Эдвард Бульвер-Литтон
"My Novel" — Volume 11
RANDAL.—"I trust I shall hear the result of your interview? I feel so much interested in it. Poor Frank!"
Audley nodded. "Of course, of course."
CHAPTER XIV
On entering the drawing-room of Madame di Negra, the peculiar charm which the severe Audley Egerton had been ever reputed to possess with women would have sensibly struck one who had hitherto seen him chiefly in his relations with men in the business-like affairs of life. It was a charm in strong contrast to the ordinary manners of those who are emphatically called "Ladies' men." No artificial smile, no conventional, hollow blandness, no frivolous gossip, no varnish either of ungenial gayety or affected grace. The charm was in a simplicity that unbent more into kindness than it did with men. Audley's nature, whatever its faults and defects, was essentially masculine; and it was the sense of masculine power that gave to his voice a music when addressing the gentler sex, and to his manner a sort of indulgent tenderness that appeared equally void of insincerity and presumption.
Frank had been gone about half-an-hour, and Madame di Negra was scarcely recovered from the agitation into which she had been thrown by the affront from the father and the pleading of the son.
Egerton took her passive hand cordially, and seated himself by her side.
"My dear marchesa,'I said he, "are we then likely to be near connections? And can you seriously contemplate marriage with my young nephew, Frank Hazeldean? You turn away. Ah, my fair friend, there are but two inducements to a free woman to sign away her liberty at the altar. I say a free woman, for widows are free, and girls are not. These inducements are, first, worldly position; secondly, love. Which of these motives can urge Madame di Negra to marry Mr. Frank Hazeldeani?"
"There are other motives than those you speak of,—the need of protection, the sense of solitude, the curse of dependence, gratitude for honourable affection. But you men never know women!"
"I grant that you are right there,—we never do; neither do women ever know men. And yet each sex contrives to dupe and to fool the other! Listen to me. I have little acquaintance with my nephew, but I allow he is a handsome young gentleman, with whom a handsome young lady in her teens might fall in love in a ball-room. But you, who have known the higher order of our species, you who have received the homage of men, whose thoughts and mind leave the small talk of drawing-room triflers so poor and bald, you cannot look me in the face and say that it is any passion resembling love which you feel for my nephew. And as to position, it is right that I should inform you that if he marry you he will have none. He may risk his inheritance. You will receive no countenance from his parents. You will be poor, but not free. You will not gain the independence you seek for. The sight of a vacant, discontented face in that opposite chair will be worse than solitude. And as to grateful affection," added the man of the world, "it is a polite synonym for tranquil indifference."
"Mr. Egerton," said Beatrice, "people say you are made of bronze. Did you ever feel the want of a home?"
"I answer you frankly," replied the statesman, "if I had not felt it, do you think I should have been, and that I should be to the last, the joyless drudge of public life? Bronze though you call my nature, it would have melted away long since like wax in the fire, if I had sat idly down and dreamed of a home!"
"But we women," answered Beatrice, with pathos, "have no public life, and we do idly sit down and dream. Oh," she continued, after a short pause, and clasping her hands firmly together, "you think me worldly, grasping, ambitious; how different my fate had been had I known a home!—known one whom I could love and venerate; known one whose smiles would have developed the good that was once within me, and the fear of whose rebuking or sorrowful eye would have corrected what is evil."
"Yet," answered Audley, "nearly all women in the great world have had that choice once in their lives, and nearly all have thrown it away. How few of your rank really think of home when they marry! how few ask to venerate as well as to love! and how many, of every rank, when the home has been really gained, have wilfully lost its shelter,—some in neglectful weariness, some from a momentary doubt, distrust, caprice, a wild fancy, a passionate fit, a trifle, a straw, a dream! True, you women are ever dreamers. Commonsense, common earth, is above or below your comprehension."
Both now are silent. Audley first roused himself with a quick, writhing movement. "We two," said he, smiling half sadly, half cynically,—"we two must not longer waste time in talking sentiment. We know both too well what life, as it has been made for us by our faults or our misfortunes, truly is. And once again, I entreat you to pause before you yield to the foolish suit of my foolish nephew. Rely on it, you will either command a higher offer for your prudence to accept; or, if you needs must sacrifice rank and fortune, you, with your beauty and your romantic heart, will see one who, at least for a fair holiday season (if human love allows no more), can repay you for the sacrifice. Frank Hazeldean never can."
Beatrice turned away to conceal the tears that rushed to her eyes.
"Think over this well," said Audley, in the softest tones of his mellow voice. "Do you remember that when you first came to England, I told you that neither wedlock nor love had any lures for me? We grew friends upon that rude avowal, and therefore I now speak to you like some sage of old, wise because standing apart and aloof from all the affections and ties that mislead our wisdom. Nothing but real love—how rare it is; has one human heart in a million ever known it?—nothing but real love can repay us for the loss of freedom, the cares and fears of poverty, the cold pity of the world that we both despise and respect. And all these, and much more, follow the step you would inconsiderately take, an imprudent marriage."
"Audley Egerton," said Beatrice, lifting her dark, moistened eyes, "you grant that real love does compensate for an imprudent marriage. You speak as if you had known such love—you! Can it be possible?"
"Real love—I thought that I knew it once. Looking back with remorse, I should doubt it now but for one curse that only real love, when lost, has the power to leave evermore behind it."
"What is that?"
"A void here," answered Egerton, striking his heart. "Desolation!— Adieu!"
He rose and left the room.
"Is it," murmured Egerton, as he pursued his way through the streets—"is it that, as we approach death, all the first fair feelings of young life come back to us mysteriously? Thus I have heard, or read, that in some country of old, children scattering flowers preceded a funeral bier."
CHAPTER XV
And so Leonard stood beside his friend's mortal clay, and watched, in the ineffable smile of death, the last gleam which the soul had left there; and so, after a time, he crept back to the adjoining room with a step as noiseless as if he had feared to disturb the dead. Wearied as he was with watching, he had no thought of sleep. He sat himself down by the little table, and leaned his face on his hand, musing sorrowfully. Thus time passed. He heard the clock from below strike the hours. In the house of death the sound of a clock becomes so solemn. The soul that we miss has gone so far beyond the reach of time! A cold, superstitious awe gradually stole over the young man. He shivered, and lifted his eyes with a start, half scornful, half defying. The moon was gone; the gray, comfortless dawn gleamed through the casement, and carried its raw, chilling light through the open doorway into the death-room. And there, near the extinguished fire, Leonard saw the solitary woman, weeping low; and watching still. He returned to say a word of comfort; she pressed his hand, but waved him away. He understood. She did not wish for other comfort than her quiet relief of tears. Again, he returned to his own chamber, and his eye this time fell upon the papers which he had hitherto disregarded. What made his heart stand still, and the blood then rush so quickly through his veins? Why did he seize upon those papers with so tremulous a hand, then lay them down, pause, as if to nerve himself, and look so eagerly again? He recognized the handwriting,—those fair, clear characters, so peculiar in their woman-like delicacy and grace, the same as in the wild, pathetic poems, the sight of which had made an era in his boyhood. From these pages the image of the mysterious Nora rose once more before him. He felt that he was with a mother. He went back, and closed the door gently, as if with a jealous piety, to exclude each ruder shadow from the world of spirits, and be alone with that mournful ghost. For a thought written in warm, sunny life, and then suddenly rising up to us, when the hand that traced and the heart that cherished it are dust, is verily as a ghost. It is a likeness struck off of the fond human being, and surviving it. Far more truthful than bust or portrait, it bids us see the tear flow, and the pulse beat. What ghost can the churchyard yield to us like the writing of the dead?
The bulk of the papers had been once lightly sewn to each other; they had come undone, perhaps in Burley's rude hands, but their order was easily apparent. Leonard soon saw that they formed a kind of journal,—not, indeed, a regular diary, nor always relating to the things of the day. There were gaps in time—no attempt at successive narrative; sometimes, instead of prose, a hasty burst of verse, gushing evidently from the heart; sometimes all narrative was left untold, and yet, as it were, epitomized by a single burning line—a single exclamation—of woe or joy! Everywhere you saw records of a nature exquisitely susceptible; and, where genius appeared, it was so artless, that you did not call it genius, but emotion. At the onset the writer did not speak of herself in the first person. The manuscript opened with descriptions and short dialogues, carried on by persons to whose names only initial letters were assigned, all written in a style of simple innocent freshness, and breathing of purity and happiness, like a dawn of spring. Two young persons, humbly born, a youth and a girl, the last still in childhood, each chiefly self-taught, are wandering on Sabbath evenings among green dewy fields, near the busy town, in which labour awhile is still. Few words pass between them. You see at once, though the writer does not mean to convey it, how far beyond the scope of her male companion flies the heavenward imagination of the girl. It is he who questions, it is she who answers; and soon there steals upon you, as you read, the conviction that the youth loves the girl, and loves in vain. All in this writing, though terse, is so truthful! Leonard, in the youth, already recognizes the rude imperfect scholar, the village bard, Mark Fairfield. Then there is a gap in description; but there are short weighty sentences, which show deep ening thought, increasing years, in the writer. And though the innocence remains, the happiness begins to be less vivid on the page.
Now, insensibly, Leonard finds that there is a new phase in the writer's existence. Scenes no longer of humble, workday rural life surround her, and a fairer and more dazzling image succeeds to the companion of the Sabbath eves. This image Nora evidently loves to paint,—it is akin to her own genius; it captivates her fancy; it is an image that she (inborn artist, and conscious of her art) feels to belong to a brighter and higher school of the Beautiful. And yet the virgin's heart is not awakened,—no trace of the heart yet there! The new image thus introduced is one of her own years, perhaps; nay, it may be younger still, for it is a boy that is described, with his profuse fair curls, and eyes new to grief, and confronting the sun as a young eagle's; with veins so full of the wine of life, that they overflow into every joyous whim; with nerves quiveringly alive to the desire of glory; with the frank generous nature, rash in its laughing scorn of the world, which it has not tried. Who was this boy? it perplexed Leonard. He feared to guess. Soon, less told than implied, you saw that this companionship, however it chanced, brings fear and pain on the writer. Again (as before, with Mark Fairfield), there is love on the one side and not on the other; with her there is affectionate, almost sisterly, interest, admiration, gratitude, but a something of pride or of terror that keeps back love.
Here Leonard's interest grew intense. Were there touches by which conjecture grew certainty; and he recognized, through the lapse of years, the boy-lover in his own generous benefactor?
Fragments of dialogue now began to reveal the suit of an ardent, impassioned nature, and the simple wonder and strange alarm of a listener who pitied but could not sympathize. Some great worldly distinction of rank between the two became visible,—that distinction seemed to arm the virtue and steel the affections of the lowlier born. Then a few sentences, half blotted out with tears, told of wounded and humbled feelings,—some one invested with authority, as if the suitor's parent, had interfered, questioned, reproached, counselled. And it was evident that the suit was not one that dishonoured; it wooed to flight, but still to marriage.
And now these sentences grew briefer still, as with the decision of a strong resolve. And to these there followed a passage so exquisite, that Leonard wept unconsciously as he read. It was the description of a visit spent at home previous to some sorrowful departure. He caught the glimpse of a proud and vain, but a tender wistful mother, of a father's fonder but less thoughtful love. And then came a quiet soothing scene between the girl and her first village lover, ending thus: "So she put M.'s hand into her sister's, and said, 'You loved me through the fancy, love her with the heart,' and left them comprehending each other, and betrothed."
Leonard sighed. He understood now how Mark Fairfield saw, in the homely features of his unlettered wife, the reflection of the sister's soul and face.
A few words told the final parting,—words that were a picture. The long friendless highway, stretching on—on—towards the remorseless city, and the doors of home opening on the desolate thoroughfare, and the old pollard-tree beside the threshold, with the ravens wheeling round it and calling to their young. He too had watched that threshold from the same desolate thoroughfare. He too had heard the cry of the ravens. Then came some pages covered with snatches of melancholy verse, or some reflections of dreamy gloom.
The writer was in London, in the house of some high-born patroness,— that friendless shadow of a friend which the jargon of society calls "companion." And she was looking on the bright storm of the world as through prison bars. Poor bird, afar from the greenwood, she had need of song,—it was her last link with freedom and nature. The patroness seems to share in her apprehensions of the boy suitor, whose wild rash prayers the fugitive had resisted; but to fear lest the suitor should be degraded, not the one whom he pursues,—fear an alliance ill-suited to a high-born heir. And this kind of fear stings the writer's pride, and she grows harsh in her judgment of him who thus causes but pain where he proffers love. Then there is a reference to some applicant for her hand, who is pressed upon her choice; and she is told that it is her duty so to choose, and thus deliver a noble family from a dread that endures so long as her hand is free. And of this fear, and of this applicant, there breaks out a petulant yet pathetic scorn. After this the narrative, to judge by the dates, pauses for days and weeks, as if the writer had grown weary and listless,—suddenly to reopen in a new strain, eloquent with hopes and with fears never known before. The first person was abruptly assumed,—it was the living "I" that now breathed and moved along the lines. How was this? The woman was no more a shadow and a secret unknown to herself. She had assumed the intense and vivid sense of individual being; and love spoke loud in the awakened human heart.
A personage not seen till then appeared on the page. And ever afterwards this personage was only named as "He," as if the one and sole representative of all the myriads that walk the earth. The first notice of this prominent character on the scene showed the restless, agitated effect produced on the writer's imagination. He was invested with a romance probably not his own. He was described in contrast to the brilliant boy whose suit she had feared, pitied, and now sought to shun, —described with a grave and serious, but gentle mien, a voice that imposed respect, an eye and lip that showed collected dignity of will. Alas? the writer betrayed herself, and the charm was in the contrast, not to the character of the earlier lover, but her own. And now, leaving Leonard to explore and guess his way through the gaps and chasms of the narrative, it is time to place before the reader what the narrative alone will not reveal to Leonard.
CHAPTER XVI
Nora Avenel had fled from the boyish love of Harley L'Estrange, recommended by Lady Lansmere to a valetudinarian relative of her own, Lady Jane Horton, as companion. But Lady Lansmere could not believe it possible that the lowborn girl could long sustain her generous pride, and reject the ardent suit of one who could offer to her the prospective coronet of a countess. She continually urged upon Lady Jane the necessity of marrying Nora to some one of rank less disproportioned to her own, and empowered that lady to assure any such wooer of a dowry far beyond Nora's station. Lady Jane looked around, and saw in the outskirts of her limited social ring a young solicitor, a peer's natural son, who was on terms of more than business-like intimacy with the fashionable clients whose distresses made the origin of his wealth. The young man was handsome, well-dressed, and bland. Lady Jane invited him to her house; and, seeing him struck with the rare loveliness of Nora, whispered the hint of the dower. The fashionable solicitor, who afterwards ripened into Baron Levy, did not need that hint; for, though then poor, he relied on himself for fortune, and, unlike Randal, he had warm blood in his veins. But Lady Jane's suggestions made him sanguine of success; and when he formally proposed, and was as formally refused, his self-love was bitterly wounded. Vanity in Levy was a powerful passion; and with the vain, hatred is strong, revenge is rankling. Levy retired, concealing his rage; nor did he himself know how vindictive that rage, when it cooled into malignancy, could become, until the arch-fiend OPPORTUNITY prompted its indulgence and suggested its design.
Lady Jane was at first very angry with Nora for the rejection of a suitor whom she had presented as eligible. But the pathetic grace of this wonderful girl had crept into her heart, and softened it even against family prejudice; and she gradually owned to herself that Nora was worthy of some one better than Mr. Levy.
Now, Harley had ever believed that Nora returned his love, and that nothing but her own sense of gratitude to his parents, her own instincts of delicacy, made her deaf to his prayers. To do him justice, wild and headstrong as he then was, his suit would have ceased at once had he really deemed it persecution. Nor was his error unnatural; for his conversation, till it had revealed his own heart, could not fail to have dazzled and delighted the child of genius; and her frank eyes would have shown the delight. How, at his age, could he see the distinction between the Poetess and the Woman? The poetess was charmed with rare promise in a soul of which the very errors were the extravagances of richness and beauty. But the woman—no! the woman required some nature not yet undeveloped, and all at turbulent, if brilliant, strife with its own noble elements, but a nature formed and full-grown. Harley was a boy, and Nora was one of those women who must find or fancy an Ideal that commands and almost awes them into love.
Harley discovered, not without difficulty, Nora's new residence. He presented himself at Lady Jane's, and she, with grave rebuke, forbade him the house. He found it impossible to obtain an interview with Nora. He wrote, but he felt sure that his letters never reached her, since they were unanswered. His young heart swelled with rage. He dropped threats, which alarmed all the fears of Lady Lansmere, and even the prudent apprehensions of his friend, Audley Egerton. At the request of the mother, and equally at the wish of the son, Audley consented to visit at Lady Jane's, and make acquaintance with Nora.
"I have such confidence in you," said Lady Lansmere, "that if you once know the girl, your advice will be sure to have weight with her. You will show her how wicked it would be to let Harley break our hearts and degrade his station."
"I have such confidence in you," said young Harley, "that if you once know my Nora, you will no longer side with my mother. You will recognize the nobility which nature only can create, you will own that Nora is worthy a rank more lofty than mine; and my mother so believes in your wisdom, that, if you plead in my cause, you will convince even her."
Audley listened to both with his intelligent, half-incredulous smile; and wholly of the same opinion as Lady Lansmere, and sincerely anxious to save Harley from an indiscretion that his own notions led him to regard as fatal, he resolved to examine this boasted pearl, and to find out its flaws. Audley Egerton was then in the prime of his earnest, resolute, ambitious youth. The stateliness of his natural manners had then a suavity and polish which, even in later and busier life, it never wholly lost; since, in spite of the briefer words and the colder looks by which care and power mark the official man, the minister had ever enjoyed that personal popularity which the indefinable, external something, that wins and pleases, can alone confer. But he had even then, as ever, that felicitous reserve which Rochefoucauld has called the "mystery of the body,"—that thin yet guardian veil which reveals but the strong outlines of character, and excites so much of interest by provoking so much of conjecture. To the man who is born with this reserve, which is wholly distinct from shyness, the world gives credit for qualities and talents beyond those that it perceives; and such characters are attractive to others in proportion as these last are gifted with the imagination which loves to divine the unknown.
At the first interview, the impression which this man produced upon Nora Avenel was profound and strange. She had heard of him before as the one. whom Harley most loved and looked up to; and she recognized at once in his mien, his aspect, his words, the very tone of his deep tranquil voice, the power to which woman, whatever her intellect, never attains; and to which, therefore, she imputes a nobility not always genuine,— namely, the power of deliberate purpose and self-collected, serene ambition. The effect that Nora produced on Egerton was not less sudden. He was startled by a beauty of face and form that belonged to that rarest order, which we never behold but once or twice in our lives.
He was yet more amazed to discover that the aristocracy of mind could bestow a grace that no aristocracy of birth could surpass. He was prepared for a simple, blushing village girl, and involuntarily he bowed low his proud front at the first sight of that delicate bloom, and that exquisite gentleness which is woman's surest passport to the respect of man. Neither in the first, nor the second, nor the third interview, nor, indeed, till after many interviews, could he summon up courage to commence his mission, and allude to Harley. And when he did so at last his words faltered. But Nora's words were clear to him. He saw that Harley was not loved; and a joy, which he felt as guilty, darted through his whole frame. From that interview Audley returned home greatly agitated, and at war with himself. Often, in the course of this story, has it been hinted that, under all Egerton's external coldness and measured self-control, lay a nature capable of strong and stubborn passions. Those passions broke forth then. He felt that love had already entered into the heart, which the trust of his friend should have sufficed to guard.
"I will go there no more," said he, abruptly, to Harley.
"But why?"
"The girl does not love you. Cease then to think of her."
Harley disbelieved him, and grew indignant. But Audley had every worldly motive to assist his sense of honour. He was poor, though with the reputation of wealth, deeply involved in debt, resolved to rise in life, tenacious of his position in the world's esteem. Against a host of counteracting influences, love fought single-handed. Audley's was a strong nature; but, alas! in strong natures, if resistance to temptation is of granite, so the passions that they admit are of fire.
Trite is the remark that the destinies of our lives often date from the impulses of unguarded moments. It was so with this man, to an ordinary eye so cautious and so deliberate. Harley one day came to him in great grief; he had heard that Nora was ill: he implored Andley to go once more and ascertain. Audley went. Lady Jane Horton, who was suffering under a disease which not long afterwards proved fatal, was too ill to receive him. He was shown into the room set apart as Nora's. While waiting for her entrance, he turned mechanically over the leaves of an album, which Nora, suddenly summoned away to attend Lady Jane, had left behind her on the table. He saw the sketch of his own features; he read words inscribed below it,—words of such artless tenderness, and such unhoping sorrow, words written by one who had been accustomed to regard her genius as her sole confidant, under Heaven; to pour out to it, as the solitary poet-heart is impelled to do, thoughts, feelings, the confession of mystic sighs, which it would never breathe to a living ear, and, save at such moments, scarcely acknowledge to itself. Audley saw that he was beloved, and the revelation, with a sudden light, consumed all the barriers between himself and his own love. And at that moment Nora entered. She saw him bending over the book. She uttered a cry, sprang forward, and then sank down, covering her face with her hands. But Audley was at her feet. He forgot his friend, his trust; he forgot ambition, he forgot the world. It was his own cause that he pleaded,— his own love that burst forth from his lips. And when the two that day parted, they were betrothed each to each. Alas for them, and alas for Harley! And now this man, who had hitherto valued himself as the very type of gentleman, whom all his young contemporaries had so regarded and so revered, had to press the hand of a confiding friend, and bid adieu to truth. He had to amuse, to delay, to mislead his boy-rival,—to say that he was already subduing Nora's hesitating doubts, and that with a little time, she could be induced to consent to forget Harley's rank, and his parent's pride, and become his wife. And Harley believed in Egerton, without one suspicion on the mirror of his loyal soul.
Meanwhile, Audley, impatient of his own position,—impatient, as strong minds ever are, to hasten what they have once resolved, to terminate a suspense that every interview with Harley tortured alike by jealousy and shame, to pass out of the reach of scruples, and to say to himself, "Right—or wrong, there is no looking back; the deed is done,"—Audley, thus hurried on by the impetus of his own power of will, pressed for speedy and secret nuptials,—secret, till his fortunes, then wavering, were more assured, his career fairly commenced. This was not his strongest motive, though it was one. He shrank from the discovery of his wrong to his friend, desired to delay the self-humiliation of such announcement, until, as he persuaded himself, Harley's boyish passion was over, had yielded to the new allurements that would naturally beset his way. Stifling his conscience, Audley sought to convince himself that the day would soon come when Harley could hear with indifference that Nora Avenel was another's. "The dream of an hour, at his age," murmured the elder friend; "but at mine the passion of a life!" He did not speak of these latter motives for concealment to Nora. He felt that to own the extent of his treason to a friend would lower him in her eyes. He spoke therefore but slightingly of Harley, treated the boy's suit as a thing past and gone. He dwelt only on reasons that compelled self-sacrifice on his side or hers. She did not hesitate which to choose. And so, where Nora loved, so submissively did she believe in the superiority of the lover, that she would not pause to hear a murmur from her own loftier nature, or question the propriety of what he deemed wise and good.
Abandoning prudence in this arch affair of life, Audley still preserved his customary caution in minor details. And this indeed was characteristic of him throughout all his career, heedless in large things, wary in small. He would not trust Lady Jane Horton with his secret, still less Lady Lansmere. He simply represented to the former that Nora was no longer safe from Harley's determined pursuit under Lady Jane's roof, and that she had better elude the boy's knowledge of her movements, and go quietly away for a while, to lodge with some connection of her own.
