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Balsamo the magician
Dumas, Alexandre
Synopsis "Balsamo the magician"
Balsamo The Magician is a novel by Alexandre Dumas, inspired by the life and personality of Count Cagliostro. This is the first part of a series entitled "Memoirs of a doctor" which continues with The Queen's Necklace, Pitou and La Comtesse de Charny. The history of the actual Count Cagliostro, an Italian adventurer and occultist, is shrouded in rumour, propaganda, and mysticism. He is said to have played some part in the Affair of the Diamond Necklace which involved Marie Antoinette and Prince Louis de Rohan, and was held in the Bastille for nine months but finally acquitted, when no evidence could be found connecting him to the affair. Alexandre Dumas used Cagliostro in several of his novels, especially in Balsamo The Magician. CHAPTER I. THE GRAND MASTER OF THE SECRET SOCIETY. On the left bank of the Rhine, near the spot where the Selz rivulet springs forth, the foothill ranges rise of many mountains, of which the bristling humps seem to rush northerly like herds of frightened buffaloes, disappearing in the haze. These mountains tower over a deserted region, forming a guard around one more lofty than the rest, whose granite brow, crowned with a ruined monastery, defies the skies. It is Thunder Mount. On the sixth of May, 1770, as the great river wavelets were dyed in the rainbow hues of the setting sun, a man who had ridden from Maintz, after a journey through Poland, followed the path out of Danenfels Village until it ended, and, then, alighting and leading his steed, tied it up in the pine woods. "Be quiet, my good Djerid (javelin)," said the horseman to the animal with this Arabian name which bespoke its blood, and its speed; "and good-bye, if we never meet again." He cast a glance round him as if he suspected he were overheard. The barb neighed and pawed with one foot. "Right, Djerid, the danger is around us." But as if he had made up his mind not to struggle with it, the venturesome stranger drew the charges from a pair of splendid pistols and cast the powder and bullets on the sward before replacing them in the holsters. He wore a steel-hilted sword which he took off with the belt, and fastened it to the stirrup leather so as to hang from the saddle-horn point down. These odd formalities being done, he ungloved, and searching his pockets produced nail-scissors and pocket-knife, which he flung over his shoulder without looking to see whither they went. Drawing the longest possible breath, he plunged at random into the thicket, for there was no trace of a path. He was a man about thirty, taller than the average, but so wonderfully well built that the utmost strength and skill seemed to circulate in his supple and nervy limbs. He wore a black velvet overcoat with gilt buttons; the flaps of an embroidered waistcoat showed below its lowest buttons, and the buckskin riding breeches defined legs worthy to be a sculptor's models; the elegant feet were cased in patent leather boots. His countenance was a notable mixture of power and intelligence, with all the play of Southern races; his glance, able to display any emotion, seemed to pierce any one on whom it fell with beams that sounded the very soul. His cheeks had been browned by a sun hotter than that of France. His mouth was large but finely shaped, and parted to reveal magnificent teeth, all the whiter from his dark complexion. His hand was small but muscular; his foot long but fine. Scarcely had he taken a dozen steps within the glade before he heard faint footsteps. He rose on tiptoe and perceived that unseen hands had unhitched Djerid and were leading him away. He frowned slightly, and a faint smile curled his full cheeks and choicely chiseled lips. He continued into the heart of the forest. For a space the twilight guided him, but soon that died out, and he stood in gloom so dense that he had to stop lest he blundered blindly.
(1802-1870) fue una figura dominante en la escena literaria del siglo XIX francés. Autor de novelas inolvidables, como El conde de Montecristo, Los tres mosqueteros, Veinte años después, El tulipán negro, La reina Margot o La guerra de las mujeres, su literatura de corte novelesco continúa viva en nuestro tiempo. Sus novelas se reeditan sin cesar y sus historias son adaptadas una y otra vez por la industria cinematográfica.
