“Domus et placens Uxor.”
FAIRTHORN FINDS NOTHING PLACENS IN THE UXOR, TO WHOM DOMUS IS
INDEBTED FOR ITS DESTRUCTION.
Another day! Lionel is expected to arrive an hour or two after noon. Darrell is in his room—his will once more before him. He has drawn up a rough copy of the codicil by which Fawley is to pass away, and the name of Darrell be consigned to the care of grateful Learning, linked with prizes and fellowships;—a public property—lost for ever to private representatives of its sepulchred bearers. Preparations for departure from the doomed dwelling-house have begun. There are large boxes on the floor; and favourite volumes—chiefly in science or classics—lie piled beside them for selection.
What is really at the bottom of Guy Darrell’s heart? Does he feel reconciled to his decision? Is the virtue of his new self-sacrifice in itself a consoling reward? Is that cordial urbanity, that cheerful kindness, by which he has been yet more endearing himself to his guests, sincere or assumed? As he throws aside his pen, and leans his cheek on his hand, the expression of his countenance may perhaps best answer those questions. It has more unmingled melancholy than was habitual to it before, even when in his gloomiest moods; but it is a melancholy much more soft and subdued; it is the melancholy of resignation—that of a man who has ceased a long struggle—paid his offering to the appeased Nemesis, in casting into the sea the thing that had been to him the dearest.
But in resignation, when complete, there is always a strange relief. Despite that melancholy, Darrell is less unhappy than he has been for years. He feels as if a suspense has passed—a load been lifted from his breast. After all, he has secured, to the best of his judgment, the happiness of the living, and, in relinquishing the object to which his own life has been vainly devoted, and immolating the pride attached to it, he has yet, to use his own words, paid his “dues to the dead.” No descendant from a Jasper Losely and a Gabrielle Desmarets will sit as mistress of the house in which Loyalty and Honour had garnered, with the wrecks of fortune, the memories of knightly fame—nor perpetuate the name of Darrell through children whose blood has a source in the sink of infamy and fraud. Nor was this consolation that of a culpable pride; it was bought by the abdication of a pride that had opposed its prejudices to living worth—to living happiness. Sophy would not be punished for sins not her own—Lionel not barred from a prize that earth never might replace. What mattered to them a mouldering, old, desolate manor-house—a few hundreds of pitiful acres? Their children would not be less blooming if their holiday summer-noons were not shaded by those darksome trees—nor less lively of wit if their school themes were signed in the name, not of Darrell, but Haughton.
A slight nervous knock at the door. Darrell has summoned Fairthorn; Fairthorn enters. Darrell takes up a paper; it contains minute instructions as to the demolition of the two buildings. The materials of the new pile may be disposed of, sold, carted away—anyhow, anywhere. Those of the old house are sacred—not a brick to be carried from the precincts around it. No; from foundation to roof, all to be piously removed—to receive formal interment deep in the still bosom of the little lake, and the lake to be filled up and turfed over. The pictures and antiquities selected for the Darrell Museum are, of course, to be carefully transported to London—warehoused safely till the gift from owner to nation be legally ratified. The pictures and articles of less value will be sent to an auction. But when it came to the old family portraits in the Manorhouse, the old homely furniture, familiarised to sight and use and love from infancy, Darrell was at a loss; his invention failed. That question was reserved for further consideration.
“And why,” says Fairthorn, bluntly and coarsely, urging at least reprieve; “why, if it must be, not wait till you are no more? Why must the old house be buried before you are?”
“Because,” answered Darrell, “such an order, left by will, would seem a reproach to my heirs; it would wound Lionel to the quick. Done in my lifetime, and just after I have given my blessing on his marriage, I can suggest a thousand reasons for an old man’s whim; and my manner alone will dispel all idea of a covert affront to his charming innocent bride.”
“I wish she were hanged, with all my heart,” muttered Fairthorn, “coming here to do such astonishing mischief! But, sir, I can’t obey you; ‘tis no use talking. You must get some one else. Parson Morley will do it—with pleasure too, no doubt; or that hobbling old man whom I suspect to be a conjurer. Who knows but what he may get knocked on the head as he is looking on with his wicked one eye; and then there will be an end of him, too, which would be a great satisfaction!”
“Pshaw, my dear Dick; there is no one else I can ask but you. The Parson would argue; I’ve had enough of his arguings; and the old man is the last whom my own arguings could deceive. Fiat justitia.”
“Don’t, sir, don’t; you are breaking my heart—‘tis a shame, sir,” sobbed the poor faithful rebel.
“Well, Dick, then I must see it done myself; and you shall go on first to Sorrento, and hire some villa to suit us. I don’t see why Lionel should not be married next week; then the house will be clear. And—yes—it was cowardly in me to shrink. Mine be the task. Shame on me to yield it to another. Go back to thy flute, Dick.
‘Neque tibias
Euterpe cohibet, nec Polyhymnia
Lesboum refugit tendere barbiton!’”
At that last remorseless shaft from the Horatian quiver, “Venenatis gravida sagittis,” Fairthorn could stand ground no longer; there was a shamble—a plunge—and once more the man was vanished.
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