But Lancelot’s sadness reached its crisis, as he met the hounds just outside the churchyard. Another moment—they had leaped the rails; and there they swept round under the gray wall, leaping and yelling, like Berserk fiends among the frowning tombstones, over the cradles of the quiet dead.
Lancelot shuddered—the thing was not wrong—‘it was no one’s fault,’—but there was a ghastly discord in it. Peace and strife, time and eternity—the mad noisy flesh, and the silent immortal spirit,—the frivolous game of life’s outside show, and the terrible earnest of its inward abysses, jarred together without and within him. He pulled his horse up violently, and stood as if rooted to the place, gazing at he knew not what.
The hounds caught sight of the fox, burst into one frantic shriek of joy—and then a sudden and ghastly stillness, as, mute and breathless, they toiled up the hillside, gaining on their victim at every stride. The patter of the horsehoofs and the rattle of rolling flints died away above. Lancelot looked up, startled at the silence; laughed aloud, he knew not why, and sat, regardless of his pawing and straining horse, still staring at the chapel and the graves.
On a sudden the chapel-door opened, and a figure, timidly yet loftily stepped out without observing him, and suddenly turning round, met him full, face to face, and stood fixed with surprise as completely as Lancelot himself.
That face and figure, and the spirit which spoke through them, entered his heart at once, never again to leave it. Her features were aquiline and grand, without a shade of harshness; her eyes shone out like twain lakes of still azure, beneath a broad marble cliff of polished forehead; her rich chestnut hair rippled downward round the towering neck. With her perfect masque and queenly figure, and earnest, upward gaze, she might have been the very model from which Raphael conceived his glorious St. Catherine—the ideal of the highest womanly genius, softened into self-forgetfulness by girlish devotion. She was simply, almost coarsely dressed; but a glance told him that she was a lady, by the courtesy of man as well as by the will of God.
They gazed one moment more at each other—but what is time to spirits? With them, as with their Father, ‘one day is as a thousand years.’ But that eye-wedlock was cut short the next instant by the decided interference of the horse, who, thoroughly disgusted at his master’s whole conduct, gave a significant shake of his head, and shamming frightened (as both women and horses will do when only cross), commenced a war-dance, which drove Argemone Lavington into the porch, and gave the bewildered Lancelot an excuse for dashing madly up the hill after his companions.
‘What a horrible ugly face!’ said Argemone to herself, ‘but so clever, and so unhappy!’
Blest pity! true mother of that graceless scamp, young Love, who is ashamed of his real pedigree, and swears to this day that he is the child of Venus!—the coxcomb!
* * * * *
[Here, for the sake of the reader, we omit, or rather postpone a long dissertation on the famous Erototheogonic chorus of Aristophanes’s Birds, with illustrations taken from all earth and heaven, from the Vedas and Proclus to Jacob Boëhmen and Saint Theresa.]