A RARE SOCIETY BOUQUET.
Come now and unroll with me one corner of the still, the silent past,
and I shall read you a few pictures in the old time life at Haughton
Hall, County Surrey, England.
This one, a twelvth night scene of 1854, will interest us: Scene is
one of the drawing-rooms at the fine old stately mansion of grey
stone, Elizabethan in its grandeur of tower and pinnacle, its spots of
decay lovingly draped by the hand of Dame Nature, ivy constant and
clinging as though its robes of green loved the old grey stone. The
south wing, built by a Haughton two hundred years ago (for his Spanish
bride noble as beautiful, an Espartero by birth) alone is lighted. We
shall glance through this window. Ah! a priest of the Anglican Church;
before him stands a girl beautiful as an angel; beside her a handsome
man, dark and bronzed; on the third finger of her left hand he slips
the ring of gold which binds them as closely as its unbroken circle. A
sweet woman lying on a lounge with the seal of death on her brow
before whom they kneel and receive her blessing. The actors are Ethel
Haughton, Captain Vernon, --th Light Cavalry, and the poor invalid who
only lived to give her daughter in marriage. On the 27th March, same
year, the British Lion and Russian Bear met in combat; our troops went
out and among them Captain Vernon, when, sad to relate, his name was
one of the first of our brave soldiers on the death-roll at
Petropaulovski; we met with a repulse and he fell. His sweet young
bride did not long survive him, dying of a bitter loneliness called
heartache, leaving a lovely infant, the child Vaura.
TABLEAUX VIVANTS.
No. 2.
Fourteen years later, bringing us by the hand of time into 1868. Same
scene--Haughton Hall, morning--and ah! What a dream of beauty, a
child, woman now. In the sweet, somewhat sad pleading of her
expression, one catches a glimpse of the tender, loving woman of later
years, and so her companion, to whose arm she clings, sees her,
judging from the half wondering, wholly loving sympathy in his eyes.
Her movements are rapid, graceful and lithe as a young gazelle; she
has evidently expected a loved guest who has disappointed her. For now
her eyes are suffused with tears; she looses his arm and clasps her
hands appealingly as she points to an open letter on a table. A vacant
chair, slippers, and a _petit_ dinner untasted. He consults his watch,
strokes caressingly the bright brown hair reaching to her knees, and
fluffy as the coat of a water spaniel. Now taking her hand in adieu,
bends his noble head, and with a smile sweet as a woman's, would kiss
her, but she is no child this morning and he draws back with a look
half wonder in his eyes. The sweet girl too, after turning her flower
face upwards, droops the large luminous brown eyes and with a pretty
blush takes instead his right hand between her own and presses her
rose-mouth to it in a farewell greeting.
The actors are Vaura Vernon (the infant of last scene) who has been
expecting her loved uncle, Colonel Haughton, who is at Baden-Baden
held in the fascinations of its gaming tables. The handsome man to
whose arm she clung is Lieut. Trevalyon of the --th Middlesex Lancers;
but lately returned from the East, where, at Delhi, &c., his many
daring acts of bravery are still in the public mouth. By invitation he
is at Haughton, but his friend cannot tear himself from Germany--it is
his ruin; and he yields to the importunities of his bewitching little
friend to go and bring him home from this evil.
TABLEAUX VIVANTS.
No. 3.
Trevalyon gone; Vaura, weeping bitterly, is discovered by a handsome
youth who, bounding in at the open window, throwing himself at her
feet with many caresses, bids her be consoled, points to the
dilapidated hangings, seems to contrast her surroundings with his own
wealth, displaying his diamond jewels, his watch, his well-filled
purse. She seems to be half frightened at his words; when gazing up at
a portrait of her uncle, showing him a little worn and sad, a sudden
resolve seems to seize her; she evidently consents to his wish, for
his face glows and he embraces her, while drying her tears. She now
leaves the room, returns in out-door costume; he, laughing and
excited, braids her lovely hair; her sweet face is a trifle pale; a
jewelled comb holds together the heavy braids. She now pets two or
three dogs, feeds her birds from her hand, climbs on to a table,
kisses the portrait of her uncle, the tears starting afresh, picks a
few blossoms from her favourite flowers, and they make their exit.
TABLEAUX VIVANTS.
No. 4.
_A few days later--Same scene_.
Enter a lady, purely the Gaul in face and gesture, excited though
decided in manner; with her two Frenchmen, the one a priest, the other
a man of law. Following, and looking grief-stricken to the last
degree, comes the youth of last scene. Vaura follows pale and sad, her
uncle's arm around her; priest takes a ring from Vaura's finger; with
a sharp instrument cuts it in twain. Lawyer takes a paper, reads,
holds it in view of all, then tears into smallest fragments. Youth
grows fearfully excited, tries to snatch it. Lady says a few words to
him, her teeth set; he yields in despair. They all then kiss the Book,
evidently making oath.
The past is again veiled, and we love the actors too well to endeavour
to solve what they have apparently sworn shall not be revealed. The
following eight years of Vaura's life have been spent chiefly at
Paris, at the Seminaire of Madame Rocheforte, bringing us to 1877, the
intangible present, a mere cobweb dividing as it does our past, as it
silently recedes from our winged future.