Chapter III: Part 3

While I thus laugh in the glory of slovenliness, I must refrain from entering upon a wider field,--woman's influences in the full dressed world.--Let them enjoy their prerogative undisturbed. As we shall not undergo a feminine metamorphosis, we are not likely to suffer, from their amiable dress vagaries, unless they should return to some of their older fashions, in which case, we must alter our very houses to please them; as was done for Isabel of Bavaria, the luxurious consort of Charles VI. of France, who, when he kept court at Vincennes, was compelled to call in the architect, and have all the doors of the palace made higher, to admit the head-dresses of the Queen and her ladies. Yet we need not laugh, for, Eusebius, if the trunk hose should come into vogue again, our doorways must be widened. That would not be so bad as a return on our side of the question to a tight fit, on which condition every limb was in misery, that, to think of, will reconcile you to our loose indifference. What a monstrous contrast of extremes has been exhibited, from the tight pantaloon, such as we see it in some old pictures, to the great breeches worn in the beginning of the reign of Elizabeth! In the "Pedigree of the English gallant," an account is given of a man, whom the Judges accused of wearing breeches contrary to law, (a law was made against them.) His defence of himself is curious. "He drawed out of his sloops the contents," viz., a pair of sheets, two table-cloths, ten napkins, four shirts, a brush, a glass, and a comb, with night-caps, and other things, saying, "Your worships may understand, that because I have no safer a store-house, these pockets do serve me for a room to lay up my goods in, and though it be a straight prison, yet it is big enough for them, for I have many things of value yet within it." He was discharged, as he should have been, with his merchandise, and allowed to trade freely on his own bottom. Hudibras carried some such a cupboard. Small must have been the population, when these inexpressibles, great inexpressibles, gallanted with the ladies' large hoop farthingales. A few pairs must have occupied no small space. A courtship in those days must have resembled a siege, where the principal defence lay in the outworks, and the difficulty of approach was not a little enhanced by the encumbrances of the advancing party.

Who was the first coxcomb? Was dress, in its origin, a modest or immodest appendage to the person; or rather when did it first cease to be merely a protection or concealment? Is love of ornament a natural virtue, or a superinduced vice? These are curious speculations. There is an old play I have somewhere read of, which represents our first parents in Paradise perfectly nude, and so were they exhibited, and in public, without shame. The subsequent acts introduced them dressed; and the last act, I believe, in the fashion of the day in which the play was acted. As all plays were then serious, was this representation a satire on coxcombry, and intended to exhibit the progress of personal degradation?

What does a man propose to himself when he goes to his tailor's? Is it to be clothed or adorned? Is it to hide a defect, that he may not appear worse than he is, or that he may appear better than he is? To attract observation or to escape it. Is the pride in dress, or in undress? Ingenious in self-deceit was the reply of the man reproved for the badness of his dress, "Oh every body knows me here;" and his reply when seen in the same suit far from his home, "Oh nobody knows me here." This was a true amateur; he loved slovenliness for its own sake. Few believe themselves so ill-made, as that the "dogs will bark at them." Even Richard III., who owned to his deformity, gets a little in love with himself, and thinks of adorning his person. "I do mistake my person all this while." He determines to act the exquisite.

"I'll be at charges for a looking-glass;
And entertain a score or two of tailors,
To study fashions to adorn my body.
Since I have crept in favour with myself,
I will maintain it with some little cost."

Or does the satirical and successful Richard merely laugh at your fop-wooers, and, proud of his own superiority, contemn them, by imagining their dress on his own person? One would really think, from the figures one sees, that there are people who dress purposely to spite the tailors, as there are those who are paid to be walking placards of recommendation.

The butcher who ran after the fat man, and stopped him crying, "Be so good, sir, as to say you buy your meat of me," was not more aware of the benefit of such a personal recommendation, than is our fashionable tailor. A well-made man, if he is in tolerable fashion, may be supplied with clothes, as I am credibly informed, for nothing but the merely notifying the makers. They are the decoy-ducks, excepting that, though they have fine feathers, they have no bills.

I am told that a fashionable tailor would be quite shy of an ill-made and vulgar looking customer; and generally charges his dislike in his bill, that he may lose him. I knew a portrait painter, that professed to decline, painting ugly people, upon that principle, and consequently his success was quite astonishing; every one he did paint was in better humour with himself, and was proud of his certificate of beauty when he named the artist. Were you and I, Eusebius, to presume to enter the saloon of a fashionable cutter, and order suits, they would be purposely so ill-made, that no one should suspect from whence they came. And we should ever wear them with a hitch of discomfort in some part or other. So that, were we to try our best at foppery, we could not now succeed. I have tried it upon various occasions, and convinced myself that I was not born to it, and certainly neither of us has acquired a second nature that any tailor would recognise. A tailor's man, like the poet, must be born with nature's fit, or nothing else will fit him,--"nascitur non fit." Some wear their limbs so loosely, that they move them as do those German toys, whose legs you see children jerk with a string. The best Sartorial artist can make nothing of them; they are a mockery even upon the manufacture of "journeymen," they "imitate nature so abominably."

How I came to be a sloven! Well, if I am a sloven, which I hardly know how to admit, and if I am a little in love with a kind of genteel slovenry, how came I by it? I did not take to it naturally, as you did, Eusebius; I caught it. And once caught, however we may upon occasions throw it off, it returns like an influenza, and becomes a continual habit. Few, indeed, are there who are not born with a contrary propensity, inheriting it from their mothers, whose preparations for the coming offspring were of the finest, the _ventum textilem_, as Apuleius calls it,--woven wind. Early, indeed, in his day of existence, is the little infant taught to show off, both his nude and his finery, and to hear the beauty of both commended. Thus is vanity engendered in the bud. You were a born genius, and exempt from the cradle from this visible mark of frailty. It was not so with me; I was an incipient fop before I could walk. And now I remember, Eusebius, that I sent you a letter some years ago, that should have answered, though perhaps imperfectly, your question. It was a "passage of autobiography," giving you an account of my first entrance at a public school, and how I was "breeched." How one Mr. Flight, after much tugging and pulling, by himself and foreman, did contrive to fit me into a pair of mouse-colour leather inexpressibles,--a good name for them, too, for I was hardly _pressible_ in or out of them. Do you not remember my narration of the second time of putting them on, on my first morning at Winchester College, while the chapel bell was going, and I not yet fitted in; and how at last I did contrive to get some portion of me into them, and to fasten one button, and how I ran (but that word won't express the movement I made) breathless into the chapel, and on kneeling down, the button gave way to my shame, discomfort, and disgrace, exposure, ridicule. I might parody what the cock said to the fox,

"The master my defeat, and all the school-boys, see."

This was my first disgust at my own personal appearance. I hated my leathers; but they _stuck_ to me, nevertheless,--my wardrobe contained nothing but leathers. I was like the dog that had killed his first lamb, forced to wear the skin, that became more odious every day. Here was a first distaste to dress. The fit was uncomfortable enough; but, besides, I was a subject of ridicule.

Time, with its wear and tear, took off the pride of my nether garment, and affected at length a kind of reconciliation between us. We fitted each other better, and both entered into a compact of mutual slovenry. Things won't last for ever, although, in those days, the trade did affect to manufacture a material they called "everlasting." As the quotation from an old song will show:

"And this my old coat, which is threadbare to-day,
May become _everlasting_ to-morrow."

With new breeches come new manners, new ideas. Foppery takes growth again, though it is somewhat tender; struggles for life, but somehow or other acquires strength in the struggle. You contend against it, you wrestle with it, and, by a kind of enchantment, it becomes the tailor Antæus, and rises from every defeat a bigger man than ever. Behold me, let me stand for my picture, _Ætatis 18, Scholæ Wintoniensis alumnus_. The date is at present unmentionable,--it will be found one of these days at the back of the canvass; behold me at the college gates, turning my back, for about my last holidays, upon those statuesque antique worthies, Sophocles, Euripides, Æschylus. We have shaken hands finally with the sublime Longinus, preferring for the time a "sublime and beautiful" of our own, a butterfly of the first down. On second thoughts, I am not quite fit to stand there yet; I must describe my preliminary state. My boots, I rather think, my first boots, had come home the night before; boots then were no more like boots now, than are loose trousers to Mr. Flight's mouse-coloured tights. There was nearly the same process of pulling and tugging to get them on, and when once on, the _revocare gradum_ was next to an impossibility. The leather, too, was of a more soaky oily kind, I suppose, and stuck like adhesive plaster, and drew like that medicated material. My boots were on, over-night, but no tug of war, no steam power of man or men--for we all tugged, and all steamed--could get them off. So it was determined I should sleep in them. It was very well so to determine, but sleep, as the negro said, "hab no massa," and would not obey. The bootmaker had advised and disappeared. It was soon found a just observation, _Ne sutor ultra crepidam_. Sleep would not be bed ridden, for I was booted, possibly spurred; not even a classical charm would do,

"Heus, al quis long â sub nocte, puellæ,
Brachia nexa tenens ultro te somne repellit,
Inde veni."

Sleep was only the more obstinate, and preferred better society, or worse. Sleep has been too much petted by panegyrists, till he has learnt ill manners, lies down with the clown and the drunkard, for whom he leaves the presence and courting arms of suffering beauty,--such were my thoughts in those youthful classical and romantic days, and the above passage was most likely Latinised,-- "shown up." _Probatum est._

I must hasten on, for I am, though booted, not dressed yet. With a sickening sensation, at the earliest gray light of a midsummer dawn, did I put on my clothes--my bran-new, in which I was to go out into the sunshine of life. First, there was a pair of bright orange-colour plush breeches; a light buff waistcoat with a sham-red under; a coat--no--nor jacket nor coat, but a beautiful tailor-creation, a coatee; colour, green; buttons, shining metal. My boots were of the kind called tops.

Now I am ready to stand at the college gates for my picture, whip in hand, though a chaise is waiting for me and two more. My "copartners in exile" temporary, are waiting for me. They vociferate impatience. Is the portrait finished? Then complete it at your leisure, _secundum artem_. I am off. But while I have been standing for this portrait, the sun has risen; it is intensely hot. Heat of weather, tight boots, and swelling legs and limbs, are doing their work in and out of me. I am in a sad perspiration; and so off we go. We had reached the first mile-stone; then I discover I had left my purse behind me. Out I leap, run all the way back to "chamber," and away again to the chaise. I have at this moment a painful remembrance of that short pedestrian excursion--the heat intense, the orange-yellow plush flushing up into my face, the glare of buttons, the now-agony of my booted legs and feet, the difficulty of making the needful speed, and fear of the practical joke of leaving me behind--altogether these pains and discomforts put me into a kind of bilious fever, so that, if I did not loathe myself, I did most thoroughly my clothes. From that day I took a disgust to yellows, any thing glaring--abhorred my orange-plush: and I do not believe I had any symptom of foppery about me for three years after that memorable time. There is, indeed, a miniature portrait of me extant, taken about that period: it has a dash of powder in the hair, a rather smirking look; and there is a blue coat, metal buttons, the yellow waistcoat and red under; but I suspect these are not out of my wardrobe. They are from Mr Carmine's recipe-book of portrait costume, and may be found in page 6, lettered, "For very young gentlemen." I am pretty sure the dress, at least as it looks there, was not mine; for I remember well a remonstrance from my parent about that time, thus--"My son, you are too great a sloven."

I never quite recovered this; but there did come days of philandering, when I mended a little, and occasionally appeared thus. Behold me entering the ball-room--coat, blue, metal buttons; waistcoat, white dimity; nethers, black tights; pinkish silk stockings, highly-polished shoes, with small silver buckles; hair slightly powdered, and a slip of a tail that could flirt with either shoulder. You will see that there is a little of the sentimental cast in this: it was a doubtful dress, capable, by a very small change, of making the wearer a Hamlet or a Romeo for the night, as he might determine beforehand. I continued thus for a while respectable, and might have remained so to this day, but for an unfortunate taste which I acquired, and which threw me into irredeemable slovenry, in which I have remained ever since. In my idleness, which soon became, as Shakespeare so aptly calls it, "shapeless," I dabbled with paints, oils, and colours; and as with growing improvement I enlarged the dimensions of my operations from inch to the foot, and from foot to the yard, I was soon above my elbows in the unclean "materièl." There were no tube colours in those days; we had bladders. They were always bursting; and thus they bedaubed the hands, and the hands bedaubed the clothes; and amateurs were then Picts, up to their very eyes. Young as I was, I of course fancied myself a genius, and painted so large, and so largely, that a common-sized palette impeded my work. I enlarged that, and increased the quantity of my colours. I now mention a frequent disaster, that, being frequent, was quite enough to make a sloven of any one. Take the following scene:--A room such as could be spared me, not too large, in tolerable confusion; daubs in all states of disorder on the walls, against the walls, loose and strained, in all directions; large slabs for grinding colours--oils, turpentine, varnishes, &c. &c., all in that proper disorganisation to enable any youth of a tolerably slovenly person to set up for a genius. Now--it has taken me an hour to set my palette--look at it--here is a goodly row of colours mixed and intermixed after the recipe of Lionardo da Vinci, who would have added more, if paper, as he said, had not failed him. Here, however, are quite enough--and more than enough--_satis superque_--I look at the palette with extreme satisfaction--my canvass is on the easel--imagination begins to work--alas! too soon--I am not quite ready; I must put in a cup, that diluent oil--in another, turpentine; it is done. I am a little weary, and sit, down for a moment to rest, looking full on my canvass, and giving loose to my fancy--I rise, where is my palette--alas! I have sat upon it. I have had misfortunes in etching with aqua fortis--have been the "biter bit"--but here I was the painter painted. I do not know why the arts should be called Fine--"The Fine Arts"--unless it be in derision of the slovenliness which they occasion. Many a time have I sat upon my colours: a poetical friend once wrote me an ode upon it, and begged me to learn it by rote, as a kind of _memoria technica_, or charm of preservation. This I declined, not being good-humoured enough to admire any poetry not my own. But I remember upon one such occasion working off my vexation in a sonnet. And I recommend the recipe; you may successfully salve over many a sore distraction by soothing verse. There is a great charm in rhyme, or at least in searching for it, and versifying either altogether saves swearing, or enables you to throw it off very genteelly, and with a grace. I addressed the Fine Arts, whose epithet _Fine_ I take to be given with a superstition of dread, as the old poets did the Furies, calling them Eumenides, thinking they should not fare the worse for giving them a good name; and as later times called the Fairies "the good people," lest they should punish poor innocents, and pinch o'nights. Read, Eusebius, my remonstrance to these personified, deified, and worshipped Fine Arts.

TO THE FINE ARTS.

O, ye Fine Arts--why were ye once so Fine,
So dingy now, and working sore disaster;
As that my best of pigments look like plaster,
Compared with those of "Raphael the divine,"
That grow by time still brighter like old wine,
And seem to renovate a dead old master.
Better had I been born to wield a mallet,
A hod, a plough--than sables, hogs and fitches;
If ye must mock and mark your fool your valet,
With motley livery on my coats and breeches;
Making me sit upon my well-set palette,
With merry jeers the whilst I hear you titter,
And compliment me on my only sitter.

Look, Eusebius, as I dare to say you have often done, into the smudge of a colour-maker's shop, and imagine a personification of it in a young amateur aspirant. What a ludicrously serious Harlequin he is made! At last, in despair of acquirement of cleanliness, I plunged, as it were, into the very mud and smudge of paint, and did not hesitate to wipe a brush upon my sleeves.

Thus, I acquired a bad habit--and as I often had the fit to paint when my better dress was on, I now and then seized an unlucky moment of desire, and the better soon came to be the worse. By degrees I fell into a despair of mending; and so I became a confirmed sloven.

One who fastens his knapsack on his back, that is to hold his temporary all, including materials for art, and pedestrianises over a roughish country, may acquire an exquisite taste; but he will not be personally an exquisite. He will be characteristic in look, of the picturesque which he hunts after. He will be very unlike the man I have described to you, whom dust would not soil, or rain wet, or sun burn. The geologist who walks forth, armed to tomahawk the mountains, and bag their bones, will, in a month or so, acquire a strange and stony look; and be, on his first return, and sitting in civil society, little better than the "Man Mountain" himself. Our pursuits are in us and about us, soil our dress and chisel our features. We look in the glass, easily reconcile ourselves to any metamorphosis, and think no one has a right to quarrel with that, which we think, in our self-satisfaction, makes up our beloved identity. No man can be every thing--not all "Admirable Crichtons"--it is the diversity and the difference that makes the pleasing motley in the masquerade of the world. Though you might dance more like the brutes, it does not at all follow but that you may fiddle like Orpheus. Johnson defended Kit Smart, the sloven, (mockery of a name,) having himself no great predilection for clean linen. Dionysius was more happy in the "inky cloak" of the slovenly schoolmaster, than in the golden mantle which his father took from the statue of Jupiter.

Let us both be content to remain as we are. For be assured, Eusebius, that if we make the attempt to change our habits, either of person or of mind, and put on the more trim, and of more fashionable cut, we shall but amuse the spectators by becoming ridiculous; and in making up the characters that are to figure on the stage of the drama of life, insignificant though we be, there will be found wanting two good slovens.

AN UNPUBLISHED FRENCH NOVEL.

In the year 1843, a fancy fair was held at Paris, for the benefit of the sufferers by an earthquake in the island of Guadaloupe. The patronage of the Queen of the French, added to the strong sympathy awakened by the catastrophe, filled the bazaar with a gay throng, delighted to combine amusement with charity, and to chaffer for baubles with aristocratic saleswomen. Amidst the multitude of tasteful trifles, exposed for sale was a contribution from Queen Marie Amélie--fifty books, printed at the royal press and elegantly bound. They were fifty copies of a volume containing three charming tales, and soon it was whispered that no others had been printed, and that the author was a lady of rank, distinguished for grace and wit, but whose literary talents were previously unknown, save to a limited circle of discreet and admiring friends. At the queen's request, and at the voice of pity, pleading for the unfortunates of Point-à-Pitre, she had sanctioned the printing of fifty copies; these taken, the types had been broken up. Such rumours were more than sufficient to stimulate curiosity, and raise the value of the volume. Every body knows that an author's title often sells a stupid book; should any doubt it, we refer them to our friends Puff and Co.; how much greater the attraction when the book is a clever one, written by a countess, printed by a sovereign's command, and at a royal press. The market rose instantly. Sixty francs, eighty francs, five napoleons, were freely given; how much higher competition raised the price, we cannot say; but we are credibly informed the improvement did not stop there.

The editor of the _Revue des Deux Mondes_ was not the last to hear the history of the volume. He procured a copy, and esteeming it unjust to reserve for a few what was meant for mankind, by limiting the produce of so graceful a pen to the narrow circulation of fifty copies--he laid violent hands upon one of the tales, and reprinted it in his excellent and widely-circulated periodical. Although literally a day after the fair, it was not the less acceptable and successful. The tale, whose title is "Resignation," was attributed by many to the amiable Duchess of Orleans, then in the first year of her widowhood. The real authoress is the Countess d'Arbouville, wife of the lieutenant-general of that name, granddaughter of Madame d'Houdetot, and niece by marriage of Monsieur de Barante. Inheriting much of the wit of her celebrated ancestress, and no small share of the literary aptitude of her accomplished uncle, this lady, without aiming at the reputation of a woman of letters, writes tales of very remarkable merit. Whilst her husband, as governor of Constantine, wields the sabre in defence of Algeria, the Countess, secluded in her boudoir, beguiles her leisure and delights her friends by the exercise of her pen. Last spring, it became known that she had completed the matter of a second volume. Thereupon, she was so besieged by petitioners for the favour of a perusal, that in self-defence, and out of regard to the integrity of her manuscript, she was compelled to print fifty copies for private circulation. Through the kindness of a Parisian friend one of these has reached us. It contains two tales. The first, "Le Medecin du Village," is a simple and touching story, highly attractive by its purity of style and exquisite feeling. The circumstances under which it was printed forbid criticism; otherwise we might cavil at its introduction as unartistical, and at one of the incidents--the restoration of an idiot boy of fifteen to unclouded reason--as unprecedented and out of nature. But one dwells not on these blemishes whilst reading the old doctor's affecting tale, which does equal honour to the heart and mind of the authoress. We would gladly place it before our readers in an English dress, but the indefatigable Monsieur Buloz, ever watchful of the interests of his review, has already pounced upon it. It had scarcely been printed, when he transferred it to the pages of the _Revue des Deux Mondes_. We are obliged, therefore, to content ourselves with the second tale, no way inferior to its fellow, but whose greater length compels us to abridge. This we would fain avoid, for even without such curtailment it is impossible to render in another language the full charm of the original, a charm residing in delicacy of style and touch rather than in description or incident. We will do our best, however, and should the attempt meet the eye and disapproval of Madame d'Arbouville, we wish it may stimulate her to print her next work by thousands instead of tens, that all conversant with the French tongue may have opportunities of reading and appreciating the productions of so pleasing a writer.

The tale in question is entitled--

UNE HISTOIRE HOLLANDAISE.

It was the hour of sunrise. Not the gorgeous sunrise of Spain or Italy, when the horizon's ruddy blaze suddenly revives all that breathes, when golden rays mingle with the deep azure of a southern sky, and nature bursts into vitality and vigour, as if light gave life. The sun rose upon the chilly shores of Holland. The clouds opened to give exit to a pale light, without heat or brilliancy. Nature passed insensibly from sleep to waking, but continued torpid when ceasing to slumber. No cry or joyous song, no flight of birds, or bleating of flocks, hail the advent of a new day. On the summit of the dykes, the reed-hedges bend before the breeze, and the sea-sand, whirled over the slight obstacle, falls upon the meadows, covering their verdure with a moving veil. A river, yellow with the slime of its banks, flows peaceably and patiently towards the expectant ocean. Seen from afar, its waters and its shore appear of one colour, resembling a sandy plain; save where a ray of light, breaking upon the surface, reveals by silvery flashes the passage of the stream. Ponderous boats descend it, drawn by teams of horses, whose large feet sink into the sand as they advance leisurely and without distress to the goal of their journey. Behind them strides a peasant, whip on shoulder; he hurries not his cattle, he looks neither at the stream that flows, nor the beasts that draw, nor the boat that follows; he plods steadily onwards, trusting to perseverance to attain his end.

Such is a corner of the picture presented to the traveller in Holland, the country charged, it would seem, more than any other, to enforce God's command to the waters, _Thou shalt go no farther!_ This silent repose of creatures and things, this mild light, these neutral tints and vast motionless plains, are not without a certain poetry of their own. Wherever space and silence are united, poetry finds place; she loves all things more or less, whether smiling landscape or dreary desert; light of wing, a trifle will detain and support her--a blade of grass often suffices. And Holland, which Butler has called a large ship always at anchor, has its beauties for the thoughtful observer. Gradually one learns to admire this land at war with ocean and struggling daily for existence; those cities which compel the waters to flow at their ramparts' foot, to follow the given track, and abide in the allotted bed; then those days of revolt, when the waves would fain reconquer their independence, when they overflow and inundate, and destroy, and at last, constrained by the hand of man, subside and again obey.

As the sun rose, a small boat glided rapidly down the stream. It had a single occupant, a tall young man, lithe, skilful, and strong, who, although apparently in haste, kept near the shore, following the windings of the bank, and avoiding the centre of the current, which would have accelerated his progress. At that early hour the fields were deserted; the birds alone had risen earlier than the boatman, whose large hat of gray felt lay beside him, whilst his brown locks, tossed backward by the wind, disclosed regular features, a broad open forehead, and eyes somewhat thoughtful, like those of the men of the north. His costume denoted a student from a German university. One gathered from his extreme youth, that his life had hitherto passed on academic benches, and that it was still a new and lively pleasure to him to feel the freshness of morning bathe his brow, the breeze play with his hair, the stream bear along his bark. He hastened, for there are times when we count the hours ill; when we outstrip and tax them with delay. Then, if we cannot hurry the pace of time, we prefer at least to wait at the appointed spot. It calms impatience, and resembles a commencement of happiness.

When the skiff had rounded a promontory of the bank, its speed increased, as if the eye directing it had gained sight of the goal. At a short distance the landscape changed its character. A meadow sloped down to the stream, fringed by a thick hedge of willows, half uprooted and inclined over the water. The boat reached the shadow of the trees, and stopping there, rocked gently on the river, secured by a chain cast round a branch. The young man stood up and looked anxiously through the foliage; then he sang, in a low tone, the burthen of a ballad, a love-plaint, the national poetry of all countries. His voice, at first subdued, not to break too suddenly the surrounding silence, gradually rose as the song drew to a close. The clear mellow notes escaped from the bower of drooping leaves, and expired without echo or reply upon the surface of the pasture. Then he sat down and contemplated the peaceful picture presented to his view. The gray sky had that melancholy look so depressing to the joyless and hopeless; the cold dull water rolled noiselessly onward; to the left, the plain extended afar without variety of surface. A few windmills reared their gaunt arms, waiting for the wind; and the wind, too weak to stir them, passed on and left them motionless. To the right, at the extremity of the little meadow, stood a square house of red bricks and regular construction, isolated, silent, and melancholy. The thick greenish glass of the windows refused to reflect the sunbeams; the roof supported gilded vanes of fantastical form; the garden was laid out in formal parterres. A few tulips, drooping their heavy heads, and dahlias, propped with white sticks, were the sole flowers growing there, and these were hemmed in and stifled by hedges of box. Trees, stunted and shabby, and with dust-covered leaves, were cut into walls and into various eccentric shapes. At the corners of the formal alleys, whose complicated windings were limited to a narrow space, stood a few plaster figures. One of these alleys led to the willow-hedge. There nature resumed her rights; the willows grew free and unrestrained, stretching out from the land and drooping into the water; their inclined trunks forming flying-bridges, supported but at one end. The bank was high enough for a certain space to intervene between the stream and the horizontal stems. A few branches, longer than the rest, swept the surface of the river, and were kept in constant motion by its current.

Beneath this dome of verdure the boat was moored, and there the young man mused, gazing at the sky--melancholy as his heart--and at the stream, in its course uncertain as his destiny. A few willow leaves fluttered against his brow, one of his hands hung in the water, a gentle breeze stirred his hair; nameless flowerets, blooming in the shelter of the trees, gave out a faint perfume, detectible at intervals, at the wind's caprice. A bird, hidden in the foliage, piped an amorous note, and the student, cradled in his skiff, awaited his love. Ungrateful that he was! he called time a laggard, and bid him speed; he was insensible to the charm of the present hour. Ah! if he grows old, how well will he understand that fortune then lavished on him the richest treasures of life--hope and youth!

Suddenly the student started, stood up, and, with outstretched neck, and eyes riveted on the trees, he listened, scarce daring to breathe. The foliage opened, and the face of a young girl was revealed to his gaze. "Christine!" he exclaimed.

Christine stepped upon the trunk of the lowest tree, and seated herself with address on this pliant bench, which her weight, slight as it was, caused to yield and rock. One of her arms, extended through the branches that drooped towards the water, reached that of her lover, who tenderly pressed her hand. Then she drew herself up again, and the tree, less loaded, seemed to obey her will by imitating her movement. The young man sat in his boat, with eyes uplifted towards the willow on which she he loved reposed.

Christine Van Amberg had none of the distinguishing features of the country of her birth. Hair black as the raven's wing formed a frame to a face full of energy and expression. Her large eyes were dark and penetrating; her eyebrows, strongly marked and almost straight, would perhaps have imparted too decided a character to her young head, if a charming expression of candour and naïveté had not given her the countenance of a child, rather than of a woman. Christine was fifteen years of age. A slender silver circlet bound her brow and jet-black tresses--a holiday ornament, according to her country's custom: but her greatest festival was the sight of her lover. She wore a simple muslin dress of a pale blue colour; a black silk mantle, intended to envelope her figure, was placed upon her hair, and fell back upon her shoulders, as if the better to screen her from the gaze of the curious. Seated on a tree trunk, surrounded by branches and beside the water, like Shakspere's Ophelia, Christine was charming. But although young, beautiful, and beloved, deep melancholy was the characteristic of her features. Her companion, too, gazed mournfully at her, with eyes to which the tears seemed about to start.

"Herbert," said the young girl, stooping towards her lover, "Herbert, be not so sad! we are both too young to despair of life. Herbert! better times will come."

"Christine! they have refused me your hand, expelled me your dwelling,--they would separate us entirely: they will succeed, to-morrow perhaps!..."

"Never!" exclaimed the young girl, with a glance like the lightning's flash. But, like that flash, the expression of energy was momentary, and gave way to one of calm melancholy.

"If you would, Christine, if you would!.... how easy were it to fly together, to unite our destinies on a foreign shore, and to live for each other, happy and forgotten!... I will lead you to those glorious lands where the sun shines as you see it in your dreams,--to the summit of lofty mountains whence the eye discovers a boundless horizon,--to noble forests with their thousand tints of green, where the fresh breeze shall quicken your cheek, and sweep from your memory these fogs, this humid clime, these monotonous plains. Our days shall pass happily in a country worthy of our loves."

As Herbert spoke, the young girl grew animated; she seemed to see what he described, her eager eye sought the horizon as though she would overleap it, her lips parted as to inhale the mountain breeze. Then she passed her hand hastily across her eyes, and sighed deeply. "No!" she exclaimed, "no, I must remain here!... Herbert, it is my country: why does it make me suffer? I remember another sky, another land,--but no, it is a dream! I was born here, and have scarcely passed the boundary of this meadow. My mother sang too often beside my cradle the ballads and boleros of her native Seville; she told me too much of Spain, and I love that unknown land as one pines after an absent friend!"

The young girl glanced at the river, over which a dense fog was spreading. A few rain-drops pattered amongst the leaves; she crossed her mantle on her breast, and her whole frame shivered with sudden chill.

"Leave me, Christine, you suffer! return home, and, since you reject my roof and hearth, abide with those who can shelter and warm you."

A sweet smile played upon Christine's lips. "My beloved," she said, "near you I prefer the chilling rain, this rough branch, and the biting wind, to my seat in the house, far from you, beside the blazing chimney. Ah! with what joy and confidence would I start on foot for the farthest corner of the earth, your arm my sole support, your love my only wealth. But ..."

"What retains you, Christine? your father's affection, your sisters' tenderness, your happy home?"

The young girl grew pale. "Herbert, it is cruel to speak thus. Well do I know that my father loves me not, that my sisters are often unkind to me, that my home is unhappy; I know it, indeed I know it, and I will follow you ... if my mother consents!"

Herbert looked at his mistress with astonishment. "Child!" he exclaimed, "such consent will never leave your mother's lips. There are cases where strength and resolution must be found in one's own heart. Your mother will never say yes."

"Perhaps!" replied Christine, slowly and gravely. "My mother loves me; I resemble her in most things, and her heart understands mine. She knows that Scripture says a woman shall leave her father and mother to follow her husband; she is aware of our attachment, and, since our door has been closed against you, I have not shed a tear that she has not detected and replied to by another. You misjudge my mother, Herbert! Something tells me she has suffered, and knows that a little happiness is essential to life as the air we breathe. Nor would it surprise me, if one day, when embracing me, as she does each night when we are alone, she were to whisper: Begone, my poor child!"

"I cannot think it, Christine. She will bid you obey, be comforted, forget!"

"Forget! Herbert, my mother forgets nothing. To forget is the resource of cowardly hearts. No,--none will bid me forget."

And once more a gloomy fire flashed in Christine's eyes, like the rapid passage of a flame which illumines and instantly expires. It was a revelation of the future rather than the expression of the present. An ardent soul dwelt within her, but had not yet cast off all the encumbrances of childhood. It struggled to make its way, and at times, succeeding for a moment, a word or cry revealed its presence.

"No--I shall not forget," added Christine; "I love you, and you love me, who am so little loved! You find me neither foolish, nor fantastical, nor capricious; you understand my reveries and the thousand strange thoughts that invade my heart. I am very young, Herbert; and yet, here, with my hand in yours, I answer for the future. I shall always love you!... and see, I do not weep. I have faith in the happiness of our love; how? when? I know not,--it is the secret of my Creator, who would not have sent me upon earth only to suffer. Happiness will come when He deems right, but come it will! Yes,--I am young, full of life, I have need of air and space; I shall not live enclosed and smothered here. The world is large, and I will know it; my heart is full of love, and will love for ever. No tears, dearest! obstacles shall be overcome, they must give way, for I will be happy!"

"But why delay, Christine? My love! my wife! an opportunity lost may never be regained. A minute often decides the fate of a lifetime. Perhaps, at this very moment, happiness is near us! A leap into my boat, a few strokes of the oar, and we are united for ever!... Perhaps, if you again return to land, we are for ever separated. Christine, come! The wind rises: beneath my feet is a sail that will quickly swell and bear us away rapidly as the wings of yon bird."

Tears flowed fast over Christine's burning cheeks. She shuddered, looked at her lover, at the horizon, thought of liberty; she hesitated, and a violent struggle agitated her soul. At last, hiding her face amongst the leafage of the willow, she clasped her arms round its stem, as if to withhold herself from entering the boat, and in a stifled voice muttered the words,--"My mother!" A few seconds afterwards, she, raised her pallid countenance.

"If I fled," said she gently, "to whom would my mother speak of her dear country? Who would weep with her when she weeps, if I were gone? She has other children, but they are gay and happy, and do not resemble her. Only my mother and myself are sad in our house. My mother would die of my absence. I must receive her farewell blessing or remain by her side, chilled like her by this inclement climate, imprisoned in yonder walls, ill-treated by those who love me not. Herbert, I will not fly, I will wait!" And she made a movement to regain the strand.

"One instant,--yet one second,--Christine! I know not what chilling presentiment oppresses my heart. Dearest,--if we were to meet no more! If this little corner of earth were our last trysting-place--these melancholy willows the witnesses of of our eternal separation! Is it--can it be--the last happy hour of my life that has just slipped by?"

He covered his face with his hands, to conceal his tears. Christine's heart beat violently--but she had courage.

Letting herself drop from the tree, she stood upon the bank, separated from the boat, which could not come nearer to shore.

"Adieu, Herbert!" said she, "one day I will be your wife, faithful and loving. It shall be, for I will have it so. Let us both pray God to hasten that happy day. Adieu, I love you! Adieu, and till our next meeting, for I love you!"

The barrier of reeds and willows opened before the young girl. A few small branches crackled beneath her tread; there was a slight noise in the grass and bushes, as when a bird takes flight; then all was silence.

Herbert wept.

__________

The clock in the red brick house struck eight, and the family of Van Amberg the merchant were mustered in the breakfast-room. Christine was the only absentee. Near the fire stood the head of the family--Karl Van Amberg--and beside him his brother, who, older than himself, yielded the prerogative of seniority, and left him master of the community. Madame Van Amberg was working near a window, and her two elder daughters, fair-haired, white-skinned Dutchwomen, prepared the breakfast.

Karl Van Amberg, the dreaded chief of this family, was of lofty stature; his gait was stiff; his physiognomy passionless. His face, whose features at first appeared insignificant, denoted a domineering temper. His manners were cold. He spoke little; never to praise, but often in terms of dry and imperious censure. His glance preceded his words and rendered them nearly superfluous, so energetically could that small sunken gray eye make itself understood. With the sole aid of his own patience and ambition, Karl Van Amberg had made a large fortune. His ships covered the seas. Never loved, always respected, his credit was every where excellent. Absolute monarch in his own house, none dreamed of opposing his will. All were mute and awed in his presence. At this moment, he was leaning against the chimney-piece. His black garments were very plain, but not devoid of a certain austere elegance.

William Van Amberg, Karl's brother, was quite of an opposite character. He would have passed his life in poverty, subsisting on the scanty income left him by his parents, had not Karl desired wealth. He placed his modest fortune in his brother's hands, saying, "Act as for yourself!" Attached to his native nook of land, he lived in peace, smoking and smiling, and learning from time to time that he was a richer man by a few hundred thousand francs. One day, he was told that he possessed a million; in reply, he merely wrote, "Thanks, Karl; it will be for your children." Then he forgot his riches, and changed nothing in his manner of life, even adhering in his dress to the coarse materials and graceless fashion of a peasant dreading the vicinity of cities. His youthful studies had consisted of a course of theology. His father, a fervent Catholic, destined him for the church, but it came to pass, as a consequence of his indecision of character, that William neither took orders nor married, but lived quietly in his brother's family. The habitual perusal of religious books sometimes gave his language a mystical tone, contrasting with the rustic simplicity of his exterior. This was his only peculiarity; otherwise he had nothing remarkable but his warm heart and strong good sense. He was the primitive type of his family: his brother was an example of the change caused by newly acquired wealth.

Madame Van Amberg, seated at the window, sewed in silence. Her countenance had the remains of great beauty, but she was weak and suffering. A single glance sufficed to fix her birth-place far from Holland. Her black hair and olive tint betrayed a southern origin. Silently submissive to her husband, his iron character had pressed heavily upon this delicate creature. She had never murmured; now she was dying, but without complaint. Her look was one of deep melancholy. Christine, her third daughter, resembled her. Of dark complexion, like her mother, she contrasted strongly with her rosy-cheeked sisters. M. Van Amberg did not love Christine. Rough and cold, even to those he secretly cherished, he was severe and cruel to those he disliked. He had never been known to kiss Christine. Her mother's were the only caresses she knew, and even those were stealthily and tearfully bestowed. The two poor women hid themselves to love each other.

At intervals, Madame Van Amberg coughed painfully. The damp climate of Holland was slowly conducting to her grave the daughter of Spain's ardent land. Her large melancholy eyes mechanically sought the monotonous horizon, which had bounded her view for twenty years. Fog and rain surrounded the house. She gazed, shivered as if seized with deadly cold, then resumed her work.

Eight o'clock had just struck, and the two young Dutchwomen, who, although rich heiresses, waited upon their father, had just placed the tea and smoked beef upon the table, when Karl Van Amberg turned abruptly to his wife.

"Where is your daughter, Madam?"

He spoke of Christine, whom the restless gaze of Madame Van Amberg vainly sought through the fog veiling the garden. At her husband's question, the lady rose, opened the door, and, leaning on the banister, twice uttered her daughter's name. There was no reply; she grew pale and again looked out anxiously through the fog.

"Go in, Madame," was the surly injunction of Gothon, the old servant woman, who knelt on the hall flags, which she had flooded with soap and water, and was now vigorously scrubbing; "Go in, madame; the damp increases your cough, and Mademoiselle Christine is far enough away! The bird flew before daybreak."

Madame Van Amberg cast a mournful glance across the meadow, where nothing moved, and into the parlour, where her stern husband awaited her; then she went in and sat down at the table, around which the remainder of the family had already placed themselves. No one spoke. All could read displeasure upon M. Van Amberg's countenance, and none dared attempt to change the course of his ideas. His wife kept her eyes fixed upon the window, hoping her daughter's return. Her lips scarcely tasted the milk that filled her cup; visible anguish increased the paleness of her sweet, sad countenance.

"Annunciata, my dear, take some tea," said her brother-in-law. "The day is chill and damp, and you seem to suffer."

Annunciata smiled sadly at William. For sole answer she raised to her lips the tea he offered her, but the effort was too painful, and she replaced the cup upon the table. M. Van Amberg looked at nobody; he ate, his eyes fixed upon his plate.

"Sister," resumed William, "it is a duty to care for one's health, and you, who fulfil all your duties, should not neglect that one."

A slight flush tinged the brow of Annunciata. Her eyes encountered those of her husband, which he slowly turned towards her. Trembling, almost weeping, she ceased her attempts to eat. And the silence was again unbroken, as at the commencement of the meal. At last steps were heard in the passage, the old servant grumbled something which did not reach the parlour, then the door opened, and Christine entered; her muslin dress damp with fog, her graceful curls disordered by the wind, her black mantle glittering with a thousand little rain-drops. She was crimson with embarrassment and fear. Her empty chair was beside her mother; she sat down, and hung her head; none offered aught to the truant child, and the silence continued. Yielding to maternal anxiety, Madame Van Amberg took a handkerchief and wiped the moisture from Christine's forehead and hair; then she took her hands to warm them in her own. For the second time M. Van Amberg looked at his wife. She let Christine's hands fall, and remained downcast and motionless as her daughter. M. Van Amberg rose from table. A tear glistened on the mother's eyes on seeing that her daughter had not eaten. But she said nothing, and returning to the window, resumed her sewing. Christine remained at table, preserving her frightened and abashed attitude. The two eldest girls hastened to remove the breakfast things.

"Do you not see what Wilhelmina and Maria are about? Can you not help them?"

At her father's voice, Christine hastily rose, seized the cups and teapot, and hurried to and fro from parlour to pantry.

"Gently! You will break something!" cried M. Van Amberg. "Begin in time, to finish without hurry."

Christine stood still in the middle of the room. Her two sisters smiled as they passed her, and one of them muttered--for nobody spoke loud in M. Van Amberg's presence,--"Christine will hardly learn housekeeping by looking at the stars and watching the river flow!"

"Now then, Mademoiselle, you are spoiling every thing here!" said the old servant, who had just come in; "go and change that wet gown, which ruins all my furniture."

Christine remained where she was, not daring to stir without the master's order.

"Go," said M. Van Amberg.

The young girl darted from the room and up the stairs, reached her chamber, threw herself upon the bed and burst into tears. Below, Madame Van Amberg continued to sew, her head bent over her work. When the cloth was removed, Wilhelmina and Maria placed a large jug of beer, glasses, long pipes, and a store of tobacco upon the mahogany table, and pushed forward two arm-chairs, in which Karl and William installed themselves.