. <div class="footnotes"><h3>FOOTNOTES:</h3> <div class="footnote">[1] A full account of the life of Haydée, will be found in that great romance "The Wife of Monte-Cristo," published complete and unabridged by T. B. Peterson & Brothers, Philadelphia. </div> <div class="footnote">[2] A full account of his life and of Espérance's remarkable career will be found in that absorbing novel, "The Son of Monte-Cristo," published complete and unabridged by T. B. Peterson & Brothers, Philadelphia. </div> <div class="footnote">[3] For a full account of the life and career of "Edmond Dantès," one of the most powerful and thrilling novels ever issued, see "Edmond Dantès," published complete and unabridged by T. B. Peterson & Brothers, Philadelphia. </div> <div class="footnote">[4] See "The Son of Monte-Cristo," complete and unabridged edition, published by T. B. Peterson & Brothers, Philadelphia. </div> <div class="footnote">[5] For a full account of the life and remarkable career of "The Count of Monte-Cristo," Alexander Dumas' masterpiece, one of the greatest romances ever written, see the illustrated and unabridged edition of it, published by T. B. Peterson & Brothers, Philadelphia. </div> </div> <hr /> [Pg 33] <div style="break-after:column;"></div>

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