Bellarion the Fortunate
By Rafael Sabatini.
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Book I
I
The Threshold
“Half god, half beast,” the Princess Valeria once described him, without suspecting that the phrase describes not merely Bellarion, but Man.
Aware of this, the anonymous chronicler who has preserved it for us goes on to comment that the Princess said at once too much and too little. He makes phrases in his turn—which I will spare you—and seeks to prove, that, if the moieties of divinity and beastliness are equally balanced in a man, that man will be neither good nor bad. Then he passes on to show us a certain poor swineherd, who rose to ultimate eminence, in whom the godly part so far predominated that naught else was humanly discernible, and a great prince—of whom more will be heard in the course of this narrative—who was just as the beasts that perish, without any spark of divinity to exalt him. These are the extremes. For each of the dozen or so intermediate stages which he discerns, our chronicler has a portrait out of history, of which his learning appears to be considerable.
From this, from his general manner, from the fact that most of his illustrations are supplied by Florentine sources, and from the austerely elegant Tuscan language in which he writes, a fairly definite conclusion is possible on the score of his identity. It is more than probable that this study of Bellarion the Fortunate (Bellarione Il Fortunato) belongs to that series of historical portraits from the pen of Niccolò Macchiavelli, of which “The Life of Castruccio Castracane” is perhaps the most widely known. Research, however, fails to discover the source from which he draws. Whilst many of his facts agree completely with those contained in the voluminous, monkish Vita et Gesta Bellarionis, left us by Fra Serafino of Imola, whoever he may have been, yet discrepancies are frequent and irreconcilable.
Thus, at the very outset, on the score of his name, Macchiavelli (to cling to my assumption) tells us that he was called Bellarion not merely because he was a man of war, but because he was the very child of War, born as it were out of the very womb of conflict—“e di guerra propriamente partorito.” The use of this metaphor reveals a full acquaintance with the tale of the child’s being plucked from the midst of strife and alarums. But Fra Serafino’s account of the name is the only one that fits into the known facts. That this name should have been so descriptive of Bellarion’s after life merely provides one of those curious instances of homonymy in which history abounds.
Continuing his comments upon the Princess Valeria’s phrase, Macchiavelli states that Bellarion’s is not a nature thus to be packed into a sentence. Because of his perception of this fact, he wrote his biographical sketch. Because of my perception of it, I have embarked upon this fuller narrative.
I choose to begin at a point where Bellarion himself may be said to make a certain beginning. I select the moment when he is to be seen standing upon the threshold of the secular world, known to him until that moment only from the writings of other men, yet better known to him thus than it is to many who have lived a lifetime among their fellows.
