Marsena, and Other Stories of the Wartime

Obvious typographical errors have been silently corrected. Variations in hyphenation have been standardised but all other spelling and punctuation remains unchanged.
The cover image was created by the transcriber and is placed in the public domain.
Marsena and Other Stories of the Wartime
BY HAROLD FREDERIC NEW YORK CHARLES SCRIBNER'S SONS 1894
Copyright, 1894, by Charles Scribner's Sons TROW DIRECTORY PRINTING AND BOOKBINDING COMPANY NEW YORK
To my Friend EDMUND JUDSON MOFFAT


MARSENA I.
Marsena Pulford, what time the village of Octavius knew him, was a slender and tall man, apparently skirting upon the thirties, with sloping shoulders and a romantic aspect.
It was not alone his flowing black hair, and his broad shirt-collars turned down after the ascertained manner of the British poets, which stamped him in our humble minds as a living brother to The Corsair, The Last of the Suliotes, and other heroic personages engraved in the albums and keepsakes of the period. His face, with its darkling eyes and distinguished features, conveyed wherever it went an impression of proudly silent melancholy. In those days—that is, just before the war—one could not look so convincingly and uniformly sad as Marsena did without raising the general presumption of having been crossed in love. We had a respectful feeling, in his case, that the lady ought to have been named Iñez, or at the very least Oriana.
Although he went to the Presbyterian Church with entire regularity, was never seen in public save in a long-tailed black coat, and in the winter wore gloves instead of mittens, the local conscience had always, I think, sundry reservations about the moral character of his past. It would not have been reckoned against him, then, that he was obviously poor. We had not learned in those primitive times to measure people by dollar-mark standards. Under ordinary conditions, too, the fact that he came from New England—had indeed lived in Boston—must have counted rather in his favor than otherwise. But it was known that he had been an artist, a professional painter of pictures and portraits, and we understood in Octavius that this involved acquaintanceship, if not even familiarity, with all sorts of occult and deleterious phases of city life.