“But,” said Leonard, as his eye again rested on the beautiful handwriting of his lost aunt,—“but you called her Nora—I see she signs herself L.”
“Leonora was her name. I said she was my Lady’s god-child. We call her Nora for short—”
“Leonora—and I am Leonard—is that how I came by the name?”
“Yes, yes; do hold your tongue, boy,” sobbed poor Mrs. Fairfield; and she could not be soothed nor coaxed into continuing or renewing a subject which was evidently associated with insupportable pain.
CHAPTER X.
It is difficult to exaggerate the effect that this discovery produced on Leonard’s train of thought. Some one belonging to his own humble race had, then, preceded him in his struggling flight towards the loftier regions of Intelligence and Desire. It was like the mariner amidst unknown seas, who finds carved upon some desert isle a familiar household name.
And this creature of genius and of sorrow-whose existence he had only learned by her song, and whose death created, in the simple heart of her sister, so passionate a grief, after the lapse of so many years—supplied to the romance awaking in his young heart the ideal which it unconsciously sought. He was pleased to hear that she had been beautiful and good. He paused from his books to muse on her, and picture her image to his fancy. That there was some mystery in her fate was evident to him; and while that conviction deepened his interest, the mystery itself by degrees took a charm which he was not anxious to dispel. He resigned himself to Mrs. Fairfield’s obstinate silence. He was contented to rank the dead amongst those holy and ineffable images which we do not seek to unveil. Youth and Fancy have many secret hoards of idea which they do not desire to impart, even to those most in their confidence. I doubt the depth of feeling in any man who has not certain recesses in his soul into which none may enter.
Hitherto, as I have said, the talents of Leonard Fairfield had been more turned to things positive than to the ideal,—to science and investigation of fact than to poetry, and that airier truth in which poetry has its element. He had read our greater poets, indeed, but without thought of imitating; and rather from the general curiosity to inspect all celebrated monuments of the human mind than from that especial predilection for verse which is too common in childhood and youth to be any sure sign of a poet. But now these melodies, unknown to all the world beside, rang in his ear, mingled with his thoughts,—set, as it were, his whole life to music. He read poetry with a different sentiment,—it seemed to him that he had discovered its secret. And so reading, the passion seized him, and “the numbers came.”
To many minds, at the commencement of our grave and earnest pilgrimage, I am Vandal enough to think that the indulgence of poetic taste and revery does great and lasting harm; that it serves to enervate the character, give false ideas of life, impart the semblance of drudgery to the noble toils and duties of the active man. All poetry would not do this,—not, for instance, the Classical, in its diviner masters; not the poetry of Homer, of Virgil, of Sophocles; not, perhaps, even that of the indolent Horace. But the poetry which youth usually loves and appreciates the best—the poetry of mere sentiment—does so in minds already over-predisposed to the sentimental, and which require bracing to grow into healthful manhood.