of our strictest dissenting bodies, and had brought up his son in the
belief that there was little else good in the world outside the pale of
its communion. There was some mystery about Hector’s mother, who had
died shortly after giving him birth. Some people whispered that she
had been on the stage before she was married, and that Mr Mackinnon
had fallen violently in love with her pretty face, and married the
young girl while in the ecstasy of his passion, and before the cold
dictates of prudence, or the counsel of his friends, could intervene.
The marriage had not been, it was said, a happy one. While the magic
glamour of love lasted, all went well; when it began to wane, the
angular austerities of Mr Mackinnon’s disposition became painfully
apparent to the young bride. On his part, he looked without sympathy,
if not indeed with positive contempt, on what he termed the ‘worldly
frivolities’ of her gay and joyous nature. Above all, he felt keenly
the loss of social status which the marriage entailed on him in the
estimation of his own sect. The young wife was sternly forbidden to
have any intercourse with her relatives and friends; and her husband’s
sister, who was a maiden lady of very gloomy religious views, was
installed as housekeeper ostensibly, but really to play ‘propriety’ to
her unregenerate young relative. Happiness could not, of course, exist
in this state of matters; and when the grim messenger arrived with the
fiat which dissolved the ill-assorted union, it was perhaps a relief to
all.
Brought up under a terribly severe code of social ethics, the theatre,
concert, and ballroom were represented to Hector as only so many roads
to perdition; and being of an amiable disposition, and desirous of
pleasing his father, he had up till now, when he had attained his
twenty-third year, sedulously eschewed these enticing forms of social
amusement. It was not destined, however, that he was always to remain
in this state of innocent ignorance. A brilliant theatrical star
visited the city, and turned the heads of all—both young and old, male
and female, alike. Her stage-name was Violet d’Esterre (no one knew her
real name), and it was on her exquisite delineation of Shakspearean
tragedy that her justly earned fame rested. The college students were
particularly enthusiastic in her praise, and crowded the theatre
nightly to admire her beauty, and listen entranced to the melody of her
sublime elocution. One evening, Hector, persuaded by his companions,
consented to accompany them to hear this paragon of passionate
declamation. The play was the old, old story of the hapless lovers
of Verona. Such a hold had her impersonation of the intensely loving
Juliet taken of the public, that they insisted on it being performed
night after night, to the exclusion of other tragic parts in which
she was equally celebrated. If any of our readers have not been in a
theatre until they were about the age of Hector, they will be able to
realise the very powerful sensuous effect the music, beautiful scenery,
bright dresses, and decorations had on his imagination, and how they
conduced to give full effect to the sense of bewildered admiration he
felt when the curtain rose on the banqueting hall in Capulet’s house,
and the fair daughter of Capulet. How feebly, it seemed to him, did
Romeo express his feelings in saying:
O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night
Like a rich jewel in an Ethiope’s ear:
Beauty too rich for use, for earth too dear!
Mademoiselle d’Esterre’s physical qualifications for the part were
superb. Her countenance, which was Italian in cast of features and
complexion, boasted of a pair of orbs of the deepest violet black.
Large and lustrous, they were mobile and expressive in the highest
degree. When they first rested on Romeo’s form, they dilated with the
eager fire of southern passion, and as quickly drooped in maidenly
confusion and modesty. Her whole attitude showed she felt she had met
her destiny; and before she had even spoken a syllable, the audience
felt they were under the spell of an enchantress. Then, with what
simple natural dignity did she invest the few words the girl-lover
addresses to love-stricken Romeo, already commencing his love-making
as ‘holy palmer.’ From the moment the curtain was raised until it
descended at the end of the fifth act, Hector sat spellbound, oblivious
to everything on earth save the scenes that were being enacted on the
stage. His companions had to arouse him when it became time to quit the
theatre.
‘Well, Mackinnon,’ said Charley Smith, ‘what do you think of the
d’Esterre? Jolly-like girl, isn’t she?’
‘Don’t speak of the young lady in that vulgar way,’ he replied. ‘I am
certain that girl is as pure and good as Juliet was.’
‘I am not saying a word against her—nobody can do that,’ his companion
rejoined. ‘Surely, surely, you’ve not got hit with her charms—you, of
all men!’
Hector was in no mood for badinage at that moment, and pleading a
headache, he hurried off to his lodgings. He could not imagine what
was the matter; but after tossing all night uneasily in bed, he had to
confess to himself next morning that he, Hector Mackinnon, the budding
clergyman, the lifelong hater of things theatrical and bohemianisms
of every sort, had fallen hopelessly and irretrievably in love with
an actress he had seen for the first and only time a few hours ago!
There was no use in trying to disguise the truth to himself; he felt—or
fancied he felt, which comes to much the same thing—that life without
possession of this fair divinity would not be worth living; but that,
with her by his side, the roughest tempests that fate could send would
feel like gentle wooing zephyrs.
It was not to be expected that this state of matters could long remain
secret from Hector’s companions. His theses and themes remained
unwritten; his answers to the Professor’s questions were of the most
incoherent description, and at last he discontinued his attendance at
college altogether. Inheriting a considerable share of his father’s
stern determination, he was not of a nature to suffer in silence
the agonies of a secret and unrequited passion. The inspirer of the
consuming yet delicious flame which burned within his bosom must, he
admitted, be some few years older than himself; for had she not been
a celebrity in her profession for over a dozen years now? Well, what
of that? Was that any reason why he should deny himself the lifelong
companionship of the only woman he ever loved or could love? To
marry her meant, he knew, an open rupture with his father, and the
abandonment of his ministerial career; but were these trifles for one
moment to be weighed in the balance against the pure and unalloyed
bliss of a lifetime spent in the society of his darling? No—a thousand
times, no! In this wise did he reason with himself, as many a lover
has done before, and, we may safely predict, will do again. His life
had now only one object, and that was to gain an introduction to
Mademoiselle d’Esterre, and press his suit with all the ardour of a
lover who felt that his life’s happiness depended on the result.
Every night found him at the theatre, gazing on the unconscious cause
of his distraction ‘till his life’s love left him through his eyes.’
The rich clear notes of her magnificent contralto voice seemed to flood
the theatre with the music of the spheres, and filled his soul with an
agony of delight. At this period, it would have been an unspeakable
relief to his overcharged feelings, if he had had some sympathetic
friend to make a confidant of. But, alas, the sufferer from the darts
of the rosy god, like the victim of prosaic toothache, obtains no
sympathy from his kind.
Time wore on, and the posters announced the last six nights of
Mademoiselle’s engagement. He had tried his best to procure an
introduction, but without success, the friends and associates of his
past life being widely outside of theatrical circles. He found out,
however, where she lodged, and the hour at which she usually took her
daily promenade. In vain did he follow her at a respectful distance,
in the fond hope that some drunk man, runaway horse, or other street
casualty, might afford the means of an impromptu introduction;
unfortunately, the pedestrians were all sober, and the horses jogged
on in a manner remarkably sedate and correct. At last, when almost
reduced to despair, an ingenious thought occurred to him. The talented
actress occasionally gave morning recitations and readings. He was
possessed of considerable literary ability, and what was to hinder
him from composing a suitable piece for recitation, sending it to
her for approval, and by that means obtaining a personal interview?
Being favourably impressed with the feasibility of the scheme, he set
to work, and composed a hundred-line poem in blank verse, in which
the torments of unrequited love were very forcibly if not elegantly
portrayed. With a trembling hand, he dropped this in the letter-box,
accompanied by a polite note craving her acceptance of the offering.
Who shall attempt to describe the thirty-six dreary hours of suspense
that elapsed before a reply came, in a polite little epistle redolent
of patchouli, thanking Mr Mackinnon for his kind present, which
she would be glad to use on the first suitable occasion? She was,
however, of opinion that, from an elocutionary point of view, certain
alterations would tend to make it much more effective. Would Mr
Mackinnon honour Mademoiselle by calling on her at her residence at
noon the following day, when said alterations could be discussed? The
poor fellow almost cried as he again and again pressed the precious
missive to his lips; and it was some time before his spirits were
sufficiently calmed down to admit of his inditing a coherent reply.
Hope now lent her roseate hues to our hero’s love prospects, and it
was with difficulty he compelled himself to await the slow progress of
the hands on the dial of his watch till they were conjoined over the
happy hour appointed for his interview with her who held his life’s
happiness at her sole command.
Arrived at his destination, he timidly rang the door-bell, and on
giving the servant his card, was informed the lady was ‘at home.’
On entering the drawing-room, he beheld Mademoiselle reclining in
a graceful attitude on a low ottoman. She wore a _négligé_ costume
of some sort of soft warm cream-coloured material, which harmonised
delightfully with her clear, transparent, olive complexion, and
displayed the symmetry of her exquisitely formed figure to great
advantage. She wore no jewelry; her only ornament was a beautiful
Marshal M‘Mahon rose, the deep crimson petals of which formed a
charming contrast to the raven tresses on which they reposed. There
were two other occupants of the room; and it was easy to see, from
their ‘at-home’ air, that they were not merely visitors. One was a
brisk little lady, with a pleasant good-humoured expression, who it
would be safe to guess had seen at least fifty summers. The other was
a tall stately girl of not more than seventeen or eighteen. She had
evidently been practising at the piano, which lay open, with the score
of a new opera on the music-holder. Had Hector’s mind not been so fully
engrossed, he probably would have noticed a considerable resemblance
between her and the fair object of his devotions. The principal
difference lay in the colour of the hair, the complexion, and the
stature. The young lady was a pronounced blonde, possessing large azure
orbs of almost dreamy softness, and a wealth of light reddish-golden
hair carelessly twisted and fastened in a coil at the back of the head.
As Hector advanced, Mademoiselle rose gracefully from her seat and,
glancing at his card, said in the same rich contralto tones which
had so inthralled him in the theatre: ‘Ah, Mr Mackinnon, I perceive!
Good-morning, sir. Pray, be seated.’ Holding out her hand, he had the
brief precious delight of pressing it for a second in his trembling
palm.—‘Now, you needn’t leave the room,’ she said, addressing her two
companions. ‘This is the gentleman who did me the honour of sending me
the poem entitled _Amor in Mors_.—Permit me to introduce you to my good
friend Mrs Eskell; and to Mademoiselle Andresen, my niece.’
The introductions being over, Hector resumed his seat. He never felt
so embarrassed in the whole course of his life. How fondly had he
rehearsed in his mind the many brilliant tender speeches he would give
utterance to on this occasion! Now that the wished-for opportunity had
arrived, he sat speechless. It is but fair to say, however, that he
did not contemplate the presence of third parties at the interview.
Still, their presence should not have tongue-tied him as it did—he, the
glibest debater and the best elocutionist in the college.
Seeing his embarrassment, the lady came to his relief. ‘Well, Mr
Mackinnon, I am very much pleased with your poem, and I think, with a
few slight alterations, it might make a very effective recitation. Do
you not think, though, the title is a little too lugubrious? Could you
not substitute some other word for Mors? Just reflect! Fancy me dying
every night for the past fortnight as Juliet! It is really too bad of
the good folks of your city to insist on my manager making me repeat
night after night a part which I have begun really to detest.’
‘O Mademoiselle, do not say that,’ cried Hector. ‘Ah, if you but knew
the delightful thrill you send through the audience in the balcony
scene—and—and—the tears you cause them to shed when the unfortunate
heroine—Shakspeare’s greatest creation’——
‘Shakspeare’s greatest fiddlestick!’ she replied, laughing merrily.
‘What people see in her, I’m sure I don’t know! To my mind, she’s
a forward young chit, that would have been much better employed in
mending Papa Capulet’s hose and helping her mother to keep house, than
philandering with her Romeo.—But about _Amor in Mors_. Don’t you think,
now, you could make it just the tiniest little bit funny? I do so long
to get out of this continued round of love-making, murder, and suicide.’
Could he believe his ears? Was this cynical, matter-of-fact woman
identical with the fair embodiment of transcendental, ethereal love,
on whose accents he had hung with enraptured delight for the past few
nights? No, it could not be; there must be some strange mistake. Yet,
when her mobile features were for a moment in repose, there he beheld
the same deep, lustrous, unfathomable eyes—the same sweet innocent
mouth, with its half-childlike pouting lips. He was bewildered, and as
in a dream.
‘You are pleased, Mademoiselle, to be satirical this morning,’ he
replied. ‘I cannot do you the injustice of supposing you are in earnest
in what you say. No one could enact the part of Juliet so nobly unless
she were capable of imbuing herself thoroughly with the divine passion
attributed to her by her creator.’
‘Believe me, you are quite wrong there, Mr Mackinnon. It is not
by any means those parts which actors have the natural emotional
qualifications for, that they excel in portraying. Nature in that
case _destroys_ art; and hence it is that parts that actors like best
are precisely those they act worst. For myself, I am guided entirely
by public criticism, and confine myself to those rôles that draw
the best houses. Of course I have my own predilections. I have a
very fair singing voice, and think I should be able to do very well
in opera-bouffe. Oh, I _do_ dote on opera-bouffe!—But about _Amor
in Mors_. I really think the language is splendid—quite as good as
Shakspeare’s, I daresay, although I don’t profess to be a literary
critic. Well, if you would alter the conclusion in such a way as to
make the audience take a good hearty laugh after I had wound them up to
the crying pitch, I believe it would be effective, and I will line it
in the bills for my first Saturday morning readings.’
‘Alas, Mademoiselle, I fear my poor verses are not susceptible of being
changed in the way you wish; but if you allow me, I shall endeavour to
write something in a lighter vein, that may have the happiness to merit
your approval. Permit me to ask you to retain the verses you have.’
‘With pleasure, sir,’ she replied.—‘I presume you are of the literary
profession?’
Hector was not very sure whether a divinity student came of right under
that category or not, but he replied in the affirmative.
‘Well, then, we shall be glad to see you, if you can come along
here to supper at twelve o’clock on Friday first. It is a farewell
entertainment I am giving to a few friends of the press, and others.
If you have your new piece done, bring it with you; I’ll recite it,
and we’ll see what they think of it.’ Thus saying, she rose, as if to
indicate the interview was at an end; and after making his adieux,
Hector departed in a very anomalous state of mind. The bright, girlish,
gushing Juliet of the footlights was for ever annihilated in his mind.
In her stead stood an undeniably handsome, accomplished woman of the
world, gay, good-humoured, and apparently good-hearted; but so utterly
devoid of all sentiment as to frankly avow a longing for opera-bouffe!
By all the rules of common-sense, our hero being disillusioned, should
have at once fallen _out_ of love. This, however, did not happen. After
the first shock of finding her so different in her ideas from what he
expected was over, the subjectivity of his passion asserted itself, and
his mind soon formed a fresh ideal of female perfection, of which she
was again the incarnation.
He had but two days in which to compose his second recitation. Striking
a new chord, he wrote it in a light cynical vein, such as he thought
would please the fair actress, judging from her conversation with him.
He wrought hard at it, polishing and repolishing every line, until it
reached, as he thought, as near as possible to a state of brilliant
perfection. When the eventful Friday night arrived, he started for
Mademoiselle’s residence with a much greater feeling of confidence than
he had experienced on the former occasion. He was the first arrival,
and while he sat in the drawing-room, Mademoiselle Andresen and Mrs
Eskell entered. On his first visit, he had not paid much attention
to the appearance of the former, and he was almost surprised to see
how exceedingly pretty she was. The old lady was very talkative,
and was not long in making him aware she was a distant relative of
Mademoiselle’s, and always played ‘Nurse’ to her Juliet. Mademoiselle
Andresen, whose father was a celebrated violinist in Stockholm, had
just completed her course of training for the lyric stage at the
Conservatoire, and was now on a visit to her aunt, to benefit by her
instructions in the technicalities of stage business. On being invited
by Hector, the young lady sat down to the piano, and sang an exquisite
Danish ballad, which fairly charmed him. The company now began to
arrive, and he conducted the two ladies down to the supper-room.
Exceedingly pretty, and exceedingly happy too, did Mademoiselle
d’Esterre look, as she sat at the head of the table listening to the
cheerful conversation of her guests. There were not more than a dozen
and a half present—four ladies and four gentlemen of them being members
of Mademoiselle’s company. After supper, and a due period of vivacity
over the wine, the fair hostess called for silence, and intimated her
intention of reciting Mr Mackinnon’s new poem. The author felt himself
blushing to the tips of his ears as he heard the—to him—familiar lines
tripped off in her melodious voice with rare elocutionary art. At the
conclusion, the applause was great; and the gentlemen of the press
declared with one voice it was the best thing of the season, and that
the author would be sure to make his mark if he applied himself to
dramatic literature. With toast and song the hours sped pleasantly away
till two o’clock, when the cabs began to arrive for the guests. Hector
had been all night in brilliant spirits, and fairly astonished himself
with the smartness of his witty repartees, and the ease with which he
accommodated himself to society so different from that to which he had
been accustomed. His intoxication of bliss reached its climax when, as
the dispersing company were singing _Auld Langsyne_ in the lobby, his
hostess whispered in his ear: ‘Wait; I wish to speak with you. Go up to
the drawing-room.’
He did so, and awaited her coming with trembling, eager impatience.
When she came into the room, she looked grave, even sad, he thought.
‘We may never see each other again, Mr Mackinnon, and I cannot think
of letting you go away to-night without some recompense for the
pretty poem you wrote for me. Pray, accept of this in recognition of
it, and—and as a token of my regard for you;’ and she handed him a
magnificent cluster diamond ring.
His head swam; he scarcely knew what he was doing, and fell on his
knees before her.
‘O Mademoiselle!’ he cried, his voice hoarse with emotion, ‘you are an
angel!—infinitely too good for me—too good for any one on earth. Oh,
how can I dare look in your sweet face and utter the words which burn
on my tongue! Forgive me for my presumption in daring to say so, but I
love you—love you with my whole heart and soul. Dare I ask you to be my
wife!’
Mademoiselle d’Esterre at first looked frightened, thinking her friend
had taken leave of his senses, or was giving her a small sample of his
histrionic powers. When he had made an end of his speech, however, she
apparently could not help bursting into an immoderate fit of laughter.
‘Rise up, you silly fellow!’ she cried, ‘and don’t make a baby of
yourself.’
Her suppliant, who was in a state of bewilderment, mechanically obeyed.
She continued: ‘Upon my word, Mr Mackinnon, you have paid a great
compliment to my skill in preserving my looks. Why, my poor boy, I
could easily be your mother! I was forty-three on my last birthday!’
It might have been expected that this astounding piece of information
would have effectually quenched the flame in the breast of the
unfortunate lover, yet it had not that effect. ‘Alas! Mademoiselle, I
am sorry that the disparity in our years is so great, although I knew
you must be a few years older than myself. But what is age where true
love exists? Believe me, if you consent to our union, never will you
hear me refer to the dis’——
‘Stop, stop, you foolish boy!’ the lady cried. ‘Even were I such a
terrible fool as you suppose, there is an insuperable legal obstacle in
the way.’
‘What is that?’ he asked, wonderingly.
‘Why, I’m your aunt!’ she replied. ‘My sister Agatha was married to
your father!’
* * * * *
The mortification experienced by our hero, in consequence of the
ludicrous incident we have described, was extreme, and it was a few
weeks before his mind recovered its accustomed equanimity. When it
did, he resumed his college studies; but from the time lost, and the
still partially unsettled state of his mind, he failed to pass his
examination, and gave up his intention of qualifying for the ministry
in disgust. His aunt’s company soon paid another visit to the city,
and she advised him to try ‘adapting’ French plays. He was tolerably
successful in this, and by her influence, was able to get them placed
with some of the London managers. He then determined to devote himself
entirely to dramatic literature, and being much thrown into the
company of his fair cousin, Miss Andresen, a mutual affection grew
up between them, which culminated in marriage. We understand they
live very happily, although his wife does sometimes joke him on his
love-adventure with his aunt.
MEHALAH.
[This poem is written on the chief character in the novel of the same
name.]
Sleep on, Mehalah; let the rude waves beat
Their sullen music in thy deafened ear;
Whether they roar in storm, or whisper peace,
Thou canst not hear.
What matter though the gale in fury rave?
Beneath the surface, all is calm and fair;
Held close by flowers too beauteous for the day,
Thou slumberest there.
Unseen by mortal eye, the ocean sprites
Vie who shall deck thy form with fairest grace,
And many a sea-born flower and waving weed
Adorn thy face.
But when the shadows of descending day
Gleam on the marsh, and fire the western sea,
Thy spirit ’scapes the chains that bind it down,
And rises free.
As vesper chimes grow dimmer and more faint,
And sink to silence, conquered by the storm,
The fishers, hast’ning home to those they love,
Behold thy form,