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 deepening 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.
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