“How have you enjoyed yourself, miss? Judging by your looks I should, say very much indeed, for never did I see you looking better,” said Miss Smithers, with more enthusiasm than punctuation, as she removed the shawl from the lovely shoulders of Miss Tappenden.
“Thank you, Smithers, I am better,” replied the young lady, with languid condescension. Miss Tappenden, on the strength of never having anything the matter with her, was always complaining, and passed her existence in taking sal-volatile and red lavender, and reading three volumes a day from the circulating library.
“And how,” asked the ponderous voice of the ponderous Doctor, “how is everything going on, Smithers?” By this time they were seated at the tea-table, and the learned Tappenden was in the act of putting five lumps of sugar in his cup, while the fair Smithers lingered in attendance.
“Quite satisfactory, sir, I’m sure,” replied that young lady, growing very much confused. “Everything quite satisfactory, Sir; leastways-”
“What do you mean by leastways, Smithers?” asked the Doctor, impatiently. “In the first place it isn’t English; and in the next it sounds as if it meant something unpleasant. For goodness sake, Smithers, be straightforward and business-like. Has anything gone wrong? What is it? And why wasn’t I informed of it?
Smithers, in despair at her incapability of answering these three questions at once, as no doubt she ought to have been able to do, or the Doctor would not have asked them, stammered out, —
“Mr. North, sir—”
“‘Mr. North, Sir’! Well, what of ‘Mr. North, sir’?” By the bye, where is Mr. North? Why isn’t he here to receive us?”
Smithers feels that she is in for it; so, after two or three nervous gulps, and other convulsive movements of the throat, she continues thus—”Mr. North, sir, didn’t come home last night, sir. We sat up for him till one o’clock this morning — last night, sir.”
The rising storm in the Doctor’s face is making Smithers’s English more un-English every moment.
“Didn’t come last night? Didn’t return to my house at the hour of ten, which hour has been appointed by me for the retiring to rest of every person in my employment?” cried the Doctor, aghast.
“No, sir! Nor yet this morning, sir! Nor yet this afternoon, sir! And the West-Indian pupils have been looking out of the window, sir, and would, which we told them not till we were hoarse, sir.”
“The person intrusted by me with the care of my pupils abandoning his post, and my pupils looking out of the window!” exclaimed Dr. Tappenden, in the tone of a man who says—”The glory of England has departed! You wouldn’t, perhaps, believe it; but it has!”
“We didn’t know what to do, sir, and so we thought we’d better not do it,” continued the bewildered Smithers. “And we thought as you was coming back to-day, we’d better leave it till you did come back — and please, sir, will you take any new-laid eggs?”
“Eggs!” said the Doctor; “ new-laid eggs! Go away, Smithers. There must be some steps taken immediately. That young man was my right hand, and I would have trusted him with untold gold; or,” he added, “with my cheque-book.”
As he uttered the words “cheque-book,” he, as it were instinctively, laid his hand upon the pocket which contained that precious volume; but as he did so, he remembered that he had used the last leaf but one when writing a cheque for a midsummer butcher’s bill, and that he had a fresh book in his desk untouched. This desk was always kept in the study, and the Doctor gave an involuntary glance in the direction in which it stood.
It was a very handsome piece of furniture, ponderous, like the Doctor himself; a magnificent construction of shining walnut-wood and dark green morocco, with a recess for the Doctor’s knees, and on either side of this recess two rows of drawers, with brass handles and Bramah locks. The centre drawer on the left hand side contained an inner and secret drawer, and towards the lock of this drawer the Doctor looked, for this contained his new cheque-book. The walnut-wood round the lock of this centre drawer seemed a little chipped; the Doctor thought he might as well get up and look at it; and a nearer examination showed the brass handle to be slightly twisted, as if a powerful hand had wrenched it out of shape. The Doctor, taking hold of the handle to pull it straight, drew the drawer out, and scattered its contents upon the floor; also the contents of the inner drawer, and amongst them the cheque-book, half-a-dozen leaves of which had been torn out.
“So,” said the Doctor, “this man, whom I trusted, has broken open my desk, and finding no money, he has taken blank cheques, in the hope of being able to forge my name. To think that I did not know this man!”
To think that you did not, Doctor; to think, too, that you do not even now, perhaps, know half this man may have been capable of.
But it was time for action, not reflection; so the Doctor hurried to the railway station, and telegraphed to his bankers in London to stop any cheques presented in his signature, and to have the person presenting such cheques immediately arrested. From the railway station he hurried, in an undignified perspiration, to the police-office, to institute a search for the missing Jabez, and then returned home, striking terror into the hearts of his household, ay, even to the soul of his daughter, the lovely Jane, who took an extra dose of sal-volatile, and went to bed to read “Lady Clarinda, or the Heart-breaks of Belgravia.”
With the deepening twilight came a telegraphic message from the bank to say that cheques for divers sums had been presented and cashed by different people in the course of the day. On the heels of this message came another from the police-station, announcing that a body had been found upon Halford Heath answering to the description of the missing man.
The bewildered schoolmaster, hastening to the station, recognises, at a glance, the features of his late assistant. The contents of the dead man’s pocket, the empty bottle with the too significant label, are shown him. No, some other hand than the usher’s must have broken open the desk in the study, and the unfortunate young man’s reputation had been involved in a strange coincidence. But the motive for his rash act? That is explained by a most affecting letter in the dead man’s hand, which is found in his desk. It is addressed to the Doctor, expresses heartfelt gratitude for that worthy gentleman’s past kindnesses, and hints darkly at a hopeless attachment to his daughter, which renders the writer’s existence a burden too heavy for him to bear. For the rest, Jabez North has passed a threshold, over which the boldest and most inquisitive scarcely care to follow him. So he takes his own little mystery with him into the land of the great mystery.
There is, of course, an inquest, at which two different chemists, who sold laudanum to Jabez North on the night before his disappearance, give their evidence. There is another chemist, who deposes to having sold him, a day or two before, a bottle of patent hair-dye, which is also a poisonous compound; but surely he never could have thought of poisoning himself with hair-dye.
The London police are at fault in tracing the presenters of the cheques; and the proprietors of the bank, or the clerks, who maintain a common fund to provide against their own errors, are likely to be considerable losers. In the mean while the worthy Doctor announces, by advertisements in the Slopperton papers, that “his pupils assemble on the 27th of July.”
BOOK THE THIRD. HOLY INSTITUTION.
CHAPTER I. THE VALUE OF AN OPERA-GLASS.
PARIS! — City of fashion, pleasure, beauty, wealth, rank, talent, and indeed all the glories of the earth. City of palaces, in which La Vallière smiled, and Scarron sneered; under whose roofs the echoes of Bossuet’s voice have resounded, while folly, coming to be amused, has gone away in tears, only to forget to-morrow what it has heard to-night. Glorious city, in which a bon mot is more famous than a good action; which is richer in the records of Ninon de Lenclos than in those of Joan of Arc; for which Beaumarchais wrote, and Marmontel moralised; which Scottish John Law infected with a furious madness, in those halcyon days when jolly, good-tempered, accomplished, easy-going Philippe of Orleans held
the reins of power. Paris, which young Arouet, afterwards Voltaire, ruled with the distant jingle of his jester’s wand, from the far retreat of Ferney. Paris, in which Madame du Deffand dragged out those weary, brilliant, dismal, salon-keeping years, quarrelling with Mademoiselle de l’Espinasse, and corresponding with Horace Walpole; ce cher Horace, who described those brilliant French ladies as women who neglected all the duties of life, and gave very pretty suppers.
Paris, in which Bailly spoke, and Madame Roland dreamed; in which Marie Antoinette despaired, and gentle Princes Elizabeth laid down her saintly life; in which the son of St. Louis went calmly to the red mouth of that terrible machine invented by the charitable doctor who thought to benefit his fellow creatures. City, under whose roofs bilious Robespierre suspected and feared; beneath whose shadow the glorious twenty-two went hand in hand to death, with the psalm of freedom swelling from their lips. Paris, which rejoiced when Marengo was won, and rang joy-bells for the victories of Lodd Arcola, Austerlitz, Auerstadt, and Jena; Paris, which mourned over fatal Waterloo, and opened its arms, after weary years of waiting, to take to its heart only the ashes of the ruler of its election; Paris, the marvellous; Paris, the beautiful, whose streets are streets of palaces — fairy wonders of opulence and art; — can it be that under some of thy myriad roofs there are such incidental trifles as misery, starvation, vice, crime, and death? Nay, we will not push the question, but enter at once into one of the most brilliant of the temples of that goddess whose names are Pleasure, Fashion, Folly, and Idleness: and that more splendid shrine can we choose whereat to worship the divinity called Pleasure than the Italian Opera House?
To-night the house is thronged with fashion and beauty. Bright uniforms glitter in the backgrounds of the boxes, and sprinkle the crowded parterre. The Citizen King is there — not King of France; no such poor title will he have, but King of the French. His throne is based, not on the broad land, but on the living hearts of his people. May it never prove to be built on a shallow foundation! In eighteen hundred and forty-two all is well for Louis Philippe and his happy family.
In the front row of the stalls, close to the orchestra, a young man lounges, with his opera-glass in his hand. He is handsome and very elegant, and is dressed in the most perfect taste and the highest fashion. Dark curling hair clusters round his delicately white forehead; his eyes are of a bright blue, shaded by auburn lashes, which contrast rather strangely with his dark hair. A very dark and thick moustache only reveals now and then his thin lower lip and a set of dazzling white teeth. His nose is a delicate aquiline, and his features altogether bear the stamp of aristocracy. He is quite alone, this elegant lounger, and of the crowd of people of rank and fashion around him not one turns to speak to him. His listless white hand is thrown on the cushion of the stall on which he leans, as he glances round the house with one indifferent sweep of his opera-glass. Presently his attention is arrested by the conversation of two gentlemen close to him, and without seeming to listen, he hears what they are saying.
“Is the Spanish princess here to-night?” asks one.
“What, the marquis’s niece, the girl who has that immense property in Spanish America? Yes, she is in the box next to the king’s; don’t you see her diamonds? They and her eyes are brilliant enough to set the curtains of the box on fire.”
“She is immensely rich, then?”
“She is an Eldorado. The Marquis de Cevennes has no children, and all his property will go to her; her Spanish American property comes from her mother. She is an orphan, as you know, and the marquis is her guardian.”
“She is handsome; but there’s just a little too much of the demon in those great almond-shaped black eyes and that small determined month. What a fortune she would be to some intriguing adventurer!”
“An adventurer! Valerie de Cevennes the prize of an adventurer! Show me the man capable of winning her, without rank and fortune equal to hers; and I will say you have found the eighth wonder of the world.”
The listener’s eyes light up with a strange flash, and lifting his glass, he looks for a few moments carelessly round the house, and then fixes his gaze upon the box next to that occupied by the royal party.
The Spanish beauty is indeed a glorious creature; of a loveliness rich alike in form and colour, but with hauteur and determination expressed in every feature of her face. A man of some fifty years of age is seated by her side, and behind her chair two or three gentlemen stand, the breasts of whose coats glitter with stars and orders. They are speaking to her; but she pays very little attention to them. If she answers, it is only by a word, or a bend of her proud head, which she does not turn towards them. She never takes her eyes from the curtain, which presently rises. The opera is La Sonnambula. The Elvino is the great singer of the day — a young man whose glorious voice and handsome face have made him the rage of the musical world. Of his origin different stories are told. Some say he was originally a shoemaker, others declare him to be the son of a prince. He has, however, made his fortune at seven-and-twenty, and can afford to laugh at these stories. The opera proceeds, and the powerful glass of the lounger in the stalls records the minutest change in the face of Valerie de Cevennes. It records one faint quiver, and then a firmer compression of the thin lips, when the Elvino appears; and the eyes of the lounger fasten more intently, if possible, than before upon the face of the Spanish beauty.
Presently Elvino sings the grand burst of passionate reproach, in which he upbraids Amina’s fancied falsehood. As the house applauds at the close of the scene, Valerie’s bouquet falls at the feet of the Amina. Elvino, taking it in his hand, presents it to the lady, and as he does so, the lounger’s glass — which, more rapidly than the bouquet has fallen, has turned to the stage records a movement so quick as to be almost a feat of legerdemain. The great tenor has taken a note from the bouquet. The lounger sees the triumphant glance towards the box next the king’s, though it is rapid as lightning. He sees the tiny morsel of glistening paper crumpled in the singer’s hand; and after one last contemplative look at the proud brow and set lips of Valerie de Cevennes, he lowers the glass.
“My glass is well worth the fifteen guineas I paid for it,” he whispers to himself. “That girl can command her eyes; they have not one traitorous flash. But those thin lips cannot keep a secret from a man with a decent amount of brains.”
When the opera is over, the lounger of the stalls leaves his place by the orchestra, and loiters in the winter night outside the stage-door. Perhaps he is enamoured of some lovely coryphée — lovely in all the gorgeousness of flake white and liquid rouge; and yet that can scarcely be, or he would be still in the stalls, or hovering about the side-scenes, for the ballet is not over. Two or three carriages, belonging to the principal singers, are waiting at the stage-door. Presently a tall, stylish-looking man, in a loose over-coat, emerges; a groom opens the door of a well-appointed little brougham, but the gentleman says —
“No, Farée, you can go home. I shall walk.”
“But, monsieur,” remonstrates the man, “monsieur is not aware that it rains.”
Monsieur says he is quite aware of the rain; but that he has an umbrella, and prefers walking. So the brougham drives off with the distressed Farée, who consoles himself at a cafe high up on the boulevard, where he plays écarté with a limp little pack of cards, and drinks effervescing lemonade.
The lounger of the stalls, standing in the shadow, hears this little dialogue, and sees also, by the light of the carriage-lamps, that the gentleman in the loose coat is no less a personage than the hero of the opera. The lounger also seems to be indifferent to the rain, and to have a fancy for walking; for when Elvino crosses the road and turns into an opposite street, the lounger follows. It is a dark night, with a little drizzling rain — a night by no means calculated to tempt an elegantly-dressed young man to brave all the disagreeables and perils of dirty pavements and overflowing gutters; but neither Elvino nor the lounger seem to care for mud or rain, for they walk at a rapid pace through s
everal streets — the lounger always a good way behind and always in the shadow. He has a light step, which wakes no echo on the wet pavement; and the fashionable tenor has no idea that he is followed. He walks through long narrow streets to the Rue Rivoli, thence across one of the bridges. Presently he enters a very aristocratic but retired street, in a lonely quarter of the city. The distant roll of carriages and the tramp of a passing gendarmes are the only sounds that break the silence. There is not a creature to be seen in the wide street but the two men. Elvino turns to look about him, sees no one, and walks on till he comes to a mansion at the corner, screened from the street by a high wall, with great gates and a porter’s lodge. Detached from the house, and sheltered by an angle of the wall, is a little pavilion, the windows of which look into the courtyard or garden within. Close to this pavilion is a narrow low door of carved oak, studded with great iron nails, and almost hidden in the heavy masonry of the wall which frames it. The house in early times has been a convent, and is now the property of the Marquis de Cevennes. Elvino, with one more glance up and down the dimly-lighted street, approaches this doorway, and stooping down to the key-hole whistles softly three bars of a melody from Don Giovanni — La ci darem la mano.
Delphi Works of M. E. Braddon Page 13
