Armorel of Lyonesse. Walter Besant
cease, played with her long tresses and kept her soft cheek cool.
The window was wide open on all three sides; the girl had been doing some kind of work, but it had dropped from her hands, and now lay unregarded on the floor; she was gazing upon the scene before her, but with the accustomed eyes which looked out upon it every day. A girl who has such a picture continually before her all day long never tires of it, though she may not be always consciously considering it and praising it. The stranger, for his part, cannot choose but cry aloud for admiration; but the native, who knows it as no stranger can, is silent. The house, half-way up the low hill, looked out upon the south—to be exact, its aspect was S. W. by S.—so that from this window the girl saw always, stretched out at her feet, the ocean, now glowing in the golden sunshine of September. Had she been tall enough, she might even have seen the coast of South America, the nearest land in the far distance. Looking S. W., that is, she would have seen the broad mouth of Oroonooque and the shores of El Dorado. This broad sea-scape was broken exactly in the middle by the Bishop's Rock and its stately lighthouse rising tall and straight out of the water; on the left hand the low hill of Annet shut out the sea; and on the right Great Minalto, rugged and black, the white foam always playing round its foot or flying over its great black northern headland, bounded and framed the picture. Almost in the middle of the water, not more than two miles distant, a sailing ship, all sails set, made swift way, bound outward one knows not whither. Lovely at all times is a ship in full sail, but doubly lovely when she is seen from afar, sailing on a smooth sea, under a cloudless sky, the sun of afternoon lighting up her white sails. No other ships were in sight; there was not even the long line of smoke which proclaims the steamer below the horizon; there was not even a Penzance fishing-boat tacking slowly homewards with brown sails and its two masts: in this direction there was no other sign of man.
The girl, I say, saw this sight every day: she never tired of it, partly because no one ever tires of the place in which he was born and has lived—not even an Arab of the Great Sandy Desert; partly because the sea, which has been called, by unobservant poets, unchanging, does in fact change—face, colour, mood, even shape—every day, and is never the same, except, perhaps, when the east wind of March covers the sky with a monotony of grey, and takes the colour out of the face of ocean as it takes the colour from the granite rocks, last year's brown and yellow fern, and the purple heath. To this girl, who lived with the sea around her, it always formed a setting, a background, a frame for her thoughts and dreams. Wherever she went, whatever she said or sang, or thought or did, there was always in her ears the lapping or the lashing of the waves; always before her eyes was the white surge flying over the rocks; always the tumbling waves. But, as for what she actually thought or what she dreamed, seeing how ignorant of the world she was, and how innocent and how young, and as for what was passing in her mind this afternoon as she sat at the window, I know not. On the first consideration of the thing, one would be inclined to ask how, without knowledge, can a girl think, or imagine, or dream anything? On further thought, one understands that knowledge has very little to do with dreams or fancies. Yet, with or without knowledge, no poet, sacred bard, or prophet has ever been able to divine the thoughts of a girl, or to interpret them, or even to set them down in consecutive language. I suppose they are not, in truth, thoughts. Thought implies reasoning and the connection of facts, and the experience of life as far as it has gone. A young maiden's mind is full of dimly seen shadows and pallid ghosts which flit across the brain and disappear. These shadows have the semblance of shape, but it is dim and uncertain: they have the pretence of colour, but it changes every moment: if they seem to show a face, it vanishes immediately and is forgotten. Yet these shadows smile upon the young with kindly eyes; they beckon with their fingers, and point to where, low down on the horizon, with cloudy outline, lies the Purple Island—to such a girl as this the future is always a small island girt by the sea, far off and lonely. The shadows whisper to her; they sing to her; but no girl has ever yet told us—even if she understands—what it is they tell her.
She had been lying there, quiet and motionless, for an hour or more, ever since the tea-things had been taken away—at Holy Hill they have tea at half-past four. The ancient lady who was in the room with her had fallen back again into the slumber which held her nearly all day long as well as all the night. The house seemed thoroughly wrapped and lapped in the softest peace and stillness; in one corner a high clock, wooden-cased, swung its brass pendulum behind a pane of glass with solemn and sonorous chronicle of the moments, so that they seemed to march rather than to fly. A clock ought not to tick as if Father Time were hurried and driven along without dignity and by a scourge. This clock, for one, was not in a hurry. Its tick showed that Time rests not—but hastes not. There is admonition in such a clock. When it has no one to admonish but a girl whose work depends on her own sweet will, its voice might seem thrown away; yet one never knows the worth of an admonition. Besides, the clock suited the place and the room. Where should Time march with solemn step and slow, if not on the quiet island of Samson, in the archipelago of Scilly? On its face was written the name of its maker, plain for all the world to see—'Peter Trevellick, Penzance, A.D. 1741.'
The room was not ceiled, but showed the dark joists and beams above, once painted, but a long time ago. The walls were wainscotted and painted drab, after an old fashion now gone out: within the panels hung coloured prints, which must have been there since the beginning of this century. They represented rural subjects—the farmer sitting before a sirloin of beef, while his wife, a cheerful nymph, brought him 'Brown George,' foaming with her best home-brewed; the children hung about his knees expectant of morsels; or the rustic bade farewell to his sweetheart, the recruiting-sergeant waiting for him, and the villagers, to a woman, bathed in tears. There were half a dozen of those compositions simply coloured. I believe they are now worth much money. But there were many other things in this room worth money. Opposite the fireplace stood a cabinet of carved oak, black with age, precious beyond price. Behind its glass windows one could see a collection of things once strange and rare—things which used to be brought home by sailors long before steamers ploughed every ocean and globe-trotters trotted over every land. There were wonderful things in coral, white and red and pink; Venus's-fingers from the Philippines; fans from the Seychelles; stuffed birds of wondrous hue, daggers and knives, carven tomahawks, ivory toys, and many other wonders from the far East and fabulous Cathay. Beside the cabinet was a wooden desk, carved in mahogany, with a date of 1645, said to have been brought to the islands by one of the Royalist prisoners whom Cromwell hanged upon the highest carn of Hangman's Island. There was no escaping Cromwell—not even in Scilly any more than in Jamaica. In one corner was a cupboard, the door standing open. No collector ever came here to gaze upon the treasures unspeakable of cups and saucers, plates and punch-bowls. On the mantelshelf were brass candlesticks and silver candlesticks, side by side with 'ornaments' of china, pink and gold, belonging to the artistic reign of good King George the Fourth. On the hearthrug before the fire, which was always burning in this room all the year round, lay an old dog sleeping.
Everybody knows the feeling of a room or a house belonging to the old. Even if the windows are kept open, the air is always close. Rest, a gentle, elderly angel, sits in the least frequented room with folded wings. Sleep is always coming to the doors at all hours: for the sake of Rest and Sleep the house must be kept very quiet: nobody must ever laugh in the house: there is none of the litter that children make: nothing is out of its place: nothing is disturbed: the furniture is old-fashioned and formal: the curtains are old and faded: the carpets are old, faded, and worn: it is always evening: everything belonging to the house has done its work: all together, like the tenant, are sitting still—solemn, hushed, at rest, waiting for the approaching end.
The only young thing at Holy Hill was the girl at the window. Everything else was old—the servants, the farm labourers, the house and the furniture. In the great hooded arm-chair beside the fire reposed the proprietor, tenant, or owner of all. She was the oldest and most venerable dame ever seen. At this time she was asleep: her head had dropped forward a little, but not much; her eyes were closed; her hands were folded in her lap. She was now so very ancient that she never left her chair except for her bed; also, by reason of her great antiquity, she now passed most of the day in sleep, partly awake in the morning, when she gazed about and asked questions of the day. But sometimes, as you will presently see, she revived again in the evening, became lively and talkative, and suffered her memory to return to the ancient days.
By the assistance