A MYSTERY OF THE WHITE MOUNTAINS
At nightfall once in the olden time, on the rugged side of one of the Crystal Hills, a party of adventurers were refreshing themselves after a toilsome and fruitless quest for the Great Carbuncle. They had come thither, not as friends nor partners in the enterprise, but each, save one youthful pair, impelled by his own selfish and solitary longing for this wondrous gem. Their feeling of brotherhood, however, was strong enough to induce them to contribute a mutual aid in building a rude hut of branches and kindling a great fire of shattered pines that had drifted down the headlong current of the Amonoosuck, on the lower bank of which they were to pass the night. There was but one of their number, perhaps, who had become so estranged from natural sympathies by the absorbing spell of the pursuit as to acknowledge no satisfaction at the sight of human faces in the remote and solitary region whither they had ascended. A vast extent of wilderness lay between them and the nearest settlement, while scant a mile above their heads was that bleak verge where the hills throw off their shaggy mantle of forest-trees and either robe themselves in clouds or tower naked into the sky. The roar of the Amonoosuck would have been too awful for endurance if only a solitary man had listened while the mountain-stream talked with the wind.
The adventurers, therefore, exchanged hospitable greetings and welcomed one another to the hut where each man was the host and all were the guests of the whole company. They spread their individual supplies of food on the flat surface of a rock and partook of a general repast; at the close of which a sentiment of good-fellowship was perceptible among the party, though repressed by the idea that the renewed search for the Great Carbuncle must make them strangers again in the morning. Seven men and one young woman, they warmed themselves together at the fire, which extended its bright wall along the whole front of their wigwam. As they observed the various and contrasted figures that made up the assemblage, each man looking like a caricature of himself in the unsteady light that flickered over him, they came mutually to the conclusion that an odder society had never met in city or wilderness, on mountain or plain.
The eldest of the group—a tall, lean, weatherbeaten man some sixty years of age—was clad in the skins of wild animals whose fashion of dress he did well to imitate, since the deer, the wolf and the bear had long been his most intimate companions. He was one of those ill-fated mortals, such as the Indians told of, whom in their early youth the Great Carbuncle smote with a peculiar madness and became the passionate dream of their existence. All who visited that region knew him as “the Seeker,” and by no other name. As none could remember when he first took up the search, there went a fable in the valley of the Saco that for his inordinate lust after the Great Carbuncle he had been condemned to wander among the mountains till the end of time, still with the same feverish hopes at sunrise, the same despair at eve. Near this miserable Seeker sat a little elderly personage wearing a high-crowned hat shaped somewhat like a crucible. He was from beyond the sea—a Doctor Cacaphodel, who had wilted and dried himself into a mummy by continually stooping over charcoal-furnaces and inhaling unwholesome fumes during his researches in chemistry and alchemy. It was told of him—whether truly or not—that at the commencement of his studies he had drained his body of all its richest blood and wasted it, with other inestimable ingredients, in an unsuccessful experiment, and had never been a well man since. Another of the adventurers was Master Ichabod Pigsnort, a weighty merchant and selectman of Boston, and an elder of the famous Mr. Norton’s church. His enemies had a ridiculous story that Master Pigsnort was accustomed to spend a whole hour after prayer-time every morning and evening in wallowing naked among an immense quantity of pine-tree shillings, which were the earliest silver coinage of Massachusetts. The fourth whom we shall notice had no name that his companions knew of, and was chiefly distinguished by a sneer that always contorted his thin visage, and by a prodigious pair of spectacles which were supposed to deform and discolor the whole face of nature to this gentleman’s perception. The fifth adventurer likewise lacked a name, which was the greater pity, as he appeared to be a poet. He was a bright-eyed man, but woefully pined away, which was no more than natural if, as some people affirmed, his ordinary diet was fog, morning mist and a slice of the densest cloud within his reach, sauced with moonshine whenever he could get it. Certain it is that the poetry which flowed from him had a smack of all these dainties. The sixth of the party was a young man of haughty mien and sat somewhat apart from the rest, wearing his plumed hat loftily among his elders, while the fire glittered on the rich embroidery of his dress and gleamed intensely on the jewelled pommel of his sword. This was the lord De Vere, who when at home was said to spend much of his time in the burial-vault of his dead progenitors rummaging their mouldy coffins in search of all the earthly pride and vainglory that was hidden among bones and dust; so that, besides his own share, he had the collected haughtiness of his whole line of ancestry. Lastly, there was a handsome youth in rustic garb, and by his side a blooming little person in whom a delicate shade of maiden reserve was just melting into the rich glow of a young wife’s affection. Her name was Hannah, and her husband’s Matthew—two homely names, yet well enough adapted to the simple pair who seemed strangely out of place among the whimsical fraternity whose wits had been set agog by the Great Carbuncle.
Beneath the shelter of one hut, in the bright blaze of the same fire, sat this varied group of adventurers, all so intent upon a single object that of whatever else they began to speak their closing words were sure to be illuminated with the Great Carbuncle. Several related the circumstances that brought them thither. One had listened to a traveller’s tale of this marvellous stone in his own distant country, and had immediately been seized with such a thirst for beholding it as could only be quenched in its intensest lustre. Another, so long ago as when the famous Captain Smith visited these coasts, had seen it blazing far at sea, and had felt no rest in all the intervening years till now that he took up the search. A third, being encamped on a hunting-expedition full forty miles south of the White Mountains, awoke at midnight and beheld the Great Carbuncle gleaming like a meteor, so that the shadows of the trees fell backward from it. They spoke of the innumerable attempts which had been made to reach the spot, and of the singular fatality which had hitherto withheld success from all adventurers, though it might seem so easy to follow to its source a light that overpowered the moon and almost matched the sun. It was observable that each smiled scornfully at the madness of every other in anticipating better fortune than the past, yet nourished a scarcely-hidden conviction that he would himself be the favored one. As if to allay their too sanguine hopes, they recurred to the Indian traditions that a spirit kept watch about the gem and bewildered those who sought it either by removing it from peak to peak of the higher hills or by calling up a mist from the enchanted lake over which it hung. But these tales were deemed unworthy of credit, all professing to believe that the search had been baffled by want of sagacity or perseverance in the adventurers, or such other causes as might naturally obstruct the passage to any given point among the intricacies of forest, valley and mountain.
In a pause of the conversation the wearer of the prodigious spectacles looked round upon the party, making each individual in turn the object of the sneer which invariably dwelt upon his countenance.
“So, fellow-pilgrims,” said he, “here we are, seven wise men and one fair damsel, who doubtless is as wise as any graybeard of the company. Here we are, I say, all bound on the same goodly enterprise. Methinks, now, it were not amiss that each of us declare what he proposes to do with the Great Carbuncle, provided he have the good hap to clutch it.—What says our friend in the bearskin? How mean you, good sir, to enjoy the prize which you have been seeking the Lord knows how long among the Crystal Hills?”
“How enjoy it!” exclaimed the aged Seeker, bitterly. “I hope for no enjoyment from it--that folly has past, long ago! I keep up the search for this accursed stone, because the vain ambition of my youth has become a fate upon me, in old age. The pursuit alone is my strength--the energy of my soul--the warmth of my blood, and the pith and marrow of my bones! Were I to turn my back upon it, I should fall down dead, on the hither side of the Notch, which is the gate-way of this mountain region. Yet, not to have my wasted life time back again, would I give up my hopes of the Great Carbuncle! Having found it, I shall bear it to a certain cavern that I wot of, and there, grasping it in my arms, lie down and die, and keep it buried with me for ever.”
“Oh, wretch, regardless of the interests of science!” cried Doctor Cacaphodel, with philosophic indignation. “Thou art not worthy to behold, even from afar off, the lustre of this most precious gem that ever was concocted in the laboratory of Nature. Mine is the sole purpose for which a wise man may desire the possession of the Great Carbuncle. Immediately on obtaining it--for I have a presentiment, good people, that the prize is reserved to crown my scientific reputation--I shall return to Europe, and employ my remaining years in reducing it to its first elements. A portion of the stone will I grind to impalpable powder; other parts shall be dissolved in acids, or whatever solvents will act upon so admirable a composition; and the remainder I design to melt in the crucible, or set on fire with the blow-pipe. By these various methods, I shall gain an accurate analysis, and finally bestow the result of my labours upon the world, in a folio volume.”
“Excellent!” quoth the man with the spectacles. “Nor need you hesitate, learned Sir, on account of the necessary destruction of the gem; since the perusal of your folio may teach every mother’s son of us to concoct a Great Carbuncle of his own.”
“But, verily,” said Master Ichabod Pigsnort, “for mine own part, I object to the making of these counterfeits, as being calculated to reduce the marketable value of the true gem. I tell ye frankly, Sirs, I have an interest in keeping up the price. Here have I quitted my regular traffic, leaving my warehouse in the care of my clerks, and putting my credit to great hazard, and furthermore, have put myself to peril of death or captivity by the accursed heathen savages--and all this without daring to ask the prayers of the congregation, because the quest for the Great Carbuncle is deemed little better than a traffic with the evil one. Now think ye that I would have done this grievous wrong to my soul, body, reputation and estate, without a reasonable chance of profit?”
“Not I, pious Master Pigsnort,” said the man with the spectacles. “I never laid such a great folly to thy charge.”
“Truly, I hope not,” said the merchant. “Now, as touching this Great Carbuncle, I am free to own that I have never had a glimpse of it, but, be it only the hundredth part so bright as people tell, it will surely outvalue the Great Mogul’s best diamond, which he holds at an incalculable sum; wherefore I am minded to put the Great Carbuncle on shipboard and voyage with it to England, France, Spain, Italy, or into heathendom if Providence should send me thither, and, in a word, dispose of the gem to the best bidder among the potentates of the earth, that he may place it among his crown-jewels. If any of ye have a wiser plan, let him expound it.”
“That have I, thou sordid man!” exclaimed the poet. “Dost thou desire nothing brighter than gold, that thou wouldst transmute all this ethereal lustre into such dross as thou wallowest in already? For myself, hiding the jewel under my cloak, I shall hie me back to my attic-chamber in one of the darksome alleys of London. There night and day will I gaze upon it. My soul shall drink its radiance; it shall be diffused throughout my intellectual powers and gleam brightly in every line of poesy that I indite. Thus long ages after I am gone the splendor of the Great Carbuncle will blaze around my name.”
“Well said, Master Poet!” cried he of the spectacles. “Hide it under thy cloak, sayest thou? Why, it will gleam through the holes and make thee look like a jack-o’-lantern!”
“To think,” ejaculated the lord De Vere, rather to himself than his companions, the best of whom he held utterly unworthy of his intercourse—“to think that a fellow in a tattered cloak should talk of conveying the Great Carbuncle to a garret in Grubb street! Have not I resolved within myself that the whole earth contains no fitter ornament for the great hall of my ancestral castle? There shall it flame for ages, making a noonday of midnight, glittering on the suits of armor, the banners and escutcheons, that hang around the wall, and keeping bright the memory of heroes. Wherefore have all other adventurers sought the prize in vain but that I might win it and make it a symbol of the glories of our lofty line? And never on the diadem of the White Mountains did the Great Carbuncle hold a place half so honored as is reserved for it in the hall of the De Veres.”
“It is a noble thought,” said the cynic, with an obsequious sneer. “Yet, might I presume to say so, the gem would make a rare sepulchral lamp, and would display the glories of Your Lordship’s progenitors more truly in the ancestral vault than in the castle-hall.”
“Nay, forsooth,” observed Matthew, the young rustic, who sat hand in hand with his bride, “the gentleman has bethought himself of a profitable use for this bright stone. Hannah here and I are seeking it for a like purpose.”
“How, fellow?” exclaimed His Lordship, in surprise. “What castle-hall hast thou to hang it in?”
“No castle,” replied Matthew, “but as neat a cottage as any within sight of the Crystal Hills. Ye must know, friends, that Hannah and I, being wedded the last week, have taken up the search of the Great Carbuncle because we shall need its light in the long winter evenings and it will be such a pretty thing to show the neighbors when they visit us! It will shine through the house, so that we may pick up a pin in any corner, and will set all the windows a-glowing as if there were a great fire of pine-knots in the chimney. And then how pleasant, when we awake in the night, to be able to see one another’s faces!”
There was a general smile among the adventurers at the simplicity of the young couple’s project in regard to this wondrous and invaluable stone, with which the greatest monarch on earth might have been proud to adorn his palace. Especially the man with spectacles, who had sneered at all the company in turn, now twisted his visage into such an expression of ill-natured mirth that Matthew asked him rather peevishly what he himself meant to do with the Great Carbuncle.
“The Great Carbuncle!” answered the cynic, with ineffable scorn. “Why, you blockhead, there is no such thing in rerum naturâ. I have come three thousand miles, and am resolved to set my foot on every peak of these mountains and poke my head into every chasm for the sole purpose of demonstrating to the satisfaction of any man one whit less an ass than thyself that the Great Carbuncle is all a humbug.”
Vain and foolish were the motives that had brought most of the adventurers to the Crystal Hills, but none so vain, so foolish, and so impious too, as that of the scoffer with the prodigious spectacles. He was one of those wretched and evil men whose yearnings are downward to the darkness instead of heavenward, and who, could they but extinguish the lights which God hath kindled for us, would count the midnight gloom their chiefest glory.
As the cynic spoke several of the party were startled by a gleam of red splendor that showed the huge shapes of the surrounding mountains and the rock-bestrewn bed of the turbulent river, with an illumination unlike that of their fire, on the trunks and black boughs of the forest-trees. They listened for the roll of thunder, but heard nothing, and were glad that the tempest came not near them. The stars—those dial-points of heaven—now warned the adventurers to close their eyes on the blazing logs and open them in dreams to the glow of the Great Carbuncle.
The young married couple had taken their lodgings in the farthest corner of the wigwam, and were separated from the rest of the party by a curtain of curiously-woven twigs such as might have hung in deep festoons around the bridal-bower of Eve. The modest little wife had wrought this piece of tapestry while the other guests were talking. She and her husband fell asleep with hands tenderly clasped, and awoke from visions of unearthly radiance to meet the more blessed light of one another’s eyes. They awoke at the same instant and with one happy smile beaming over their two faces, which grew brighter with their consciousness of the reality of life and love. But no sooner did she recollect where they were than the bride peeped through the interstices of the leafy curtain and saw that the outer room of the hut was deserted.
“Up, dear Matthew!” cried she, in haste. “The strange folk are all gone. Up this very minute, or we shall lose the Great Carbuncle!”
In truth, so little did these poor young people deserve the mighty prize which had lured them thither that they had slept peacefully all night and till the summits of the hills were glittering with sunshine, while the other adventurers had tossed their limbs in feverish wakefulness or dreamed of climbing precipices, and set off to realize their dreams with the curliest peep of dawn. But Matthew and Hannah after their calm rest were as light as two young deer, and merely stopped to say their prayers and wash themselves in a cold pool of the Amonoosuck, and then to taste a morsel of food ere they turned their faces to the mountain-side. It was a sweet emblem of conjugal affection as they toiled up the difficult ascent gathering strength from the mutual aid which they afforded.
After several little accidents, such as a torn robe, a lost shoe and the entanglement of Hannah’s hair in a bough, they reached the upper verge of the forest and were now to pursue a more adventurous course. The innumerable trunks and heavy foliage of the trees had hitherto shut in their thoughts, which now shrank affrighted from the region of wind and cloud and naked rocks and desolate sunshine that rose immeasurably above them. They gazed back at the obscure wilderness which they had traversed, and longed to be buried again in its depths rather than trust themselves to so vast and visible a solitude.
“Shall we go on?” said Matthew, throwing his arm round Hannah’s waist both to protect her and to comfort his heart by drawing her close to it.
But the little bride, simple as she was, had a woman’s love of jewels, and could not forego the hope of possessing the very brightest in the world, in spite of the perils with which it must be won.
“Let us climb a little higher,” whispered she, yet tremulously, as she turned her face upward to the lonely sky.
“Come, then,” said Matthew, mustering his manly courage and drawing her along with him; for she became timid again the moment that he grew bold.
And upward, accordingly, went the pilgrims of the Great Carbuncle, now treading upon the tops and thickly-interwoven branches of dwarf pines which by the growth of centuries, though mossy with age, had barely reached three feet in altitude. Next they came to masses and fragments of naked rock heaped confusedly together like a cairn reared by giants in memory of a giant chief. In this bleak realm of upper air nothing breathed, nothing grew; there was no life but what was concentred in their two hearts; they had climbed so high that Nature herself seemed no longer to keep them company. She lingered beneath them within the verge of the forest-trees, and sent a farewell glance after her children as they strayed where her own green footprints had never been. But soon they were to be hidden from her eye. Densely and dark the mists began to gather below, casting black spots of shadow on the vast landscape and sailing heavily to one centre, as if the loftiest mountain-peak had summoned a council of its kindred clouds. Finally the vapors welded themselves, as it were, into a mass, presenting the appearance of a pavement over which the wanderers might have trodden, but where they would vainly have sought an avenue to the blessed earth which they had lost. And the lovers yearned to behold that green earth again—more intensely, alas! than beneath a clouded sky they had ever desired a glimpse of heaven. They even felt it a relief to their desolation when the mists, creeping gradually up the mountain, concealed its lonely peak, and thus annihilated—at least, for them—the whole region of visible space. But they drew closer together with a fond and melancholy gaze, dreading lest the universal cloud should snatch them from each other’s sight. Still, perhaps, they would have been resolute to climb as far and as high between earth and heaven as they could find foothold if Hannah’s strength had not begun to fail, and with that her courage also. Her breath grew short. She refused to burden her husband with her weight, but often tottered against his side, and recovered herself each time by a feebler effort. At last she sank down on one of the rocky steps of the acclivity.
“We are lost, dear Matthew,” said she, mournfully; “we shall never find our way to the earth again. And oh how happy we might have been in our cottage!”
“Dear heart, we will yet be happy there,” answered Matthew. “Look! In this direction the sunshine penetrates the dismal mist; by its aid I can direct our course to the passage of the Notch. Let us go back, love, and dream no more of the Great Carbuncle.”
“The sun cannot be yonder,” said Hannah, with despondence. “By this time it must be noon; if there could ever be any sunshine here, it would come from above our heads.”
“But look!” repeated Matthew, in a somewhat altered tone. “It is brightening every moment. If not sunshine, what can it be?”
Nor could the young bride any longer deny that a radiance was breaking through the mist and changing its dim hue to a dusky red, which continually grew more vivid, as if brilliant particles were interfused with the gloom. Now, also, the cloud began to roll away from the mountain, while, as it heavily withdrew, one object after another started out of its impenetrable obscurity into sight with precisely the effect of a new creation before the indistinctness of the old chaos had been completely swallowed up. As the process went on they saw the gleaming of water close at their feet, and found themselves on the very border of a mountain-lake, deep, bright, clear and calmly beautiful, spreading from brim to brim of a basin that had been scooped out of the solid rock. A ray of glory flashed across its surface. The pilgrims looked whence it should proceed, but closed their eyes, with a thrill of awful admiration, to exclude the fervid splendor that glowed from the brow of a cliff impending over the enchanted lake.
For the simple pair had reached that lake of mystery and found the long-sought shrine of the Great Carbuncle. They threw their arms around each other and trembled at their own success, for as the legends of this wondrous gem rushed thick upon their memory they felt themselves marked out by fate, and the consciousness was fearful. Often from childhood upward they had seen it shining like a distant star, and now that star was throwing its intensest lustre on their hearts. They seemed changed to one another’s eyes in the red brilliancy that flamed upon their cheeks, while it lent the same fire to the lake, the rocks and sky, and to the mists which had rolled back before its power. But with their next glance they beheld an object that drew their attention even from the mighty stone. At the base of the cliff, directly beneath the Great Carbuncle, appeared the figure of a man with his arms extended in the act of climbing and his face turned upward as if to drink the full gush of splendor. But he stirred not, no more than if changed to marble.
“It is the Seeker,” whispered Hannah, convulsively grasping her husband’s arm. “Matthew, he is dead.”
“The joy of success has killed him,” replied Matthew, trembling violently. “Or perhaps the very light of the Great Carbuncle was death.”
“‘The Great Carbuncle’!” cried a peevish voice behind them. “The great humbug! If you have found it, prithee point it out to me.”
They turned their heads, and there was the cynic with his prodigious spectacles set carefully on his nose, staring now at the lake, now at the rocks, now at the distant masses of vapor, now right at the Great Carbuncle itself, yet seemingly as unconscious of its light as if all the scattered clouds were condensed about his person. Though its radiance actually threw the shadow of the unbeliever at his own feet as he turned his back upon the glorious jewel, he would not be convinced that there was the least glimmer there.
“Where is your great humbug?” he repeated. “I challenge you to make me see it.”
“There!” said Matthew, incensed at such perverse blindness, and turning the cynic round toward the illuminated cliff. “Take off those abominable spectacles, and you cannot help seeing it.”
Now, these colored spectacles probably darkened the cynic’s sight in at least as great a degree as the smoked glasses through which people gaze at an eclipse. With resolute bravado, however, he snatched them from his nose and fixed a bold stare full upon the ruddy blaze of the Great Carbuncle. But scarcely had he encountered it when, with a deep, shuddering groan, he dropped his head and pressed both hands across his miserable eyes. Thenceforth there was in very truth no light of the Great Carbuncle, nor any other light on earth, nor light of heaven itself, for the poor cynic. So long accustomed to view all objects through a medium that deprived them of every glimpse of brightness, a single flash of so glorious a phenomenon, striking upon his naked vision, had blinded him for ever.
“Matthew,” said Hannah, clinging to him, “let us go hence.”
Matthew saw that she was faint, and, kneeling down, supported her in his arms while he threw some of the thrillingly-cold water of the enchanted lake upon her face and bosom. It revived her, but could not renovate her courage.
“Yes, dearest,” cried Matthew, pressing her tremulous form to his breast; “we will go hence and return to our humble cottage. The blessed sunshine and the quiet moonlight shall come through our window. We will kindle the cheerful glow of our hearth at eventide and be happy in its light. But never again will we desire more light than all the world may share with us.”
“No,” said his bride, “for how could we live by day or sleep by night in this awful blaze of the Great Carbuncle?”
Out of the hollow of their hands they drank each a draught from the lake, which presented them its waters uncontaminated by an earthly lip. Then, lending their guidance to the blinded cynic, who uttered not a word, and even stifled his groans in his own most wretched heart, they began to descend the mountain. Yet as they left the shore, till then untrodden, of the spirit’s lake, they threw a farewell glance toward the cliff and beheld the vapors gathering in dense volumes, through which the gem burned duskily.
As touching the other pilgrims of the Great Carbuncle, the legend goes on to tell that the worshipful Master Ichabod Pigsnort soon gave up the quest as a desperate speculation, and wisely resolved to betake himself again to his warehouse, near the town-dock, in Boston. But as he passed through the Notch of the mountains a war-party of Indians captured our unlucky merchant and carried him to Montreal, there holding him in bondage till by the payment of a heavy ransom he had woefully subtracted from his hoard of pine-tree shillings. By his long absence, moreover, his affairs had become so disordered that for the rest of his life, instead of wallowing in silver, he had seldom a sixpence-worth of copper. Doctor Cacaphodel, the alchemist, returned to his laboratory with a prodigious fragment of granite, which he ground to powder, dissolved in acids, melted in the crucible and burnt with the blowpipe, and published the result of his experiments in one of the heaviest folios of the day. And for all these purposes the gem itself could not have answered better than the granite. The poet, by a somewhat similar mistake, made prize of a great piece of ice which he found in a sunless chasm of the mountains, and swore that it corresponded in all points with his idea of the Great Carbuncle. The critics say that, if his poetry lacked the splendor of the gem, it retained all the coldness of the ice. The lord De Vere went back to his ancestral hall, where he contented himself with a wax-lighted chandelier, and filled in due course of time another coffin in the ancestral vault. As the funeral torches gleamed within that dark receptacle, there was no need of the Great Carbuncle to show the vanity of earthly pomp.
The cynic, having cast aside his spectacles, wandered about the world a miserable object, and was punished with an agonizing desire of light for the wilful blindness of his former life. The whole night long he would lift his splendor-blasted orbs to the moon and stars; he turned his face eastward at sunrise as duly as a Persian idolater; he made a pilgrimage to Rome to witness the magnificent illumination of Saint Peter’s church, and finally perished in the Great Fire of London, into the midst of which he had thrust himself with the desperate idea of catching one feeble ray from the blaze that was kindling earth and heaven.
Matthew and his bride spent many peaceful years and were fond of telling the legend of the Great Carbuncle. The tale, however, toward the close of their lengthened lives, did not meet with the full credence that had been accorded to it by those who remembered the ancient lustre of the gem. For it is affirmed that from the hour when two mortals had shown themselves so simply wise as to reject a jewel which would have dimmed all earthly things its splendor waned. When our pilgrims reached the cliff, they found only an opaque stone with particles of mica glittering on its surface. There is also a tradition that as the youthful pair departed the gem was loosened from the forehead of the cliff and fell into the enchanted lake, and that at noontide the Seeker’s form may still be seen to bend over its quenchless gleam.
Some few believe that this inestimable stone is blazing as of old, and say that they have caught its radiance, like a flash of summer lightning, far down the valley of the Saco. And be it owned that many a mile from the Crystal Hills I saw a wondrous light around their summits, and was lured by the faith of poesy to be the latest pilgrim of the Great Carbuncle.
THE PROPHETIC PICTURES[[5]]
“But this painter!” cried Walter Ludlow, with animation. “He not only excels in his peculiar art, but possesses vast acquirements in all other learning and science. He talks Hebrew with Dr. Mather and gives lectures in anatomy to Dr. Boylston. In a word, he will meet the best-instructed man among us on his own ground. Moreover, he is a polished gentleman, a citizen of the world—yes, a true cosmopolite; for he will speak like a native of each clime and country on the globe, except our own forests, whither he is now going. Nor is all this what I most admire in him.”
“Indeed!” said Elinor, who had listened with a women’s interest to the description of such a man. “Yet this is admirable enough.”
“Surely it is,” replied her lover, “but far less so than his natural gift of adapting himself to every variety of character, insomuch that all men—and all women too, Elinor—shall find a mirror of themselves in this wonderful painter. But the greatest wonder is yet to be told.”
“Nay, if he have more wonderful attributes than these,” said Elinor, laughing, “Boston is a perilous abode for the poor gentleman. Are you telling me of a painter, or a wizard?”
“In truth,” answered he, “that question might be asked much more seriously than you suppose. They say that he paints not merely a man’s features, but his mind and heart. He catches the secret sentiments and passions and throws them upon the canvas like sunshine, or perhaps, in the portraits of dark-souled men, like a gleam of infernal fire. It is an awful gift,” added Walter, lowering his voice from its tone of enthusiasm. “I shall be almost afraid to sit to him.”
“Walter, are you in earnest?” exclaimed Elinor.
“For Heaven’s sake, dearest Elinor, do not let him paint the look which you now wear,” said her lover, smiling, though rather perplexed. “There! it is passing away now; but when you spoke, you seemed frightened to death, and very sad besides. What were you thinking of?”
“Nothing, nothing!” answered Elinor, hastily. “You paint my face with your own fantasies. Well, come for me tomorrow, and we will visit this wonderful artist.”
But when the young man had departed, it cannot be denied that a remarkable expression was again visible on the fair and youthful face of his mistress. It was a sad and anxious look, little in accordance with what should have been the feelings of a maiden on the eve of wedlock. Yet Walter Ludlow was the chosen of her heart.
“A look!” said Elinor to herself. “No wonder that it startled him if it expressed what I sometimes feel. I know by my own experience how frightful a look may be. But it was all fancy. I thought nothing of it at the time; I have seen nothing of it since; I did but dream it;” and she busied herself about the embroidery of a ruff in which she meant that her portrait should be taken.
The painter of whom they had been speaking was not one of those native artists who at a later period than this borrowed their colors from the Indians and manufactured their pencils of the furs of wild beasts. Perhaps, if he could have revoked his life and prearranged his destiny, he might have chosen to belong to that school without a master in the hope of being at least original, since there were no works of art to imitate nor rules to follow. But he had been born and educated in Europe. People said that he had studied the grandeur or beauty of conception and every touch of the master-hand in all the most famous pictures in cabinets and galleries and on the walls of churches till there was nothing more for his powerful mind to learn. Art could add nothing to its lessons, but Nature might. He had, therefore, visited a world whither none of his professional brethren had preceded him, to feast his eyes on visible images that were noble and picturesque, yet had never been transferred to canvas. America was too poor to afford other temptations to an artist of eminence, though many of the colonial gentry on the painter’s arrival had expressed a wish to transmit their lineaments to posterity by moans of his skill. Whenever such proposals were made, he fixed his piercing eyes on the applicant and seemed to look him through and through. If he beheld only a sleek and comfortable visage, though there were a gold-laced coat to adorn the picture and golden guineas to pay for it, he civilly rejected the task and the reward; but if the face were the index of anything uncommon in thought, sentiment or experience, or if he met a beggar in the street with a white beard and a furrowed brow, or if sometimes a child happened to look up and smile, he would exhaust all the art on them that he denied to wealth.
Pictorial skill being so rare in the colonies, the painter became an object of general curiosity. If few or none could appreciate the technical merit of his productions, yet there were points in regard to which the opinion of the crowd was as valuable as the refined judgment of the amateur. He watched the effect that each picture produced on such untutored beholders, and derived profit from their remarks, while they would as soon have thought of instructing Nature herself as him who seemed to rival her. Their admiration, it must be owned, was tinctured with the prejudices of the age and country. Some deemed it an offence against the Mosaic law, and even a presumptuous mockery of the Creator, to bring into existence such lively images of his creatures. Others, frightened at the art which could raise phantoms at will and keep the form of the dead among the living, were inclined to consider the painter as a magician, or perhaps the famous Black Man of old witch-times plotting mischief in a new guise. These foolish fancies were more than half believed among the mob. Even in superior circles his character was invested with a vague awe, partly rising like smoke-wreaths from the popular superstitions, but chiefly caused by the varied knowledge and talents which he made subservient to his profession.
Being on the eve of marriage, Walter Ludlow and Elinor were eager to obtain their portraits as the first of what, they doubtless hoped, would be a long series of family pictures. The day after the conversation above recorded they visited the painter’s rooms. A servant ushered them into an apartment where, though the artist himself was not visible, there were personages whom they could hardly forbear greeting with reverence. They knew, indeed, that the whole assembly were but pictures, yet felt it impossible to separate the idea of life and intellect from such striking counterfeits. Several of the portraits were known to them either as distinguished characters of the day or their private acquaintances. There was Governor Burnett, looking as if he had just received an undutiful communication from the House of Representatives and were inditing a most sharp response. Mr. Cooke hung beside the ruler whom he opposed, sturdy and somewhat puritanical, as befitted a popular leader. The ancient lady of Sir William Phipps eyed them from the wall in ruff and farthingale, an imperious old dame not unsuspected of witchcraft. John Winslow, then a very young man, wore the expression of warlike enterprise which long afterward made him a distinguished general. Their personal friends were recognized at a glance. In most of the pictures the whole mind and character were brought out on the countenance and concentrated into a single look; so that, to speak paradoxically, the originals hardly resembled themselves so strikingly as the portraits did.
Among these modern worthies there were two old bearded saints who had almost vanished into the darkening canvas. There was also a pale but unfaded Madonna who had perhaps been worshipped in Rome, and now regarded the lovers with such a mild and holy look that they longed to worship too.
“How singular a thought,” observed Walter Ludlow, “that this beautiful face has been beautiful for above two hundred years! Oh, if all beauty would endure so well! Do you not envy her, Elinor?”
“If earth were heaven, I might,” she replied. “But, where all things fade, how miserable to be the one that could not fade!”
“This dark old St. Peter has a fierce and ugly scowl, saint though he be,” continued Walter; “he troubles me. But the Virgin looks kindly at us.”
“Yes, but very sorrowfully, methinks,” said Elinor.
The easel stood beneath these three old pictures, sustaining one that had been recently commenced. After a little inspection they began to recognize the features of their own minister, the Rev. Dr. Colman, growing into shape and life, as it were, out of a cloud.
“Kind old man!” exclaimed Elinor. “He gazes at me as if he were about to utter a word of paternal advice.”
“And at me,” said Walter, “as if he were about to shake his head and rebuke me for some suspected iniquity. But so does the original. I shall never feel quite comfortable under his eye till we stand before him to be married.”
They now heard a footstep on the floor, and, turning, beheld the painter, who had been some moments in the room and had listened to a few of their remarks. He was a middle-aged man with a countenance well worthy of his own pencil. Indeed, by the picturesque though careless arrangement of his rich dress, and perhaps because his soul dwelt always among painted shapes, he looked somewhat like a portrait himself. His visitors were sensible of a kindred between the artist and his works, and felt as if one of the pictures had stepped from the canvas to salute them.
Walter Ludlow, who was slightly known to the painter, explained the object of their visit. While he spoke a sunbeam was falling athwart his figure and Elinor’s with so happy an effect that they also seemed living pictures of youth and beauty gladdened by bright fortune. The artist was evidently struck.
“My easel is occupied for several ensuing days, and my stay in Boston must be brief,” said he, thoughtfully; then, after an observant glance, he added, “But your wishes shall be gratified though I disappoint the chief-justice and Madame Oliver. I must not lose this opportunity for the sake of painting a few ells of broadcloth and brocade.”
The painter expressed a desire to introduce both their portraits into one picture and represent them engaged in some appropriate action. This plan would have delighted the lovers, but was necessarily rejected because so large a space of canvas would have been unfit for the room which it was intended to decorate. Two half-length portraits were therefore fixed upon. After they had taken leave, Walter Ludlow asked Elinor, with a smile, whether she knew what an influence over their fates the painter was about to acquire.
“The old women of Boston affirm,” continued he, “that after he has once got possession of a person’s face and figure he may paint him in any act or situation whatever, and the picture will be prophetic. Do you believe it?”
“Not quite,” said Elinor, smiling. “Yet if he has such magic, there is something so gentle in his manner that I am sure he will use it well.”
It was the painter’s choice to proceed with both the portraits at the same time, assigning as a reason, in the mystical language which he sometimes used, that the faces threw light upon each other. Accordingly, he gave now a touch to Walter and now to Elinor, and the features of one and the other began to start forth so vividly that it appeared as if his triumphant art would actually disengage them from the canvas. Amid the rich light and deep shade they beheld their phantom selves, but, though the likeness promised to be perfect, they were not quite satisfied with the expression: it seemed more vague than in most of the painter’s works. He, however, was satisfied with the prospect of success, and, being much interested in the lovers, employed his leisure moments, unknown to them, in making a crayon sketch of their two figures. During their sittings he engaged them in conversation and kindled up their faces with characteristic traits, which, though continually varying, it was his purpose to combine and fix. At length he announced that at their next visit both the portraits would be ready for delivery.
“If my pencil will but be true to my conception in the few last touches which I meditate,” observed he, “these two pictures will be my very best performances. Seldom indeed has an artist such subjects.” While speaking he still bent his penetrative eye upon them, nor withdrew it till they had reached the bottom of the stairs.
Nothing in the whole circle of human vanities takes stronger hold of the imagination than this affair of having a portrait painted. Yet why should it be so? The looking-glass, the polished globes of the andirons, the mirror-like water, and all other reflecting surfaces, continually present us with portraits—or, rather, ghosts—of ourselves which we glance at and straightway forget them. But we forget them only because they vanish. It is the idea of duration—of earthly immortality—that gives such a mysterious interest to our own portraits.
Walter and Elinor were not insensible to this feeling, and hastened to the painter’s room punctually at the appointed hour to meet those pictured shapes which were to be their representatives with posterity. The sunshine flashed after them into the apartment, but left it somewhat gloomy as they closed the door. Their eyes were immediately attracted to their portraits, which rested against the farthest wall of the room. At the first glance through the dim light and the distance, seeing themselves in precisely their natural attitudes and with all the air that they recognized so well, they uttered a simultaneous exclamation of delight.
“There we stand,” cried Walter, enthusiastically, “fixed in sunshine for ever. No dark passions can gather on our faces.”
“No,” said Elinor, more calmly; “no dreary change can sadden us.”
This was said while they were approaching and had yet gained only an imperfect view of the pictures. The painter, after saluting them, busied himself at a table in completing a crayon sketch, leaving his visitors to form their own judgment as to his perfected labors. At intervals he sent a glance from beneath his deep eyebrows, watching their countenances in profile with his pencil suspended over the sketch. They had now stood some moments, each in front of the other’s picture, contemplating it with entranced attention, but without uttering a word. At length Walter stepped forward, then back, viewing Elinor’s portrait in various lights, and finally spoke.
“Is there not a change?” said he, in a doubtful and meditative tone. “Yes; the perception of it grows more vivid the longer I look. It is certainly the same picture that I saw yesterday; the dress, the features, all are the same, and yet something is altered.”
“Is, then, the picture less like than it was yesterday?” inquired the painter, now drawing near with irrepressible interest.
“The features are perfect Elinor,” answered Walter, “and at the first glance the expression seemed also hers; but I could fancy that the portrait has changed countenance while I have been looking at it. The eyes are fixed on mine with a strangely sad and anxious expression. Nay, it is grief and terror. Is this like Elinor?”
“Compare the living face with the pictured one,” said the painter.
Walter glanced sidelong at his mistress, and started. Motionless and absorbed, fascinated, as it were, in contemplation of Walter’s portrait, Elinor’s face had assumed precisely the expression of which he had just been complaining. Had she practised for whole hours before a mirror, she could not have caught the look so successfully. Had the picture itself been a mirror, it could not have thrown back her present aspect with stronger and more melancholy truth. She appeared quite unconscious of the dialogue between the artist and her lover.
“Elinor,” exclaimed Walter, in amazement, “what change has come over you?”
She did not hear him nor desist from her fixed gaze till he seized her hand, and thus attracted her notice; then with a sudden tremor she looked from the picture to the face of the original.
“Do you see no change in your portrait?” asked she.
“In mine? None,” replied Walter, examining it. “But let me see. Yes; there is a slight change—an improvement, I think, in the picture, though none in the likeness. It has a livelier expression than yesterday, as if some bright thought were flashing from the eyes and about to be uttered from the lips. Now that I have caught the look, it becomes very decided.”
While he was intent on these observations Elinor turned to the painter. She regarded him with grief and awe, and felt that he repaid her with sympathy and commiseration, though wherefore she could but vaguely guess.
“That look!” whispered she, and shuddered. “How came it there?”
“Madam,” said the painter, sadly, taking her hand and leading her apart, “in both these pictures I have painted what I saw. The artist—the true artist—must look beneath the exterior. It is his gift—his proudest, but often a melancholy one—to see the inmost soul, and by a power indefinable even to himself to make it glow or darken upon the canvas in glances that express the thought and sentiment of years. Would that I might convince myself of error in the present instance!”
They had now approached the table, on which were heads in chalk, hands almost as expressive as ordinary faces, ivied church-towers, thatched cottages, old thunder-stricken trees, Oriental and antique costume, and all such picturesque vagaries of an artist’s idle moments. Turning them over with seeming carelessness, a crayon sketch of two figures was disclosed.
“If I have failed,” continued he—“if your heart does not see itself reflected in your own portrait, if you have no secret cause to trust my delineation of the other—it is not yet too late to alter them. I might change the action of these figures too. But would it influence the event?” He directed her notice to the sketch.
A thrill ran through Elinor’s frame; a shriek was upon her lips, but she stifled it with the self-command that becomes habitual to all who hide thoughts of fear and anguish within their bosoms. Turning from the table, she perceived that Walter had advanced near enough to have seen the sketch, though she could not determine whether it had caught his eye.
“We will not have the pictures altered,” said she, hastily. “If mine is sad, I shall but look the gayer for the contrast.”
“Be it so,” answered the painter, bowing. “May your griefs be such fanciful ones that only your pictures may mourn for them! For your joys, may they be true and deep, and paint themselves upon this lovely face till it quite belie my art!”
After the marriage of Walter and Elinor the pictures formed the two most splendid ornaments of their abode. They hung side by side, separated by a narrow panel, appearing to eye each other constantly, yet always returning the gaze of the spectator. Travelled gentlemen who professed a knowledge of such subjects reckoned these among the most admirable specimens of modern portraiture, while common observers compared them with the originals, feature by feature, and were rapturous in praise of the likeness. But it was on a third class—neither travelled connoisseurs nor common observers, but people of natural sensibility—that the pictures wrought their strongest effect. Such persons might gaze carelessly at first, but, becoming interested, would return day after day and study these painted faces like the pages of a mystic volume. Walter Ludlow’s portrait attracted their earliest notice. In the absence of himself and his bride they sometimes disputed as to the expression which the painter had intended to throw upon the features, all agreeing that there was a look of earnest import, though no two explained it alike. There was less diversity of opinion in regard to Elinor’s picture. They differed, indeed, in their attempts to estimate the nature and depth of the gloom that dwelt upon her face, but agreed that it was gloom and alien from the natural temperament of their youthful friend. A certain fanciful person announced as the result of much scrutiny that both these pictures were parts of one design, and that the melancholy strength of feeling in Elinor’s countenance bore reference to the more vivid emotion—or, as he termed it, the wild passion—in that of Walter. Though unskilled in the art, he even began a sketch in which the action of the two figures was to correspond with their mutual expression.
It was whispered among friends that day by day Elinor’s face was assuming a deeper shade of pensiveness which threatened soon to render her too true a counterpart of her melancholy picture. Walter, on the other hand, instead of acquiring the vivid look which the painter had given him on the canvas, became reserved and downcast, with no outward flashes of emotion, however it might be smouldering within. In course of time Elinor hung a gorgeous curtain of purple silk wrought with flowers and fringed with heavy golden tassels before the pictures, under pretence that the dust would tarnish their hues or the light dim them. It was enough. Her visitors felt that the massive folds of the silk must never be withdrawn nor the portraits mentioned in her presence.
Time wore on, and the painter came again. He had been far enough to the north to see the silver cascade of the Crystal Hills, and to look over the vast round of cloud and forest from the summit of New England’s loftiest mountain. But he did not profane that scene by the mockery of his art. He had also lain in a canoe on the bosom of Lake George, making his soul the mirror of its loveliness and grandeur till not a picture in the Vatican was more vivid than his recollection. He had gone with the Indian hunters to Niagara, and there, again, had flung his hopeless pencil down the precipice, feeling that he could as soon paint the roar as aught else that goes to make up the wondrous cataract. In truth, it was seldom his impulse to copy natural scenery except as a framework for the delineations of the human form and face, instinct with thought, passion or suffering. With store of such his adventurous ramble had enriched him. The stern dignity of Indian chiefs, the dusky loveliness of Indian girls, the domestic life of wigwams, the stealthy march, the battle beneath gloomy pine trees, the frontier fortress with its garrison, the anomaly of the old French partisan bred in courts, but grown gray in shaggy deserts,—such were the scenes and portraits that he had sketched. The glow of perilous moments, flashes of wild feeling, struggles of fierce power, love, hate, grief, frenzy—in a word, all the worn-out heart of the old earth—had been revealed to him under a new form. His portfolio was filled with graphic illustrations of the volume of his memory which genius would transmute into its own substance and imbue with immortality. He felt that the deep wisdom in his art which he had sought so far was found.
But amid stern or lovely nature, in the perils of the forest or its overwhelming peacefulness, still there had been two phantoms, the companions of his way. Like all other men around whom an engrossing purpose wreathes itself, he was insulated from the mass of humankind. He had no aim, no pleasure, no sympathies, but what were ultimately connected with his art. Though gentle in manner and upright in intent and action, he did not possess kindly feelings; his heart was cold: no living creature could be brought near enough to keep him warm. For these two beings, however, he had felt in its greatest intensity the sort of interest which always allied him to the subjects of his pencil. He had pried into their souls with his keenest insight and pictured the result upon their features with his utmost skill, so as barely to fall short of that standard which no genius ever reached, his own severe conception. He had caught from the duskiness of the future—at least, so he fancied—a fearful secret, and had obscurely revealed it on the portraits. So much of himself—of his imagination and all other powers—had been lavished on the study of Walter and Elinor that he almost regarded them as creations of his own, like the thousands with which he had peopled the realms of Picture. Therefore did they flit through the twilight of the woods, hover on the mist of waterfalls, look forth from the mirror of the lake, nor melt away in the noontide sun. They haunted his pictorial fancy, not as mockeries of life nor pale goblins of the dead, but in the guise of portraits, each with an unalterable expression which his magic had evoked from the caverns of the soul. He could not recross the Atlantic till he had again beheld the originals of those airy pictures.
“O glorious Art!” Thus mused the enthusiastic painter as he trod the street. “Thou art the image of the Creator’s own. The innumerable forms that wander in nothingness start into being at thy beck. The dead live again; thou recallest them to their old scenes and givest their gray shadows the lustre of a better life, at once earthly and immortal. Thou snatchest back the fleeting moments of history. With thee there is no past, for at thy touch all that is great becomes for ever present, and illustrious men live through long ages in the visible performance of the very deeds which made them what they are. O potent Art! as thou bringest the faintly-revealed past to stand in that narrow strip of sunlight which we call ‘now,’ canst thou summon the shrouded future to meet her there? Have I not achieved it? Am I not thy prophet?”
Thus with a proud yet melancholy fervor did he almost cry aloud as he passed through the toilsome street among people that knew not of his reveries nor could understand nor care for them. It is not good for man to cherish a solitary ambition. Unless there be those around him by whose example he may regulate himself, his thoughts, desires and hopes will become extravagant and he the semblance—perhaps the reality—of a madman. Reading other bosoms with an acuteness almost preternatural, the painter failed to see the disorder of his own.
“And this should be the house,” said he, looking up and down the front before he knocked. “Heaven help my brains! That picture! Methinks it will never vanish. Whether I look at the windows or the door, there it is framed within them, painted strongly and glowing in the richest tints—the faces of the portraits, the figures and action of the sketch!”
He knocked.
“The portraits—are they within?” inquired he of the domestic; then, recollecting himself, “Your master and mistress—are they at home?”
“They are, sir,” said the servant, adding, as he noticed that picturesque aspect of which the painter could never divest himself, “and the portraits too.”
The guest was admitted into a parlor communicating by a central door with an interior room of the same size. As the first apartment was empty, he passed to the entrance of the second, within which his eyes were greeted by those living personages, as well as their pictured representatives, who had long been the objects of so singular an interest. He involuntarily paused on the threshold.
They had not perceived his approach. Walter and Elinor were standing before the portraits, whence the former had just flung back the rich and voluminous folds of the silken curtain, holding its golden tassel with one hand, while the other grasped that of his bride. The pictures, concealed for months, gleamed forth again in undiminished splendor, appearing to throw a sombre light across the room rather than to be disclosed by a borrowed radiance. That of Elinor had been almost prophetic. A pensiveness, and next a gentle sorrow, had successively dwelt upon her countenance, deepening with the lapse of time into a quiet anguish. A mixture of affright would now have made it the very expression of the portrait. Walter’s face was moody and dull or animated only by fitful flashes which left a heavier darkness for their momentary illumination. He looked from Elinor to her portrait, and thence to his own, in the contemplation of which he finally stood absorbed.
The painter seemed to hear the step of Destiny approaching behind him on its progress toward its victims. A strange thought darted into his mind. Was not his own the form in which that Destiny had embodied itself, and he a chief agent of the coming evil which he had foreshadowed?
Still, Walter remained silent before the picture, communing with it as with his own heart and abandoning himself to the spell of evil influence that the painter had cast upon the features. Gradually his eyes kindled, while as Elinor watched the increasing wildness of his face her own assumed a look of terror; and when, at last, he turned upon her, the resemblance of both to their portraits was complete.
“Our fate is upon us!” howled Walter. “Die!”
Drawing a knife, he sustained her as she was sinking to the ground, and aimed it at her bosom. In the action and in the look and attitude of each the painter beheld the figures of his sketch. The picture, with all its tremendous coloring, was finished.
“Hold, madman!” cried he, sternly.
He had advanced from the door and interposed himself between the wretched beings with the same sense of power to regulate their destiny as to alter a scene upon the canvas. He stood like a magician controlling the phantoms which he had evoked.
“What!” muttered Walter Ludlow as he relapsed from fierce excitement into sullen gloom. “Does Fate impede its own decree?”
“Wretched lady,” said the painter, “did I not warn you?”
“You did,” replied Elinor, calmly, as her terror gave place to the quiet grief which it had disturbed. “But I loved him.”
Is there not a deep moral in the tale? Could the result of one or all our deeds be shadowed forth and set before us, some would call it fate and hurry onward, others be swept along by their passionate desires, and none be turned aside by the prophetic pictures.