by Thomas Hardy
She walked about for a little time longer, then put away the letter, looked at the clock, and thence returned to the windows, straining her eyes over the landscape without, as she murmured, ‘I wish Charlotte was not so long coming!’
As Charlotte continued to keep away, Paula became less reasonable in her desires, and proceeded to wish that Somerset would arrive; then that anybody would come; then, walking towards the portraits on the wall, she flippantly asked one of those cavaliers to oblige her fancy for company by stepping down from his frame. The temerity of the request led her to prudently withdraw it almost as soon as conceived: old paintings had been said to play queer tricks in extreme cases, and the shadows this afternoon were funereal enough for anything in the shape of revenge on an intruder who embodied the antagonistic modern spirit to such an extent as she. However, Paula still stood before the picture which had attracted her; and this, by a coincidence common enough in fact, though scarcely credited in chronicles, happened to be that one of the seventeenth-century portraits of which De Stancy had studied the engraved copy at Myrtle Villa the same morning.
Whilst she remained before the picture, wondering her favourite wonder, how would she feel if this and its accompanying canvases were pictures of her own ancestors, she was surprised by a light footstep upon the carpet which covered part of the room, and turning quickly she beheld the smiling little figure of Charlotte De Stancy.
‘What has made you so late?’ said Paula. ‘You are come to stay, of course?’
Charlotte said she had come to stay. ‘But I have brought somebody with me!’
‘Ah — whom?’
‘My brother happened to be at home, and I have brought him.’
Miss De Stancy’s brother had been so continuously absent from home in India, or elsewhere, so little spoken of, and, when spoken of, so truly though unconsciously represented as one whose interests lay wholly outside this antiquated neighbourhood, that to Paula he had been a mere nebulosity whom she had never distinctly outlined. To have him thus cohere into substance at a moment’s notice lent him the novelty of a new creation.
‘Is he in the drawing-room?’ said Paula in a low voice.
‘No, he is here. He would follow me. I hope you will forgive him.’
And then Paula saw emerge into the red beams of the dancing fire, from behind a half-drawn hanging which screened the door, the military gentleman whose acquaintance the reader has already made.
‘You know the house, doubtless, Captain De Stancy?’ said Paula, somewhat shyly, when he had been presented to her.
‘I have never seen the inside since I was three weeks old,’ replied the artillery officer gracefully; ‘and hence my recollections of it are not remarkably distinct. A year or two before I was born the entail was cut off by my father and grandfather; so that I saw the venerable place only to lose it; at least, I believe that’s the truth of the case. But my knowledge of the transaction is not profound, and it is a delicate point on which to question one’s father.’
Paula assented, and looked at the interesting and noble figure of the man whose parents had seemingly righted themselves at the expense of wronging him.
‘The pictures and furniture were sold about the same time, I think?’ said Charlotte.
‘Yes,’ murmured De Stancy. ‘They went in a mad bargain of my father with his visitor, as they sat over their wine. My father sat down as host on that occasion, and arose as guest.’
He seemed to speak with such a courteous absence of regret for the alienation, that Paula, who was always fearing that the recollection would rise as a painful shadow between herself and the De Stancys, felt reassured by his magnanimity.
De Stancy looked with interest round the gallery; seeing which Paula said she would have lights brought in a moment.
‘No, please not,’ said De Stancy. ‘The room and ourselves are of so much more interesting a colour by this light!’
As they moved hither and thither, the various expressions of De Stancy’s face made themselves picturesquely visible in the unsteady shine of the blaze. In a short time he had drawn near to the painting of the ancestor whom he so greatly resembled. When her quick eye noted the speck on the face, indicative of inherited traits strongly pronounced, a new and romantic feeling that the De Stancys had stretched out a tentacle from their genealogical tree to seize her by the hand and draw her in to their mass took possession of Paula. As has been said, the De Stancys were a family on whom the hall-mark of membership was deeply stamped, and by the present light the representative under the portrait and the representative in the portrait seemed beings not far removed. Paula was continually starting from a reverie and speaking irrelevantly, as if such reflections as those seized hold of her in spite of her natural unconcern.
When candles were brought in Captain De Stancy ardently contrived to make the pictures the theme of conversation. From the nearest they went to the next, whereupon Paula as hostess took up one of the candlesticks and held it aloft to light up the painting. The candlestick being tall and heavy, De Stancy relieved her of it, and taking another candle in the other hand, he imperceptibly slid into the position of exhibitor rather than spectator. Thus he walked in advance holding the two candles on high, his shadow forming a gigantic figure on the neighbouring wall, while he recited the particulars of family history pertaining to each portrait, that he had learnt up with such eager persistence during the previous four-and-twenty-hours. ‘I have often wondered what could have been the history of this lady, but nobody has ever been able to tell me,’ Paula observed, pointing to a Vandyck which represented a beautiful woman wearing curls across her forehead, a square-cut bodice, and a heavy pearl necklace upon the smooth expanse of her neck.
‘I don’t think anybody knows,’ Charlotte said.
‘O yes,’ replied her brother promptly, seeing with enthusiasm that it was yet another opportunity for making capital of his acquired knowledge, with which he felt himself as inconveniently crammed as a candidate for a government examination. ‘That lady has been largely celebrated under a fancy name, though she is comparatively little known by her own. Her parents were the chief ornaments of the almost irreproachable court of Charles the First, and were not more distinguished by their politeness and honour than by the affections and virtues which constitute the great charm of private life.’
The stock verbiage of the family memoir was somewhat apparent in this effusion; but it much impressed his listeners; and he went on to point out that from the lady’s necklace was suspended a heart-shaped portrait — that of the man who broke his heart by her persistent refusal to encourage his suit. De Stancy then led them a little further, where hung a portrait of the lover, one of his own family, who appeared in full panoply of plate mail, the pommel of his sword standing up under his elbow. The gallant captain then related how this personage of his line wooed the lady fruitlessly; how, after her marriage with another, she and her husband visited the parents of the disappointed lover, the then occupiers of the castle; how, in a fit of desperation at the sight of her, he retired to his room, where he composed some passionate verses, which he wrote with his blood, and after directing them to her ran himself through the body with his sword. Too late the lady’s heart was touched by his devotion; she was ever after a melancholy woman, and wore his portrait despite her husband’s prohibition. ‘This,’ continued De Stancy, leading them through the doorway into the hall where the coats of mail were arranged along the wall, and stopping opposite a suit which bore some resemblance to that of the portrait, ‘this is his armour, as you will perceive by comparing it with the picture, and this is the sword with which he did the rash deed.’
‘What unreasonable devotion!’ said Paula practically. ‘It was too romantic of him. She was not worthy of such a sacrifice.’
‘He also is one whom they say you resemble a little in feature, I think,’ said Charlotte.
‘Do they?’ replied De Stancy. ‘I wonder if it’s true.’ He set down the candles, and asking the girls to
withdraw for a moment, was inside the upper part of the suit of armour in incredibly quick time. Going then and placing himself in front of a low-hanging painting near the original, so as to be enclosed by the frame while covering the figure, arranging the sword as in the one above, and setting the light that it might fall in the right direction, he recalled them; when he put the question, ‘Is the resemblance strong?’
He looked so much like a man of bygone times that neither of them replied, but remained curiously gazing at him. His modern and comparatively sallow complexion, as seen through the open visor, lent an ethereal ideality to his appearance which the time-stained countenance of the original warrior totally lacked.
At last Paula spoke, so stilly that she seemed a statue enunciating: ‘Are the verses known that he wrote with his blood?’
‘O yes, they have been carefully preserved.’ Captain De Stancy, with true wooer’s instinct, had committed some of them to memory that morning from the printed copy to be found in every well-ordered library. ‘I fear I don’t remember them all,’ he said, ‘but they begin in this way: —
“From one that dyeth in his discontent,
Dear Faire, receive this greeting to thee sent;
And still as oft as it is read by thee,
Then with some deep sad sigh remember mee!
O ‘twas my fortune’s error to vow dutie,
To one that bears defiance in her beautie!
Sweete poyson, pretious wooe, infectious jewell —
Such is a Ladie that is faire and cruell.
How well could I with ayre, camelion-like,
Live happie, and still gazeing on thy cheeke,
In which, forsaken man, methink I see
How goodlie love doth threaten cares to mee.
Why dost thou frowne thus on a kneelinge soule,
Whose faults in love thou may’st as well controule? —
In love — but O, that word; that word I feare
Is hateful still both to thy hart and eare!
. . . . .
Ladie, in breefe, my fate doth now intend
The period of my daies to have an end:
Waste not on me thy pittie, pretious Faire:
Rest you in much content; I, in despaire!”‘
A solemn silence followed the close of the recital, which De Stancy improved by turning the point of the sword to his breast, resting the pommel upon the floor, and saying: —
‘After writing that we may picture him turning this same sword in this same way, and falling on it thus.’ He inclined his body forward as he spoke.
‘Don’t, Captain De Stancy, please don’t!’ cried Paula involuntarily.
‘No, don’t show us any further, William!’ said his sister. ‘It is too tragic.’
De Stancy put away the sword, himself rather excited — not, however, by his own recital, but by the direct gaze of Paula at him.
This Protean quality of De Stancy’s, by means of which he could assume the shape and situation of almost any ancestor at will, had impressed her, and he perceived it with a throb of fervour. But it had done no more than impress her; for though in delivering the lines he had so fixed his look upon her as to suggest, to any maiden practised in the game of the eyes, a present significance in the words, the idea of any such arriere-pensee had by no means commended itself to her soul.
At this time a messenger from Markton barracks arrived at the castle and wished to speak to Captain De Stancy in the hall. Begging the two ladies to excuse him for a moment, he went out.
While De Stancy was talking in the twilight to the messenger at one end of the apartment, some other arrival was shown in by the side door, and in making his way after the conference across the hall to the room he had previously quitted, De Stancy encountered the new-comer. There was just enough light to reveal the countenance to be Dare’s; he bore a portfolio under his arm, and had begun to wear a moustache, in case the chief constable should meet him anywhere in his rambles, and be struck by his resemblance to the man in the studio.
‘What the devil are you doing here?’ said Captain De Stancy, in tones he had never used before to the young man.
Dare started back in surprise, and naturally so. De Stancy, having adopted a new system of living, and relinquished the meagre diet and enervating waters of his past years, was rapidly recovering tone. His voice was firmer, his cheeks were less pallid; and above all he was authoritative towards his present companion, whose ingenuity in vamping up a being for his ambitious experiments seemed about to be rewarded, like Frankenstein’s, by his discomfiture at the hands of his own creature.
‘What the devil are you doing here, I say?’ repeated De Stancy.
‘You can talk to me like that, after my working so hard to get you on in life, and make a rising man of you!’ expostulated Dare, as one who felt himself no longer the leader in this enterprise.
‘But,’ said the captain less harshly, ‘if you let them discover any relations between us here, you will ruin the fairest prospects man ever had!’
‘O, I like that, captain — when you owe all of it to me!’
‘That’s too cool, Will.’
‘No; what I say is true. However, let that go. So now you are here on a call; but how are you going to get here often enough to win her before the other man comes back? If you don’t see her every day — twice, three times a day — you will not capture her in the time.’
‘I must think of that,’ said De Stancy.
‘There is only one way of being constantly here: you must come to copy the pictures or furniture, something in the way he did.’
‘I’ll think of it,’ muttered De Stancy hastily, as he heard the voices of the ladies, whom he hastened to join as they were appearing at the other end of the room. His countenance was gloomy as he recrossed the hall, for Dare’s words on the shortness of his opportunities had impressed him. Almost at once he uttered a hope to Paula that he might have further chance of studying, and if possible of copying, some of the ancestral faces with which the building abounded.
Meanwhile Dare had come forward with his portfolio, which proved to be full of photographs. While Paula and Charlotte were examining them he said to De Stancy, as a stranger: ‘Excuse my interruption, sir, but if you should think of copying any of the portraits, as you were stating just now to the ladies, my patent photographic process is at your service, and is, I believe, the only one which would be effectual in the dim indoor lights.’
‘It is just what I was thinking of,’ said De Stancy, now so far cooled down from his irritation as to be quite ready to accept Dare’s adroitly suggested scheme.
On application to Paula she immediately gave De Stancy permission to photograph to any extent, and told Dare he might bring his instruments as soon as Captain De Stancy required them.
‘Don’t stare at her in such a brazen way!’ whispered the latter to the young man, when Paula had withdrawn a few steps. ‘Say, “I shall highly value the privilege of assisting Captain De Stancy in such a work.”‘
Dare obeyed, and before leaving De Stancy arranged to begin performing on his venerated forefathers the next morning, the youth so accidentally engaged agreeing to be there at the same time to assist in the technical operations.
CHAPTER III.
As he had promised, De Stancy made use the next day of the coveted permission that had been brought about by the ingenious Dare. Dare’s timely suggestion of tendering assistance had the practical result of relieving the other of all necessity for occupying his time with the proceeding, further than to bestow a perfunctory superintendence now and then, to give a colour to his regular presence in the fortress, the actual work of taking copies being carried on by the younger man.
The weather was frequently wet during these operations, and Paula, Miss De Stancy, and her brother, were often in the house whole mornings together. By constant urging and coaxing the latter would induce his gentle sister, much against her conscience, to leave him opportunities for speaking to Paula alone. It w
as mostly before some print or painting that these conversations occurred, while De Stancy was ostensibly occupied with its merits, or in giving directions to his photographer how to proceed. As soon as the dialogue began, the latter would withdraw out of earshot, leaving Paula to imagine him the most deferential young artist in the world.
‘You will soon possess duplicates of the whole gallery,’ she said on one of these occasions, examining some curled sheets which Dare had printed off from the negatives.
‘No,’ said the soldier. ‘I shall not have patience to go on. I get ill-humoured and indifferent, and then leave off.’
‘Why ill-humoured?’
‘I scarcely know — more than that I acquire a general sense of my own family’s want of merit through seeing how meritorious the people are around me. I see them happy and thriving without any necessity for me at all; and then I regard these canvas grandfathers and grandmothers, and ask, “Why was a line so antiquated and out of date prolonged till now?”‘
She chid him good-naturedly for such views. ‘They will do you an injury,’ she declared. ‘Do spare yourself, Captain De Stancy!’
De Stancy shook his head as he turned the painting before him a little further to the light.
‘But, do you know,’ said Paula, ‘that notion of yours of being a family out of date is delightful to some people. I talk to Charlotte about it often. I am never weary of examining those canopied effigies in the church, and almost wish they were those of my relations.’
‘I will try to see things in the same light for your sake,’ said De Stancy fervently.
