Buch lesen: «Marie Tarnowska»
PREFATORY NOTE
On the morning of September 3rd, 1907, Count Paul Kamarowsky, a wealthy Russian nobleman, was fatally shot in his apartments on the Lido in Venice by an intimate friend, Nicolas Naumoff, son of the governor of Orel. The crime was at first believed to be political. The wounded man refused to make any statement against his assailant, whom he himself had assisted to escape from the balcony to a gondola in waiting below.
Count Kamarowsky was taken to a hospital, and for three days his recovery seemed assured; but the chief surgeon, in a sudden mental collapse—he has since died in an insane asylum—ordered the stitches to be removed from the fast-healing wounds, and Count Kamarowsky died in great agony a few hours later. His last words were a message of love to his betrothed at Kieff, a beautiful Russian woman, Countess Marie Tarnowska.
In her favor Count Kamarowsky had, shortly before his death, made a will and also insured his life for the sum of £20,000.
A number of telegrams from this lady were found addressed to a Russian lawyer, Donat Prilukoff, who had been staying at the Hotel Danieli in Venice until the day of the murder. Both this man and the Countess Tarnowska were arrested.
After a sensational trial they were found guilty of instigating the young Nicolas Naumoff to commit the murder. Countess Tarnowska was sentenced to eight years' imprisonment in the penitentiary of Trani; Prilukoff was condemned to ten years' penal servitude; while Naumoff himself was liberated in view of his having undergone two years' incarceration while awaiting his trial.
TO THE AUTHOR
Signora:
Not only as the medical expert for the defense at the trial of the Countess Tarnowska, but as one who has made it his life-work to investigate the relation in women between criminal impulse and morbid physical condition, I cannot but feel the keenest interest in this book, in which you set forth the problem of wide human interest presented by the case of the prisoner of Trani.
When first I suggested to you that you should write this book—which (apart from its interest as dealing with a cause célèbre whose protagonists are still living and well known in European society) might bring into wider knowledge doctrines that modern physiologists and psychologists are endeavoring to diffuse—you reminded me that the medical elements of the problem could not in such a work be discussed or even clearly stated. This, of course, is true, and the significance of certain indications scattered through these pages will doubtless be lost upon those who are not familiar with such matters. Nevertheless, it was important that the book should be written, for if after her release and appropriate medical treatment the Countess Tarnowska is restored, as many of us confidently anticipate, to the complete sanity of moral well-being, your book in the light of that essential fact will have fulfilled a notable mission.
It will have helped to bring home to the general consciousness the knowledge, hitherto confined to the scientific few, that moral obliquity in women is in most cases due to pathological causes comparatively easy of diagnosis and of cure; that a woman-criminal may be morally redeemed by being physically healed; and that just as alcoholism, typhus, pyemia or other modes of toxic infection may result in delirium and irresponsibility, so certain forms of disease in women, by setting up a condition of persistent organic poisoning, may and very often do conduce to mental and moral aberration and consequent crime.
Your book, Signora, contains a truthful exposition of a group of psychic values with which physicians and psychopathists are concerned, and I believe that eventually it will promote the realization that even in the darkest regions of moral degradation it is possible for science to raise the torch of hope. Thus, though appealing for the moment to the interest of the general reader, it will ultimately constitute a significant document in the history of the evolution of pathological science.
Genoa,
January 12th, 1915.
TO THE READER
This book is not written to plead Marie Tarnowska's cause. The strange Russian woman whose hand slew no man, but whose beauty drove those who loved her to commit murder for her sake, will soon have ended her eight years' captivity and will come forth into the world once more.
I have not sought in any way to minimize her guilt, or attenuate her responsibility for the sin and death that followed in her train. Though she must be held blameless for the boy Peter Tarnowsky's tragic fate and even for Dr. Stahl's suicide, yet Bozevsky's death, Naumoff's downfall and the murder of Count Kamarowsky will forever be laid at her door.
I have tried to convey to the cool, sober mind of the Anglo-Saxon reader—to whom much of this amazing story of passion and crime may appear almost incredible—that sequence of tragic events which brought Marie Nicolaevna to her ruin.
Weighted by a heritage of disease (her mother was a neurasthenic invalid and two of her aunts are even now confined in an insane asylum in Russia), she was married when still on the threshold of girlhood and swept into the maëlstrom of a wild life—a frenzied, almost hallucinated, existence such as is led by a certain section of the Russian aristocracy, whom self-indulgence drives to depths of degeneracy hardly to be realized by the outside world.
With the birth of her child, Tania, Marie Tarnowska's fragile health broke down completely, and the few years preceding the tragedy which led to her arrest were spent traveling through Europe in a feverish quest of health or at least of oblivion of her sufferings. According to such medical authorities as Redlich, Fenomenof, Rhein, Bossi, and many other eminent gynecologists and alienists, she is, and has been for some years past, suffering from a slow form of blood poisoning which affects the nervous centers and the brain, and which—as I myself had a painful opportunity of witnessing when I saw her in prison—causes periodic cataleptic seizures that imperil her life.
It was by one of her medical advisers, Professor Luigi Bossi, of the University of Genoa, that the idea of this book was first given to me.
“I was called as an expert for the defense at the Venice trial,” said the Professor, “and I was grieved and indignant at the heavy sentence inflicted upon this unhappy woman. Marie Tarnowska is not delinquent, but diseased; not a criminal, but an invalid; and her case, like that of many other female transgressors, is one for the surgeon's skill and the physician's compassionate care, not for the ruthless hand of the law. Indeed,” the illustrious Professor continued, “it is becoming more and more a recognized fact that many cases of criminality in woman have a physical, not a moral origin. By her very mission—maternity—woman is consecrated to pain; and whereas by nature she is a creature of gentleness and goodness, the effect of physical suffering, of ailments often unconfessed—nay, often unrealized by herself—is to transform her into a virago, a hypochondriac, or a criminal. Then our duty is to cure her, not to punish her.
“It may be merely a question,” he explained, “of a slight surgical intervention; sometimes even brief medical treatment is sufficient to save a woman's life and reason. The wider knowledge of this simple scientific fact in the social life of our time would redeem and rehabilitate thousands of unfortunate women who people the prisons and the madhouses of the world.
“As for the unhappy Countess Tarnowska,” added Professor Bossi, “the Venetian tribunal refused to regard her as a suffering human being, but flung her out of society like some venomous reptile. Read these notes that she wrote in prison,” he said, placing in my hand a book of almost illegible memoranda. “If they touch your heart, then do a deed of justice and generosity. Go to the penitentiary of Trani, see the prisoner yourself, and give her story to the world. So will you perform an act of humanity and beneficence by helping to diffuse a scientific truth in favor, not of this one woman alone, but of all women.”
After glancing through the strange human document he had given me I decided to do what he asked; for, indeed, from those poor, incoherent pages there seemed to rise the eternal cry of suffering womanhood—the anguished cry of those that perpetuate the gift of life—which no sister-soul can hear unmoved.
Thus it was that my mind was first directed to the theme of this book and that I undertook the task—fraught with almost insuperable difficulties—of breaking down official prohibitions and reaching the Russian captive in her distant Italian prison.
And now that I have been brought face to face with that strange and mournful figure, now that I have heard her story from her own pale lips, I am moved by the puissant impulse of art, which takes no heed of learned theory or ethical code, to narrate in these pages the profound impression made upon me by that tragic personality, by the story of that broken life.
I have endeavored to do so with faithfulness, exaggerating nothing, coloring nothing, extenuating nothing. It will be for the pontiffs of science and morals to achieve the more complex task of drawing conclusions and establishing theories that may one day diminish injustice and suffering in the world.
A. Vivanti Chartres.
I
Ed or, che Dio mi tolga la memoria.
Contessa Lara.
The verdant landscape of Tuscany swung past the train that carried me southward. The looped vineyards—like slim, green dancers holding hands—fled backwards as we passed, and the rays of the March sun pursued us, beating hotly through the open windows on the dusty red velvet cushions of the carriage.
Soon the train was throbbing and panting out of Pisa, and the barefooted children of the Roman Campagna stood to gaze after us, with eyes soft and wild under their sullen hair.
Since leaving the station of Genoa I had seen nothing of the fleeting springtide landscape; my gaze and thoughts were riveted on the pages of a copy-book which lay open on my knee—a simple school copy-book with innocent blue-lined sheets originally intended to contain the carefully labored scrawls of some childish hand. A blue ornamental flourish decked the front; and under the printed title, “Program of Lessons,” the words “History,” “Geography,” “Arithmetic,” were followed by a series of blank spaces for the hours to be filled in. Alas, for the tragic pupil to whom this book belonged, in what school of horror had she learned the lesson traced on these pages by her slim, white hand—the fair patrician hand which had known the weight of many jewels, the thrill of many caresses, and was now held fast in the merciless grip of captivity.
I turned the page: before me lay a flow of pale penciled words in a sloping handwriting. At every turn the flourish of some strange seignorial name met my eye: long Russian names of prince, of lover or of murderer. On every page was the convulsion of death or the paroxysm of passion; wine and morphia, chloral and cocaine surged across the pallid sheets, like the wash of a nightmare sea.
From the midst of those turbid billows—like some ineffable modern Aphrodite—rose the pale figure of Marie Nicolaevna Tarnowska.
The first words—traced by her trembling hand in the prison at Venice—are almost childish in their simplicity.
“When I was eight years old, I fell ill with measles and almost lost my eyesight. I wore blue spectacles. I was very happy. My mother loved me very much; so did my father. So did the servants. Everybody loved me very much.”
I pause in my reading, loth to proceed. I wish I could stop here with the little girl whom every one loved and who gazed out through her blue spectacles at a rose-colored world.
Ah! Marie Nicolaevna, had your luminous eyes remained for all time hidden behind those dim blue glasses, no one to-day would raise his voice in execration of you, nor call anathema upon your fair bowed head.
But when the little Russian countess was twelve years old an oculist from Kieff ordered that her eyes should be uncovered, and “Mura,” as her parents fondly called her, looked out upon the world with those clear light eyes that were one day to penetrate the darkest depths of crime.
I continue to read without stopping. The serried pages, scrawled feverishly and hurriedly in the cells of La Giudecca in defiance of prison rules, are in thin handwriting, with names and dates harshly underlined; but here and there whole sentences are struck out, as if the writer's memory wavered, or her feelings altered as she wrote.
Immediately, on the very first page, the bold figure of young Vassili Tarnowsky confronts us: the radiant, temerarious lover, who came to woo her in her marveling adolescence.
“His voice thrilled the heart like the tones of a violoncello; in his eyes were the lights of heaven, in his smile all the promises of love. I was already seventeen years old, and wise beyond my years. But, sagacious as I thought myself, I could never believe anything that was told me against Vassili. My eyes saw nothing but his beauty. On the twelfth day of April I ran away from home with him; and we were married in a little church far away on the desolate steppes. I never thought that life could hold such joy.”
But on the very next page we come face to face with the astounding list of Vassili's perfidies: a musical enumeration of feminine names which rings the knell of his child-wife's happiness. “I never thought,” writes Marie Tarnowska simply, “that life could hold such sorrow.”
Further on there are gaps and incoherences; here and there a passing efflorescence of literary phrase, or a sudden lapse into curt narrative, as if a wave of apathy had suddenly submerged the tragic heroine and left in her place only a passive narrator of fearful events. Now and then even a note of strident humor is struck, more poignant, more painful than pathos.
Ever and anon there appears throughout the funereal story—as if smiling out through the window of a charnel-house—the innocent face of a child: Tioka. He is all bright curls and laughter. Unaware of the carnage that surrounds him, he runs with light, quick feet through pools of blood to nestle in the gentle maternal breast which for him is all purity and tenderness.
········
As I read on and on the writing trembles and wavers, as if the hand and the heart of the writer wearied of their task. With a sudden break the sad story closes, unfinished, incomplete.
“If I could tell of the tears I have shed, if I could describe the anguish I have suffered, I am sure that pity would be shown to me. Surely if the world knew of my torment and my sufferings—”
Nothing more. Thus abruptly the tragic manuscript ends.
The train slackens speed, falters, shivers—stops. I am at Trani; at the furthermost end of Italy; almost beyond civilization; almost out of the world.
Soon I shall see before me the woman I have come so far to seek: the woman who never gave the gift of love without the gift of death.
The high white walls of the penitentiary glared down in the blazing southern sun. The languid Adriatic trailed its blue silken waters past the barred windows. I raised the heavy knocker; it fell from my hand with a reverberating clang, and the massive prison-door opened slowly before me.
The Mother Superior and two gentle-looking Sisters fluttered—black and white and timid as swallows—across the sunlit courtyard. They were expecting me.
“She whom you seek is in the chapel,” said the Mother Superior, in a low voice. “I will call her!” She left us. The two Sisters accompanied me up a broad stone staircase to a small waiting-room. Then they stood quietly beside me; and when I looked at them, they smiled.
In the silence that followed I could hear women's voices singing in the prison chapel, simple, untutored voices, clear and shrill:
“Kyrie eleison
Christe eleison…”
and the low notes of the organ rolled beneath the treble voices, full and deep;
“Mater purissima
Mater inviolata…”
“Number 315—that is the Countess Marie,” said one of the two Sisters, “plays the organ for the other prisoners. She plays every day at noon and evensong.”
“And at four o'clock in the morning,” added the other Sister.
(How far, how far away, Marie Nicolaevna, are the passionate days of Moscow, the glowing, unslept nights of Venice!)
“Rosa mystica
Stella matutina…”
Suddenly the music ceased and we stood waiting in the hot, white silence. Then the door opened, and on the threshold stood Marie Tarnowska—the murderess, the devastating spirit, the Erinnys.
II
Tall and motionless in her fearful striped dress she stood, gazing at me with proud clear eyes; her brow was calm and imperious under the humiliating prisoner's coif, and her long hands—those delicate hands whose caresses have driven men to commit murder for her sake—hung loosely at her side. Her mouth, curving and disdainful, trembled slightly.
“Signora,” I began. Her lips wavered into a faint smile as with a quick downward sweep of her eyelashes she indicated her dress of shame.
“Signora,” I repeated, “I have come here neither out of compassion nor curiosity.”
She was silent, waiting for me to proceed. The three nuns had seated themselves quietly near the wall, with eyes cast down and meek hands folded in their laps.
“I have come,” I continued, “to vindicate my sisters in your eyes. I know you think that all women are ruthless and unkind.”
Another smile, fleeting, vivid and intelligent, lit up her eyes. Then the narrow face closed and darkened again.
“For two years,” I proceeded, “I have been haunted by the thought that you, shut in this place, must be saying to yourself that all men are base and all women pitiless. As to the men—I cannot say. But I wish you to know that not all women are without pity.”
She was silent a few moments. Then in a weak voice she spoke:
“In the name of how many women do you bring this message to me?”
I smiled in my turn. “There are four of us,” I said, cheerfully. “Two Englishwomen, a Norwegian, who is deaf and dumb—and myself. The deaf and dumb one,” I added, “is really very intelligent.”
Marie Tarnowska laughed! It was a low, sudden trill of laughter, and she herself seemed startled at the unaccustomed sound. The Sisters turned to look at her with an air of gentle amazement.
But in my eyes Marie Tarnowska had ceased to be the murderess, the Erinnys. Through the criminal in her dress of shame I had caught a glimpse of the little girl in the blue spectacles, the happy little girl who felt that every one loved her. That lonely, tremulous trill of laughter astray on the tragic lips stirred me to the depths; and sudden tears filled my eyes.
Marie Tarnowska saw this, and turned pale. Then she sat down, unconsciously assuming the same chastened attitude as the Sisters, her hands submissively folded, her dark lashes cast down over her long light eyes. For some time there was silence.
“I have read your notes,” I said at last.
“My notes? I do not remember writing them.” Suddenly her voice sounded harsh and her glance flashed at me keen as a blade of steel.
“You wrote them in the prison at Venice, in pencil, in a child's exercise book.”
“It may be so.” Marie Tarnowska breathed a long sigh. “That was a time of dreams,” she said, raising her stricken eyes to mine. “I sometimes dream that this is all a dream. I think I must have fallen asleep one day when I was a little child, at home in Otrada—perhaps in our garden on the swing. I used often to fall asleep on that creaky old swing, reading a book, or looking at the sky. Perhaps I shall wake up soon, and find that none of all these dreadful things are true.” She fingered the broad brown-and-white stripes of her prison-garb and gazed round the dreary room. Then her eyes strayed from the whitewashed walls, bare except for a large ebony crucifix, to the narrow iron-barred window, and back to the Sisters sitting along the wall like a triptych of Renunciation, with folded hands and lips moving silently in their habitual prayer. “Yes, I shall wake up soon and find myself in our old garden again. My mother will come down the path and across the lawn, with her little white shawl on her head; she will call me: 'Mura! Mura! Where are you? Come, child, it is time for tea; and Vassili is asking for you.' Then I shall jump from the swing and run to her and hide my face on her breast. 'Mother, if you knew what a dream I have had—a terrible dream, all about deaths and murders! I thought I had married Vassili, and he was unkind to me—as if Vassili could be unkind!—and I was locked in a prison in Italy—imagine, mother, to be imprisoned in Italy, where people only go for their honeymoon!' And mother will kiss me and laugh at the crazy dream as we go across the lawn together, happily, arm in arm.”
I found no word to say, though her eyes seemed to question me; and her fragile voice spoke again: “Surely, this cannot all be true? It cannot be true that they are all dead. My mother? And little Peter? And Bozevsky? And Stahl? And Kamarowsky? Why, it is like—like 'Hamlet.'” She broke into strident laughter. “Do you remember how they all die in 'Hamlet'? One here, one there, one in the stream, one behind the curtain, drowned, stabbed, strangled—” Suddenly she was silent, looking straight before her with startled eyes.
“Poor Mura!” I murmured, and lightly touched her hand.
At the sound of the tender Russian appellative she turned to me quickly. Then she began speaking under her breath in hurried whispers.
“Who told you my name? Who are you? Are you my sister Olga? Do you remember the merry-go-round at the school-feast in Kieff? How we cried when it swung us round and round and round and would not stop? I seem to be still on the merry-go-round, rushing along, hastening, hurrying with the loud music pealing in my head.”
The Mother Superior rose and approached her. “Hush,” she spoke in soothing tones. “You will soon be quiet and at rest.”
But Marie Tarnowska paid no heed. Her eyes were still fixed on mine with a despairing gaze. “Wake me, wake me!” she cried. “And let me tell you my dream.”
And during those long mild April days she told it to me as follows.
Where shall I begin? Wait, let me think—ah, yes! Where I fell asleep that day in the garden, on the swing. I remember it was a hot day even in Otrada; almost as hot as it is here. And it was my birthday; I was sixteen years old. My mother herself, with great solemnity, in the presence of my father and sisters, had twisted up my long curling hair and pinned it in great waves and coils on the top of my head. There were to be no more long plaits hanging down my back!
“Your childhood is over, Mura,” said my mother. “At sixteen one has to look and behave like a grown-up young lady.”
“That is exactly what I am, mother dear,” I replied with great self-assurance.
My mother smiled and sighed and kissed me. “You are such a child—such a child still, my little snowdrop,” she said, and her eyes were tender and anxious.
But I ran gaily out into the garden, feeling very proud of my red-gold helmet of curls. I sprang fearlessly on the swing, tossing my head from side to side, delighted to feel the back of my neck cool and uncovered to the breeze. What would Vassili say to see me like this! But soon the hairpins felt heavy; they pulled a hair or two here, and a hair or two there, and hurt me. I stopped the swing, and with my head bent forward I quickly drew all the hairpins out and threw them on the ground.
The heavy coils of hair loosened, untwisted like a glittering snake, and fell all about me like a cloak of gold. I leaped upon the swing again and, standing, swung myself in wide flights through the clear air. What joy it was! As I flew forward my hair streamed out behind me like a flag, and in the backward sweep it floated all about my head in a whirling canopy of light.
I laughed and sang out loud to myself. How delightful was the world! How blissful to be alive and in the sunshine!
Suddenly Vassili appeared at the end of the path with my cousin, Prince Troubetzkoi. They were coming towards me arm in arm, smoking cigarettes and gazing at me. I felt shy of my loosened hair; I should have liked to jump down and run away, but the swing was flying too high and I could not stop it.
The two men looked at me with strange intent eyes, as no one had ever looked at me before. I felt a hot blush rise to my cheeks like a flame. Obeying a sudden, overmastering impulse I let go the ropes and covered my face with my hands. I heard a cry—did it come from me?—then everything whirled round me.... For an instant I saw the gravel path rise straight in front of me as if to strike me on the forehead. I threw myself back, something seemed to crash into the nape of my neck—and I remember no more.
