Ellen Middleton—A Tale. Fullerton Georgiana
things material, or in man's own mind,
A deeper and more glorious sense of life
Than in the calm of silent apathy?
Who would not stand within the Sun's full blaze,
Though scorched and dazzled by his burning rays?
Oh, we can watch with ardent sympathy.
The stormy floods of rising passion roll
Their swelling surges o'er the silent soul!
And we can gaze exulting on the brow
Where restless thoughts and new, are crowding now:
Each throb, each struggle, serving but to feed
The flame of genius, and the source of thought.
Be mine the task, be mine the joy, to read
Each mood, each change, by time and feeling wrought,
And as the mountain stream reflects the light
That shoots athwart the sky's tempestuous track,
So shall my soul, her soul's impassioned might,
As in a broken mirror, image back."
I read these lines with a strange mixture of sensations. "Does he know the truth?" was my first thought; and it made the blood rush to my cheeks. The next was, "Whether he knows it or not, he admires me." I smiled with bitterness indeed, but still I smiled; and as I read these verses, over and over again, they seemed to change the current of my feelings. For the first time, I said to myself, "There are things in the world yet worth living for, besides those I have forfeited – peace of mind, and an untroubled conscience. – There is genius, which, as he says, thrives in the atmosphere of suffering; there is the power which genius gives to 'ride triumphant, and have the world at will;' there are the powerful emotions of the soul when struggling for mastery, when intoxicated with success, when revelling in homage. If sorrow, if guilt, if despair, have made my eyes more bewitching, and my voice more thrilling; if they have roused the latent spirit within me, it shall not be in vain; I will drink deeply at these new sources of enjoyment, if not of happiness; I will cast behind me the burden borne in such anguish; I will break with the past, the dreadful past, and begin a new era." And, seizing the paper which was lying on the table, I walked quickly across the library. As I turned the comer of the recess which formed the eastern end of the gallery, I saw Edward sitting by the window, where often, during the preceding summer, we had watched the sunset together. The last rays of the departing light streamed upon him, as he sat absorbed in thought; a book was on his knees; it seemed to have dropt from his hand in the depth of his abstraction; his faultless features, his chiselled mouth, the peculiar colour of his hair, and the light which shed around him a kind of halo, made him at that moment resemble the pictures of saints which Raphael and Domenichino have painted.
It seemed to me like a vision; in the highly excited state in which I then was I almost fancied it such; and the restless tide of thought within me took a new direction; the tears sprung into my eyes, and I turned away, wit a softer feeling at my heart than I had known there for a long while. As I moved towards the door, the rustling of my gown disturbed Edward; he called to me to come and admire the glowing colours of the sky, where clouds over clouds of red and purple hue were floating in an atmosphere of burnished gold. I went to him, and we stood together for several minutes, till the sun descending quite beneath the horizon, left the room in comparative darkness. I then withdrew, but it was not till I reached my room that I found I had dropt the paper on which Henry's verses were written. I felt annoyed at this, and retraced my steps to the library door, but before I reached it, I met Edward, and in his hand he held the very paper I was come in search of. I did not venture to claim it from him, but he held it out to me at once, and said coldly, "Is this your property?" I felt confused, neither venturing to deny, or liking to admit the fact. In my embarrassment I muttered something about a copy of verses that Henry had written out for me, and, hastily stretching out my hand for the paper, I took it, and walked away without further explanation.
On the evening of this day we were all sitting round a table, on which work, books, and implements for writing were spread about. Henry Lovell was even more than usually animated, and spoke well and eloquently on a variety of subjects. Mrs. Middleton joined eagerly in the conversation; Edward listened attentively, but spoke seldom. I remember every word he said that evening. Once Henry requested us all to say what it was we hated most, and what it was we valued most. I forget what I said, what he said, what my aunt said, but I know that to the first question, Edward answered, duplicity; and to the second, truth; and as he pronounced the word truth, he fixed his eyes upon me, accidentally perhaps, but so sternly that I quailed under his glance. A few minutes after, Henry read aloud from a little book that was lying before him, the following question: "Qu'est-ce que la vie? Quel est son but? Quelle est sa fin?" "I will write my answer on the margin," he cried, and wrote, "Jouir et puis mourir;" and then handed the book to me. I seized the pencil, and hastily added these words, "Souffrir, et puis mourir." Edward read them, and looked at me less sternly than before, but with an earnest inquiring expression of countenance; then lightly drawing a line with a pencil across the two preceding sentences, he wrote this one underneath them, "Bien vivre, pour bien mourir," and gave me back the book.
In general he spoke little; but there was much meaning in what he said. His reserve gave me a feeling of embarrassment with him, which, at the time I am writing of, was particularly irksome. He forced one to think, and I preferred dreaming alone, or drowning thought in talk with Henry. With the latter I became more intimate than ever: we read together, and it seemed to me that he always chose such books as excited my imagination to the utmost, and wrought upon my feelings, without touching on any of the subjects that would have painfully affected me. I tried to write too. From my earliest childhood I had felt great facility in composition, and it was one of Mrs. Middleton's favourite amusements to look over my various attempts, and to encourage the talent which she fancied I possessed; but now I vainly tried to exert it; my mind was not capable of a continued effort. I believe it is Madame de Staël who remarks (and how truly) that to write one must have suffered, and have struggled; one must have been acquainted with passion and with grief; but they must have passed away from the soul ere the mind can concentrate its powers, and bring its energies to bear on the stores which an experience in suffering has accumulated within us. And it was this very helplessness of mind, this fever in the intellect, which threw me, with such fatal dependence, on the resources which Henry Lovell's conversation and society afforded me. If he left Elmsley for a single day I felt the want of them so keenly, that I welcomed him back in a way that may have deceived others, deceived him, deceived myself perhaps – I know not – I lived but for excitement, and if the stimulus failed, I sunk for the time into momentary apathy. We sung together sometimes, and my voice seemed to have gained strength during the last few months – the old hall at Elmsley vibrated with the notes which, with the impetuosity that characterised everything I did at that time, I threw out with the full consciousness of power. Often of an evening I sat down at the organ that was placed in the gallery of the hall, and, forming various modulations on its deep melodious keys, soothed myself into a kind of dreamy unconsciousness.
One day I had gone there as usual; it was towards dusk, and I was just come home from a long ride on a cold December day. I began playing, but, gradually overcome by drowsiness, I fell asleep, my hand still on the keys of the organ, and my head resting against the edge of the high-backed chair I was sitting on. Whether it was the uneasiness of this posture, or my damp uncurled hair that was hanging on my face, or else that in sleep we discern, though it awaken us not, when something is moving near us, I know not, but my sleep was painful in the extreme. I felt as if there was a hard breathing close to me; but, turn which way I would in my dream, I could see nothing. Then I felt as if some one was laying hold of me, and I tried to scream, but could not. Then I seemed suddenly to stand on the steps of the fatal stairs, (I had often since the day of Julia's death dreamt the fearful scene over, and the impression which the dreadful reality had left on my mind was such that I had never since ventured to stand on that spot,) but now it was not of Julia that I dreamed. I was being dragged down myself to the bottom of the precipice, and the person who was forcing me along into the yawning gulf wore the form of Henry Lovell, and spoke with his voice. I called to him to stop – I entreated him