“But I am not writing merely to scold you. I have something else on my mind, and it must come out. Certainly, when you were at Paris last year you did admire, above all other young ladies, Isaura Cicogna. And I honoured you for doing so. I know no other young lady to be called her equal. Well, if you admired her then, what would you do now if you met her? Then she was but a girl—very brilliant, very charming, it is true—but undeveloped, untested. Now she is a woman, a princess among women, but retaining all that is most lovable in a girl; so courted, yet so simple—so gifted, yet so innocent. Her head is not a bit turned by all the flattery that surrounds her. Come and judge for yourself. I still hold the door of the rooms destined to you open for repentance.
“My dear Mr. Vane, do not think me a silly match-making little woman, when I write to you thus, a coeur ouvert.
“I like you so much that I would fain secure to you the rarest prize which life is ever likely to offer to your ambition. Where can you hope to find another Isaura? Among the stateliest daughters of your English dukes, where is there one whom a proud man would be more proud to show to the world, saying, ‘She is mine!’ where one more distinguished—I will not say by mere beauty, there she might be eclipsed—but by sweetness and dignity combined—in aspect, manner, every movement, every smile?
“And you, who are yourself so clever, so well read—you who would be so lonely with a wife who was not your companion, with whom you could not converse on equal terms of intellect,—my dear friend, where could you find a companion in whom you would not miss the poet-soul of Isaura? Of course I should not dare to obtrude all these questionings on your innermost reflection, if I had not some idea, right or wrong, that since the days when at Enghien and Montmorency, seeing you and Isaura side by side, I whispered to Frank, ‘So should those two be through life,’ some cloud has passed between your eyes and the future on which they gazed. Cannot that cloud be dispelled? Were you so unjust to yourself as to be jealous of a rival, perhaps of a Gustave Rameau? I write to you frankly—answer me frankly; and if you answer, ‘Mrs. Morley, I don’t know, what you mean; I admired Mademoiselle Cicogna as I might admire any other pretty, accomplished girl, but it is really nothing to me whether she marries Gustave Rameau or any one else,’—why, then, burn this letter—forget that it has been written; and may you never know the pang of remorseful sigh, if, in the days to come, you see her—whose name in that case I should profane did I repeat it—the comrade of another man’s mind, the half of another man’s heart, the pride and delight of another man’s blissful home.”
CHAPTER IV.
There is somewhere in Lord Lytton’s writings—writings so numerous that I may be pardoned if I cannot remember where-a critical definition of the difference between dramatic and narrative art of story, instanced by that marvellous passage in the loftiest of Sir Walter Scott’s works, in which all the anguish of Ravenswood on the night before he has to meet Lucy’s brother in mortal combat is conveyed without the spoken words required in tragedy. It is only to be conjectured by the tramp of his heavy boots to and fro all the night long in his solitary chamber, heard below by the faithful Caleb. The drama could not have allowed that treatment; the drama must have put into words, as “soliloquy,” agonies which the non-dramatic narrator knows that no soliloquy can describe. Humbly do I imitate, then, the great master of narrative in declining to put into words the conflict between love and reason that tortured the heart of Graham Vane when, dropping noiselessly the letter I have just transcribed, he covered his face with his hands and remained—I know not how long—in the same position, his head bowed, not a sound escaping from his lips.
He did not stir from his rooms that day; and had there been a Caleb’s faithful ear to listen, his tread, too, might have been heard all that sleepless night passing to and fro, but pausing oft, along his solitary floors.
Possibly love would have borne down all opposing seasonings, doubts, and prejudices, but for incidents that occurred the following evening. On that evening Graham dined en famille with his cousins the Altons. After dinner, the Duke produced the design for a cenotaph inscribed to the memory of his aunt, Lady Janet King, which he proposed to place in the family chapel at Alton.
“I know,” said the Duke, kindly, “you would wish the old house from which she sprang to preserve some such record of her who loved you as her son; and even putting you out of the question, it gratifies me to attest the claim of our family to a daughter who continues to be famous for her goodness, and made the goodness so lovable that envy forgave it for being famous. It was a pang to me when poor Richard King decided on placing her tomb among strangers; but in conceding his rights as to her resting-place, I retain mine to her name,—Nostris liberis virtutis exemplar.”