"My expedient was obvious and simple: I was to counterfeit a murderous dialogue; but this was to be so conducted that another, and not yourself, should appear to be the object. I was not aware of the possibility that you should appropriate these menaces to yourself. Had you been still and listened, you would have heard the struggles and prayers of the victim, who would likewise have appeared to be shut up in the closet, and whose voice would have been Judith's. This scene would have been an appeal to your compassion; and the proof of cowardice or courage which I expected from you, would have been your remaining inactive in your bed, or your entering the closet with a view to assist the sufferer. Some instances which Judith related of your fearlessness and promptitude made me adopt the latter supposition with some degree of confidence.
"By the girl's direction I found a ladder, and mounted to your closet window. This is scarcely large enough to admit the head, but it answered my purpose too well.
"I cannot express my confusion and surprize at your abrupt and precipitate flight. I hastily removed the ladder; and, after some pause, curiosity and doubts of your safety induced me to follow you. I found you stretched on the turf before your brother's door, without sense or motion. I felt the deepest regret at this unlooked-for consequence of my scheme. I knew not what to do to procure you relief. The idea of awakening the family naturally presented itself. This emergency was critical, and there was no time to deliberate. It was a sudden thought that occurred. I put my lips to the key-hole, and sounded an alarm which effectually roused the sleepers. My organs were naturally forcible, and had been improved by long and assiduous exercise.
"Long and bitterly did I repent of my scheme. I was somewhat consoled by reflecting that my purpose had not been evil, and renewed my fruitless vows never to attempt such dangerous experiments. For some time I adhered, with laudable forbearance, to this resolution.
"My life has been a life of hardship and exposure. In the summer I prefer to make my bed of the smooth turf, or, at most, the shelter of a summer-house suffices. In all my rambles I never found a spot in which so many picturesque beauties and rural delights were assembled as at Mettingen. No corner of your little domain unites fragrance and secrecy in so perfect a degree as the recess in the bank. The odour of its leaves, the coolness of its shade, and the music of its water-fall, had early attracted my attention. Here my sadness was converted into peaceful melancholy—here my slumbers were sound, and my pleasures enhanced.
"As most free from interruption, I chose this as the scene of my midnight interviews with Judith. One evening, as the sun declined, I was seated here, when I was alarmed by your approach. It was with difficulty that I effected my escape unnoticed by you.
"At the customary hour, I returned to your habitation, and was made acquainted by Judith, with your unusual absence. I half suspected the true cause, and felt uneasiness at the danger there was that I should be deprived of my retreat; or, at least, interrupted in the possession of it. The girl, likewise, informed me, that among your other singularities, it was not uncommon for you to leave your bed, and walk forth for the sake of night-airs and starlight contemplations.
"I desired to prevent this inconvenience. I found you easily swayed by fear. I was influenced, in my choice of means, by the facility and certainty of that to which I had been accustomed. All that I forsaw was, that, in future, this spot would be cautiously shunned by you.
"I entered the recess with the utmost caution, and discovered, by your breathings, in what condition you were. The unexpected interpretation which you placed upon my former proceeding, suggested my conduct on the present occasion. The mode in which heaven is said by the poet, to interfere for the prevention of crimes, [**] was somewhat analogous to my province, and never failed to occur to me at seasons like this. It was requisite to break your slumbers, and for this end I uttered the powerful monosyllable, "hold! hold!" My purpose was not prescribed by duty, yet surely it was far from being atrocious and inexpiable. To effect it, I uttered what was false, but it was well suited to my purpose. Nothing less was intended than to injure you. Nay, the evil resulting from my former act, was partly removed by assuring you that in all places but this you were safe.
* BILOQUIUM, or ventrilocution. Sound is varied according to
the variations of direction and distance. The art of the
ventriloquist consists in modifying his voice according to
all these variations, without changing his place. See the
work of the Abbe de la Chappelle, in which are accurately
recorded the performances of one of these artists, and some
ingenious, though unsatisfactory speculations are given on
the means by which the effects are produced. This power is,
perhaps, given by nature, but is doubtless improvable, if
not acquirable, by art. It may, possibly, consist in an
unusual flexibility or exertion of the bottom of the tongue
and the uvula. That speech is producible by these alone must
be granted, since anatomists mention two instances of
persons speaking without a tongue. In one case, the organ
was originally wanting, but its place was supplied by a
small tubercle, and the uvula was perfect. In the other, the
tongue was destroyed by disease, but probably a small part
of it remained.
This power is difficult to explain, but the fact is
undeniable. Experience shews that the human voice can
imitate the voice of all men and of all inferior animals.
The sound of musical instruments, and even noises from the
contact of inanimate substances, have been accurately
imitated. The mimicry of animals is notorious; and Dr.
Burney (Musical Travels) mentions one who imitated a flute
and violin, so as to deceive even his ears.