# The Marble Faun/Volume 1/On the Edge of a Precipice

CHAPTER XVIII.
ON THE EDGE OF A PRECIPICE.
"Let us settle it," said Kenyon, stamping his foot firmly down, "that this is precisely the spot where the chasm opened, into which Curtius precipitated his good steed and himself. Imagine the great, dusky gap, impenetrably deep, and with half-shaped monsters and hideous faces looming upward out of it, to the vast affright of the good citizens who peeped over the brim! There, now, is a subject, hitherto unthought of, for a grim and ghastly story, and, methinks, with a moral as deep as the gulf itself. Within it, beyond a question, there were prophetic visions—intimations of all the future calamities of Rome—shades of Goths, and Gauls, and even of the French soldiers of to-day. It was a pity to close it up so soon! I would give much for a peep into such a chasm."
"I fancy," remarked Miriam, "that every person takes a peep into it in moments of gloom and despondency; that is to say, in his moments of deepest insight."
"Where is it, then?" asked Hilda. "I never peeped into it."
"Wait, and it will open for you," replied her friend. ​"The chasm was merely one of the orifices of that pit of blackness that lies beneath us, everywhere. The firmest substance of human happiness is but a thin crust spread over it, with just reality enough to bear up the illusive stage scenery amid which we tread. It needs no earthquake to open the chasm. A footstep, a little heavier than ordinary, will serve; and we must step very daintily, not to break through the crust at any moment. By and by, we inevitably sink! It was a foolish piece of heroism in Curtius to precipitate himself there, in advance; for all Rome, you see, has been swallowed up in that gulf, in spite of him. The Palace of the Cæsars has gone down thither, with a hollow, rumbling sound of its fragments! All the temples have tumbled into it, and thousands of statues have been thrown after! All the armies and the triumphs have marched into the great chasm, with their martial music playing, as they stepped over the brink. All the heroes, the statesmen, and the poets! All piled upon poor Curtius, who thought to have saved them all! I am loath to smile at the self-conceit of that gallant horseman, but cannot well avoid it."
"It grieves me to hear you speak thus, Miriam," said Hilda, whose natural and cheerful piety was shocked by her friend's gloomy view of human destinies. "It seems to me that there is no chasm, nor any hideous emptiness under our feet, except what the evil within us digs. If there be such a chasm, let us bridge it over with good thoughts and deeds, and we shall tread safely to the other side. It was the guilt of Rome, no doubt, that caused this gulf to open; and Curtius filled it up with his heroic ​self-sacrifice and patriotism, which was the best virtue that the old Romans knew. Every wrong thing makes the gulf deeper; every right one helps to fill it up. As the evil of Rome was far more than its good, the whole commonwealth finally sank into it, indeed, but of no original necessity."
"Well, Hilda, it came to the same thing at last," answered Miriam despondingly.
"Doubtless, too," resumed the sculptor (for his imagination was greatly excited by the idea of this wondrous chasm), "all the blood that the Romans shed, whether on battlefields, or in the Coliseum, or on the cross,—in whatever public or private murder,—ran into this fatal gulf, and formed a mighty subterranean lake of gore, right beneath our feet. The blood from the thirty wounds in Cæsar's breast flowed hitherward, and that pure little rivulet from Virginia's bosom, too! Virginia, beyond all question, was stabbed by her father, precisely where we are standing."
"Then the spot is hallowed forever!" said Hilda.
"Is there such blessed potency in bloodshed?" asked Miriam. "Nay, Hilda, do not protest! I take your meaning rightly."
They again moved forward. And still, from the Forum and the Via Sacra, from beneath the arches of the Temple of Peace on one side, and the acclivity of the Palace of the Cæsars on the other, there arose singing voices of parties that were strolling through the moonlight. Thus, the air was full of kindred melodies that encountered one another, and twined themselves into a broad, vague ​music, out of which no single strain could be disentangled. These good examples, as well as the harmonious influences of the hour, incited our artist friends to make proof of their own vocal powers. With what skill and breath they had, they set up a choral strain,—"Hail, Columbia!" we believe,—which those old Roman echoes must have found it exceeding difficult to repeat aright. Even Hilda poured the slender sweetness of her note into her country's song. Miriam was at first silent, being perhaps unfamiliar with the air and burden. But, suddenly, she threw out such a swell and gush of sound, that it seemed to pervade the whole choir of other voices, and then to rise above them all, and become audible in what would else have been the silence of an upper region. That volume of melodious voice was one of the tokens of a great trouble. There had long been an impulse upon her—amounting, at last, to a necessity—to shriek aloud; but she had struggled against it, till the thunderous anthem gave her an opportunity to relieve her heart by a great cry.
They passed the solitary Column of Phocas, and looked down into the excavated space, where a confusion of pillars, arches, pavements, and shattered blocks and shafts—the crumbs of various ruins dropped from the devouring maw of Time—stand, or lie, at the base of the Capitoline Hill. That renowned hillock (for it is little more) now arose abruptly above them. The ponderous masonry, with which the hillside is built up, is as old as Rome itself, and looks likely to endure while the world retains any substance or permanence. It once sustained the Cap​itol, and now bears up the great pile which the mediæval builders raised on the antique foundation, and that still loftier tower, which looks abroad upon a larger page of deeper historic interest than any other scene can show. On the same pedestal of Roman masonry, other structures will doubtless rise, and vanish like ephemeral things.
To a spectator on the spot, it is remarkable that the events of Roman history, and Roman life itself, appear not so distant as the Gothic ages which succeeded them. We stand in the Forum, or on the height of the Capitol, and seem to see the Roman epoch close at hand. We forget that a chasm extends between it and ourselves, in which lie all those dark, rude, unlettered centuries, around the birth time of Christianity, as well as the age of chivalry and romance, the feudal system, and the infancy of a better civilization than that of Rome. Or, if we remember these mediæval times, they look further off than the Augustan age. The reason may be that the old Roman literature survives, and creates for us an intimacy with the classic ages, which we have no means of forming with the subsequent ones.
The Italian climate, moreover, robs age of its reverence and makes it look newer than it is. Not the Coliseum, nor the tombs of the Appian Way, nor the oldest pillar in the Forum, nor any other Roman ruin, be it as dilapidated as it may, ever gives the impression of venerable antiquity which we gather, along with the ivy, from the gray walls of an English abbey or castle. And yet every brick or stone, which we pick up among the former, ​had fallen ages before the foundation of the latter was begun. This is owing to the kindliness with which Nature takes an English ruin to her heart, covering it with ivy, as tenderly as Robin Redbreast covered the dead babes with forest leaves. She strives to make it a part of herself, gradually obliterating the handiwork of man, and supplanting it with her own mosses and trailing verdure, till she has won the whole structure back. But, in Italy, whenever man has once hewn a stone, Nature forthwith relinquishes her right to it, and never lays her finger on it again. Age after age finds it bare and naked, in the barren sunshine, and leaves it so. Besides this natural disadvantage, too, each succeeding century, in Rome, has done its best to ruin the very ruins, so far as their picturesque effect is concerned, by stealing away the marble and hewn stone, and leaving only yellow bricks, which never can look venerable.
The party ascended the winding way that leads from the Forum to the Piazza of the Campidoglio on the summit of the Capitoline Hill. They stood awhile to contemplate the bronze equestrian statue of Marcus Aurelius. The moonlight glistened upon traces of the gilding which had once covered both rider and steed; these were almost gone, but the aspect of dignity was still perfect, clothing the figure as it were with an imperial robe of light. It is the most majestic representation of the kingly character that ever the world has seen. A sight of the old heathen emperor is enough to create an evanescent sentiment of loyalty even in a democratic bosom, so august does he look, so fit to rule, so worthy of man's ​profoundest homage and obedience, so inevitably attractive of his love. He stretches forth his hand with an air of grand beneficence and unlimited authority, as if uttering a decree from which no appeal was permissible, but in which the obedient subject would find his highest interests consulted; a command that was in itself a benediction.
"The sculptor of this statue knew what a king should be," observed Kenyon, "and knew, likewise, the heart of mankind, and how it craves a true ruler, under whatever title, as a child its father."
"Oh, if there were but one such man as this!" exclaimed Miriam. "One such man in an age, and one in all the world; then how speedily would the strife, wickedness and sorrow of us poor creatures be relieved. We would come to him with our griefs, whatever they might be,—even a poor, frail woman burdened with her heavy heart,—and lay them at his feet, and never need to take them up again. The rightful king would see to all."
"What an idea of the regal office and duty!" said Kenyon, with a smile. "It is a woman's idea of the whole matter to perfection. It is Hilda's, too, no doubt?"
"No," answered the quiet Hilda; "I should never look for such assistance from an earthly king."
"Hilda, my religious Hilda," whispered Miriam, suddenly drawing the girl close to her, "do you know how it is with me? I would give all I have or hope—my life, oh how freely—for one instant of your trust in God! You little guess my need of it. You really think, then, that He sees and cares for us?"
​"Miriam, you frighten me."
"Hush, hush! do not let them hear you!" whispered Miriam. "I frighten you, you say; for Heaven's sake, how? Am I strange? is there anything wild in my behavior?"
"Only for that moment," replied Hilda, "because you seemed to doubt God's providence."
"We will talk of that another time," said her friend. "Just now it is very dark to me."
On the left of the Piazza of the Campidoglio, as you face cityward, and at the head of the long and stately flight of steps descending from the Capitoline Hill to the level of lower Rome, there is a narrow lane or passage. Into this the party of our friends now turned. The path ascended a little, and ran along under the walls of a palace, but soon passed through a gateway, and terminated in a small paved courtyard. It was bordered by a low parapet.
The spot, for some reason or other, impressed them as exceedingly lonely. On one side was the great height of the palace, with the moonshine falling over it, and showing all the windows barred and shuttered. Not a human eye could look down into the little courtyard, even if the seemingly deserted palace had a tenant. On all other sides of its narrow compass there was nothing but the parapet, which as it now appeared was built right on the edge of a steep precipice. Gazing from its imminent brow, the party beheld a crowded confusion of roofs spreading over the whole space between them and the line of hills that lay beyond the Tiber. A long misty ​wreath, just dense enough to catch a little of the moonshine, floated above the houses, midway towards the hilly line, and showed the course of the unseen river. Far away on the right, the moon gleamed on the dome of St. Peter's as well as on many lesser and nearer domes.
"What a beautiful view of the city!" exclaimed Hilda; "and I never saw Rome from this point before."
"It ought to afford a good prospect," said the sculptors "for it was from this point—at least we are at liberty to think so, if we choose—that many a famous Roman caught his last glimpse of his native city, and of all other earthly things. This is one of the sides of the Tarpeian Rock. Look over the parapet, and see what a sheer tumble there might still be for a traitor, in spite of the thirty feet of soil that have accumulated at the foot of the precipice."
They all bent over, and saw that the cliff fell perpendicularly downward to about the depth, or rather more, at which the tall palace rose in height above their heads. Not that it was still the natural, shaggy front of the original precipice; for it appeared to be cased in ancient stonework, through which the primeval rock showed its face here and there grimly and doubtfully. Mosses grew on the slight projections, and little shrubs sprouted out of the crevices, but could not much soften the stern aspect of the cliff. Brightly as the Italian moonlight fell a-down the height, it scarcely showed what portion of it was man's work, and what was nature's, but left it all in very much the same kind of ambiguity and half-knowledge in which antiquarians generally leave the identity of Roman remains.
​The roofs of some poor-looking houses, which had been built against the base and sides of the cliff, rose nearly midway to the top; but from an angle of the parapet there was a precipitous plunge straight downward into a stone-paved court.
"I prefer this to any other site as having been veritably the Traitors' Leap," said Kenyon, "because it was so convenient to the Capitol. It was an admirable idea of those stern old fellows to fling their political criminals down from the very summit on which stood the Senate House and Jove's Temple, emblems of the institutions which they sought to violate. It symbolizes how sudden was the fall in those days from the utmost height of ambition to its profoundest ruin."
"Come, come; it is midnight," cried another artist, "too late to be moralizing here. We are literally dreaming on the edge of a precipice. Let us go home."
"It is time, indeed," said Hilda.
The sculptor was not without hopes that he might be favored with the sweet charge of escorting Hilda to the foot of her tower. Accordingly, when the party prepared to turn back, he offered her his arm. Hilda at first accepted it but when they had partly threaded the passage between the little courtyard and the Piazza del Campidoglio, she discovered that Miriam had remained behind.
"I must go back," said she, withdrawing her arm from Kenyon's; "but pray do not come with me. Several times this evening I have had a fancy that Miriam had something on her mind, some sorrow or perplexity, which, perhaps, it would relieve her to tell me about. No, no; ​do not turn back! Donatello will be a sufficient guardian for Miriam and me."
The sculptor was a good deal mortified, and perhaps a little angry; but he knew Hilda's mood of gentle decision and independence too well not to obey her. He therefore suffered the fearless maiden to return alone.
Meanwhile, Miriam had not noticed the departure of the rest of the company; she remained on the edge of the precipice and Donatello along with her.
"It would be a fatal fall, still," she said to herself, looking over the parapet, and shuddering as her eye measured the depth. "Yes; surely yes! Even without the weight of an overburdened heart, a human body would fall heavily enough upon those stones to shake all its joints asunder. How soon it would be over!"
Donatello, of whose presence she was possibly not aware now pressed closer to her side; and he, too, like Miriam bent over the low parapet and trembled violently. Yet he seemed to feel that perilous fascination which haunts the brow of precipices, tempting the unwary one to fling himself over for the very horror of the thing, for, after drawing hastily back, he again looked down, thrusting himself out farther than before. He then stood silent a brief space, struggling, perhaps, to make himself conscious of the historic associations of the scene.
"What are you thinking of, Donatello?" asked Miriam.
"Who are they," said he, looking earnestly in her face, "who have been flung over here in days gone by?"
"Men that cumbered the world," she replied. "Men ​whose lives were the bane of their fellow-creatures. Men who poisoned the air, which is the common breath of all, for their own selfish purposes. There was short work with such men in old Roman times. Just in the moment of their triumph, a hand, as of an avenging giant, clutched them, and dashed the wretches down this precipice."
"Was it well done?" asked the young man.
"It was well done," answered Miriam; "innocent persons were saved by the destruction of a guilty one, who deserved his doom."
While this brief conversation passed, Donatello had once or twice glanced aside with a watchful air, just as a hound may often be seen to take sidelong note of some suspicious object, while he gives his more direct attention to something nearer at hand. Miriam seemed now first to become aware of the silence that had followed upon the cheerful talk and laughter of a few moments before.
Looking round, she perceived that all her company of merry friends had retired, and Hilda, too, in whose soft and quiet presence she had always an indescribable feeling of security. All gone; and only herself and Donatello left hanging over the brow of the ominous precipice.
Not so, however; not entirely alone! In the basement wall of the palace, shaded from the moon, there was a deep, empty niche, that had probably once contained a statue; not empty, either; for a figure now came forth from it and approached Miriam. She must have had cause to dread some unspeakable evil from this strange persecutor, and to know that this was the very crisis ​of her calamity; for, as he drew near, such a cold, sick despair crept over her, that it impeded her breath, and benumbed her natural promptitude of thought. Miriam seemed dreamily to remember falling on her knees; but, in her whole recollection of that wild moment, she beheld herself as in a dim show, and could not well distinguish what was done and suffered; no, not even whether she were really an actor and sufferer in the scene.
Hilda, meanwhile, had separated herself from the sculptor, and turned back to rejoin her friend. At a distance, she still heard the mirth of her late companions, who were going down the cityward descent of the Capitoline Hill; they had set up a new stave of melody, in which her own soft voice, as well as the powerful sweetness of Miriam's was sadly missed.
The door of the little courtyard had swung upon its hinges, and partly closed itself. Hilda (whose native gentleness pervaded all her movements) was quietly opening it, when she was startled, midway, by the noise of a struggle within, beginning and ending all in one breathless instant. Along with it, or closely succeeding it, was a loud, fearful cry which quivered upward through the air, and sank quivering downward to the earth. Then, a silence! Poor Hilda had looked into the courtyard, and saw the whole quick passage of a deed, which took but that little time to grave itself in the eternal adamant.
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