After Dark Part 25

According to Monbrun's own account, he had married poor Rosamond purely for love; and the probabilities certainly are, that the pretty, innocent English girl had really struck the villain's fancy for the time; and that the easy, quiet life he was leading at the Grange pleased him, by contrast with his perilous and vagabond existence of former days. What might have happened if he had had time enough to grow wearied of his ill-fated wife and his English home, it is now useless to inquire. What really did happen on the morning when he awoke after the flight of Ida and her sister can be briefly told.

As soon as his eyes opened they rested on the police agent, sitting quietly by the bedside, with a loaded pistol in his hand. Monbrun knew immediately that he was discovered; but he never for an instant lost the self-possession for which he was famous. He said he wished to have five minutes allowed him to deliberate quietly in bed, whether he should resist the French authorities on English ground, and so gain time by obliging the one Government to apply specially to have him delivered up by the other--or whether he should accept the terms officially offered to him by the agent, if he quietly allowed himself to be captured.

He chose the latter course--it was suspected, because he wished to communicate personally with some of his convict a.s.sociates in France, whose fraudulent gains were in his keeping, and because he felt boastfully confident of being able to escape again, whenever he pleased.

Be his secret motives, however, what they might, he allowed the agent to conduct him peaceably from the Grange; first writing a farewell letter to poor Rosamond, full of heartless French sentiment and glib sophistries about Fate and Society. His own fate was not long in overtaking him. He attempted to escape again, as it had been expected he would, and was shot by the sentinel on duty at the time. I remember hearing that the bullet entered his head and killed him on the spot.

My story is done. It is ten years now since Rosamond was buried in the churchyard yonder; and it is ten years also since Miss Welwyn returned to be the lonely inhabitant of Glenwith Grange. She now lives but in the remembrances that it calls up before her of her happier existence of former days. There is hardly an object in the old house which does not tenderly and solemnly remind her of the mother, whose last wishes she lived to obey; of the sister, whose happiness was once her dearest earthly care. Those prints that you noticed on the library walls Rosamond used to copy in the past time, when her pencil was often guided by Ida's hand. Those music-books that you were looking over, she and her mother have played from together through many a long and quiet summer's evening. She has no ties now to bind her to the present but the poor child whose affliction it is her constant effort to lighten, and the little peasant population around her, whose humble cares and wants and sorrows she is always ready to relieve. Far and near her modest charities have penetrated among us; and far and near she is heartily beloved and blessed in many a laborer's household. There is no poor man's hearth, not in this village only, but for miles away from it as well, at which you would not be received with the welcome given to an old friend, if you only told the cottagers that you knew the Lady of Glenwith Grange!

PROLOGUE TO THE FIFTH STORY.

The next piece of work which occupied my attention after taking leave of Mr. Garthwaite, offered the strongest possible contrast to the task which had last engaged me. Fresh from painting a bull at a farmhouse, I set forth to copy a Holy Family, by Correggio, at a convent of nuns.

People who go to the Royal Academy Exhibition, and see pictures by famous artists, painted year after year in the same marked style which first made them celebrated, would be amazed indeed if they knew what a Jack-of-all-trades a poor painter must become before he can gain his daily bread.

The picture by Correggio which I was now commissioned to copy had been lent to the nuns by a Catholic gentleman of fortune, who prized it as the gem of his collection, and who had never before trusted it out of his own hands. My copy, when completed, was to be placed over the high altar of the convent chapel; and my work throughout its progress was to be pursued entirely in the parlor of the nunnery, and always in the watchful presence of one or other of the inmates of the house. It was only on such conditions that the owner of the Correggio was willing to trust his treasure out of his own hands, and to suffer it to be copied by a stranger. The restrictions he imposed, which I thought sufficiently absurd, and perhaps offensively suspicious as well, were communicated to me politely enough before I was allowed to undertake the commission.

Unless I was inclined to submit to precautionary regulations which would affect any other artist exactly as they affected me, I was told not to think of offering to make the copy; and the nuns would then address themselves to some other person in my profession. After a day's consideration, I submitted to the restrictions, by my wife's advice, and saved the nuns the trouble of making application for a copier of Correggio in any other quarter.

I found the convent was charmingly situated in a quiet little valley in the West of England. The parlor in which I was to paint was a large, well-lighted apartment; and the village inn, about half a mile off, afforded me cheap and excellent quarters for the night. Thus far, therefore, there was nothing to complain of. As for the picture, which was the next object of interest to me, I was surprised to find that the copying of it would be by no means so difficult a task as I had antic.i.p.ated. I am rather of a revolutionary spirit in matters of art, and am bold enough to think that the old masters have their faults as well as their beauties. I can give my opinion, therefore, on the Correggio at the convent independently at least. Looked at technically, the picture was a fine specimen of coloring and execution; but looked at for the higher merits of delicacy, elevation, and feeling for the subject, it deserved copying as little as the most commonplace work that any unlucky modern artist ever produced. The faces of the Holy Family not only failed to display the right purity and tenderness of expression, but absolutely failed to present any expression at all. It is flat heresy to say so, but the valuable Correggio was nevertheless emphatically, and, in so many words, a very uninteresting picture.

So much for the convent and the work that I was to do in it. My next anxiety was to see how the restrictions imposed on me were to be carried out. The first day, the Mother Superior herself mounted guard in the parlor--a stern, silent, fanatical-looking woman, who seemed determined to awe me and make me uncomfortable, and who succeeded thoroughly in the execution of her purpose. The second day she was relieved by the officiating priest of the convent--a mild, melancholy, gentleman-like man, with whom I got on tolerably well. The third day, I had for overlooker the portress of the house--a dirty, dismal, deaf, old woman, who did nothing but knit stockings and chew orris-root. The fourth day, a middle-aged nun, whom I heard addressed as Mother Martha, occupied the post of guardian to the precious Correggio; and with her the number of my overlookers terminated. She, and the portress, and the priest, and the Mother Superior, relieved each other with military regularity, until I had put the last touch to my copy. I found them ready for me every morning on entering the parlor, and I left them in the chair of observation every evening on quitting it. As for any young and beautiful nuns who might have been in the building, I never so much as set eyes on the ends of their veils. From the door to the parlor, and from the parlor to the door, comprised the whole of my experience of the inside of the convent.

The only one of my superintending companions with whom I established anything like a familiar acquaintance was Mother Martha. She had no outward attractions to recommend her; but she was simple, good-humored, ready to gossip, and inquisitive to a perfectly incredible degree. Her whole life had been pa.s.sed in the nunnery; she was thoroughly accustomed to her seclusion, thoroughly content with the monotonous round of her occupations; not at all anxious to see the world for herself; but, on the other hand, insatiably curious to know all about it from others.

There was no question connected with myself, my wife, my children, my friends, my profession, my income, my travels, my favorite amus.e.m.e.nts, and even my favorite sins, which a woman could ask a man, that Mother Martha did not, in the smallest and softest of voices, ask of me. Though an intelligent, well-informed person in all that related to her own special vocation, she was a perfect child in everything else. I constantly caught myself talking to her, just as I should have talked at home to one of my own little girls.

I hope no one will think that, in expressing myself thus, I am writing disparagingly of the poor nun. On two accounts, I shall always feel compa.s.sionately and gratefully toward Mother Martha. She was the only person in the convent who seemed sincerely anxious to make her presence in the parlor as agreeable to me as possible; and she good-humoredly told me the story which it is my object in these pages to introduce to the reader. In both ways I am deeply indebted to her; and I hope always to remember the obligation.

The circ.u.mstances under which the story came to be related to me may be told in very few words.

The interior of a convent parlor being a complete novelty to me, I looked around with some interest on first entering my painting-room at the nunnery. There was but little in it to excite the curiosity of any one. The floor was covered with common matting, and the ceiling with plain whitewash. The furniture was of the simplest kind; a low chair with a praying-desk fixed to the back, and a finely carved oak book-case, studded all over with bra.s.s crosses, being the only useful objects that I could discern which had any conventional character about them. As for the ornaments of the room, they were entirely beyond my appreciation. I could feel no interest in the colored prints of saints, with gold platters at the backs of their heads, that hung on the wall; and I could see nothing particularly impressive in the two plain little alabaster pots for holy water, fastened, one near the door, the other over the chimney-piece. The only object, indeed, in the whole room which in the slightest degree attracted my curiosity was an old worm-eaten wooden cross, made in the rudest manner, hanging by itself on a slip of wall between two windows. It was so strangely rough and misshapen a thing to exhibit prominently in a neat room, that I suspected some history must be attached to it, and resolved to speak to my friend the nun about it at the earliest opportunity.

"Mother Martha," said I, taking advantage of the first pause in the succession of quaintly innocent questions which she was as usual addressing to me, "I have been looking at that rough old cross hanging between the windows, and fancying that it must surely be some curiosity--"

"Hush! hush!" exclaimed the nun, "you must not speak of that as a 'curiosity'; the Mother Superior calls it a Relic."

"I beg your pardon," said I; "I ought to have chosen my expressions more carefully--"

"Not," interposed Mother Martha, nodding to show me that my apology need not be finished--"not that it is exactly a relic in the strict Catholic sense of the word; but there were circ.u.mstances in the life of the person who made it--" Here she stopped, and looked at me doubtfully.

"Circ.u.mstances, perhaps, which it is not considered advisable to communicate to strangers," I suggested.

"Oh, no!" answered the nun, "I never heard that they were to be kept a secret. They were not told as a secret to me."

"Then you know all about them?" I asked.

"Certainly. I could tell you the whole history of the wooden cross; but it is all about Catholics, and you are a Protestant."

"That, Mother Martha, does not make it at all less interesting to me."

"Does it not, indeed?" exclaimed the nun, innocently. "What a strange man you are! and what a remarkable religion yours must be! What do your priests say about ours? Are they learned men, your priests?"

I felt that my chance of hearing Mother Martha's story would be a poor one indeed, if I allowed her to begin a fresh string of questions.

Accordingly, I dismissed the inquiries about the clergy of the Established Church with the most irreverent briefness, and recalled her attention forthwith to the subject of the wooden cross.

"Yes, yes," said the good-natured nun; "surely you shall hear all I can tell you about it; but--" she hesitated timidly, "but I must ask the Mother Superior's leave first."

Saying these words, she summoned the portress, to my great amus.e.m.e.nt, to keep guard over the inestimable Correggio in her absence, and left the room. In less than five minutes she came back, looking quite happy and important in her innocent way.

"The Mother Superior," she said, "has given me leave to tell all I know about the wooden cross. She says it may do you good, and improve your Protestant opinion of us Catholics."

I expressed myself as being both willing and anxious to profit by what I heard; and the nun began her narrative immediately.

She related it in her own simple, earnest, minute way; dwelling as long on small particulars as on important incidents; and making moral reflections for my benefit at every place where it was possible to introduce them. In spite, however, of these drawbacks in the telling of it, the story interested and impressed me in no ordinary degree; and I now purpose putting the events of it together as skillfully and strikingly as I can, in the hope that this written version of the narrative may appeal as strongly to the reader's sympathies as the spoken version did to mine.

THE NUN'S STORY OF GABRIEL'S MARRIAGE

CHAPTER I.

One night, during the period of the first French Revolution, the family of Francois Sarzeau, a fisherman of Brittany, were all waking and watching at a late hour in their cottage on the peninsula of Quiberon.

Francois had gone out in his boat that evening, as usual, to fish.

Shortly after his departure, the wind had risen, the clouds had gathered; and the storm, which had been threatening at intervals throughout the whole day, burst forth furiously about nine o'clock.

It was now eleven; and the raging of the wind over the barren, heathy peninsula still seemed to increase with each fresh blast that tore its way out upon the open sea; the crashing of the waves on the beach was awful to hear; the dreary blackness of the sky terrible to behold. The longer they listened to the storm, the oftener they looked out at it, the fainter grew the hopes which the fisherman's family still strove to cherish for the safety of Francois Sarzeau and of his younger son who had gone with him in the boat.

There was something impressive in the simplicity of the scene that was now pa.s.sing within the cottage.

On one side of the great, rugged, black fire-place crouched two little girls; the younger half asleep, with her head in her sister's lap. These were the daughters of the fisherman; and opposite to them sat their eldest brother, Gabriel. His right arm had been badly wounded in a recent encounter at the national game of the _Soule_, a sport resembling our English foot-ball; but played on both sides in such savage earnest by the people of Brittany as to end always in bloodshed, often in mutilation, sometimes even in loss of life. On the same bench with Gabriel sat his betrothed wife--a girl of eighteen--clothed in the plain, almost monastic black-and-white costume of her native district.

She was the daughter of a small farmer living at some little distance from the coast. Between the groups formed on either side of the fire-place, the vacant s.p.a.ce was occupied by the foot of a truckle-bed.

In this bed lay a very old man, the father of Francois Sarzeau. His haggard face was covered with deep wrinkles; his long white hair flowed over the coa.r.s.e lump of sacking which served him for a pillow, and his light gray eyes wandered incessantly, with a strange expression of terror and suspicion, from person to person, and from object to object, in all parts of the room. Whenever the wind and sea whistled and roared at their loudest, he muttered to himself and tossed his hands fretfully on his wretched coverlet. On these occasions his eyes always fixed themselves intently on a little delf image of the Virgin placed in a niche over the fire-place. Every time they saw him look in this direction Gabriel and the young girls shuddered and crossed themselves; and even the child, who still kept awake, imitated their example.

There was one bond of feeling at least between the old man and his grandchildren, which connected his age and their youth unnaturally and closely together. This feeling was reverence for the superst.i.tions which had been handed down to them by their ancestors from centuries and centuries back, as far even as the age of the Druids. The spirit warnings of disaster and death which the old man heard in the wailing of the wind, in the crashing of the waves, in the dreary, monotonous rattling of the cas.e.m.e.nt, the young man and his affianced wife and the little child who cowered by the fireside heard too. All differences in s.e.x, in temperament, in years, superst.i.tion was strong enough to strike down to its own dread level, in the fisherman's cottage, on that stormy night.

Besides the benches by the fireside and the bed, the only piece of furniture in the room was a coa.r.s.e wooden table, with a loaf of black bread, a knife, and a pitcher of cider placed on it. Old nets, coils of rope, tattered sails, hung, about the walls and over the wooden part.i.tion which separated the room into two compartments. Wisps of straw and ears of barley drooped down through the rotten rafters and gaping boards that made the floor of the granary above.

These different objects, and the persons in the cottage, who composed the only surviving members of the fisherman's family, were strangely and wildly lit up by the blaze of the fire and by the still brighter glare of a resin torch stuck into a block of wood in the chimney-corner. The red and yellow light played full on the weird face of the old man as he lay opposite to it, and glanced fitfully on the figures of the young girl, Gabriel, and the two children; the great, gloomy shadows rose and fell, and grew and lessened in bulk about the walls like visions of darkness, animated by a supernatural specter-life, while the dense obscurity outside spreading before the curtainless window seemed as a wall of solid darkness that had closed in forever around the fisherman's house. The night scene within the cottage was almost as wild and as dreary to look upon as the night scene without.

For a long time the different persons in the room sat together without speaking, even without looking at each other. At last the girl turned and whispered something into Gabriel's ear:

"Perrine, what were you saying to Gabriel?" asked the child opposite, seizing the first opportunity of breaking the desolate silence--doubly desolate at her age--which was preserved by all around her.

"I was telling him," answered Perrine, simply, "that it was time to change the bandages on his arm; and I also said to him, what I have often said before, that he must never play at that terrible game of the _Soule_ again."

The old man had been looking intently at Perrine and his grandchild as they spoke. His harsh, hollow voice mingled with the last soft tones of the young girl, repeating over and over again the same terrible words, "Drowned! drowned! Son and grandson, both drowned! both drowned!"

"Hush, grandfather," said Gabriel, "we must not lose all hope for them yet. G.o.d and the Blessed Virgin protect them!" He looked at the little delf image, and crossed himself; the others imitated him, except the old man. He still tossed his hands over the coverlet, and still repeated, "Drowned! drowned!"

"Oh, that accursed _Soule!_" groaned the young man. "But for this wound I should have been with my father. The poor boy's life might at least have been saved; for we should then have left him here."