I confess I did expect to see something that would remind me of the girl’s little deformed neighbor, if not portraits of him.——There is a left arm again, though;——no,——that is from the “Fighting Gladiator,”——the “Jeune Héros combattant” of the Louvre;——there is the broad ring of the shield. From a cast, doubtless. [The separate casts of the “Gladiator’s” arm look immense; but in its place the limb looks light, almost slender,——such is the perfection of that miraculous marble. I never felt as if I touched the life of the old Greeks until I looked on that statue.]——Here is something very odd, to be sure. An Eden of all the humped and crooked creatures! What could have been in her head when she worked out such a fantasy? She has contrived to give them all beauty or dignity or melancholy grace. A Bactrian camel lying under a palm. A dromedary flashing up the sands,——spray of the dry ocean sailed by the “ship of the desert.” A herd of buffaloes, uncouth, shaggy-maned, heavy in the forehand, light in the hind-quarter. [The buffalo is the lion of the ruminants.] And there is a Norman horse, with his huge, rough collar, echoing, as it were, the natural form of the other beast. And here are twisted serpents; and stately swans, with answering curves in their bowed necks, as if they had snake’s blood under their white feathers; and grave, high-shouldered herons, standing on one foot like cripples, and looking at life round them with the cold stare of monumental effigies.——A very odd page indeed! Not a creature in it without a curve or a twist, and not one of them a mean figure to look at. You can make your own comment; I am fanciful, you know. I believe she is trying to idealize what we vulgarly call deformity, which she strives to look at in the light of one of Nature’s eccentric curves, belonging to her system of beauty, as the hyperbola and parabola belong to the conic sections, though we cannot see them as symmetrical and entire figures, like the circle and ellipse. At any rate, I cannot help referring this paradise of twisted spines to some idea floating in her head connected with her friend whom Nature has warped in the moulding.——That is nothing to another transcendental fancy of mine. I believe her soul thinks itself in his little crooked body at times,——if it does not really get freed or half freed from her own. Did you ever see a case of catalepsy? You know what I mean,——transient loss of sense, will, and motion; body and limbs taking any position in which they are put, as if they belonged to a lay-figure. She had been talking with him and listening to him one day when the boarders moved from the table nearly all at once. But she sat as before, her cheek resting on her hand, her amber eyes wide open and still. I went to her,——she was breathing as usual, and her heart was beating naturally enough,——but she did not answer. I bent her arm; it was as plastic as softened wax, and kept the place I gave it.——This will never do, though,——and I sprinkled a few drops of water on her forehead. She started and looked round.——I have been in a dream,——she said;——I feel as if all my strength were in this arm;——give me your hand!——She took my right hand in her left, which looked soft and white enough, but——Good Heaven! I believe she will crack my bones! All the nervous power in her body must have flashed through those muscles; as when a crazy lady snaps her iron window-bars,——she who could hardly glove herself when in her common health. Iris turned pale, and the tears came to her eyes;——she saw she had given pain. Then she trembled, and might have fallen but for me;——the poor little soul had been in one of those trances that belong to the spiritual pathology of higher natures, mostly those of women.
To come back to this wondrous book of Iris. Two pages faced each other which I took for symbolical expressions of two states of mind. On the left hand, a bright blue sky washed over the page, specked with a single bird. No trace of earth, but still the winged creature seemed to be soaring upward and upward. Facing it, one of those black dungeons such as Piranesi alone of all men has pictured. I am sure she must have seen those awful prisons of his, out of which the Opium-Eater got his nightmare vision, described by another as “cemeteries of departed greatness, where monstrous and forbidden things are crawling and twining their slimy convolutions among mouldering bones, broken sculpture, and mutilated inscriptions.” Such a black dungeon faced the page that held the blue sky and the single bird; at the bottom of it something was coiled,——what, and whether meant for dead or alive, my eyes could not make out.
I told you the young girl’s soul was in this book. As I turned over the last leaves I could not help starting. There were all sorts of faces among the arabesques which laughed and scowled in the borders that ran round the pages. They had mostly the outline of childish or womanly or manly beauty, without very distinct individuality. But at last it seemed to me that some of them were taking on a look not wholly unfamiliar to me; there were features that did not seem new.——Can it be so? Was there ever such innocence in a creature so full of life? She tells her heart’s secrets as a three-years-old child betrays itself without need of being questioned! This was no common miss, such as are turned out in scores from the young-lady-factories, with parchments warranting them accomplished and virtuous,——in case anybody should question the fact. I began to understand her;——and what is so charming as to read the secret of a real femme incomprise?——for such there are, though they are not the ones who think themselves uncomprehended women.
I found these stanzas in the book, among many others. I give them as characterizing the tone of her sadder moments:
UNDER THE VIOLETS.
Her hands are cold; her face is white;
No more her pulses come and go;
Her eyes are shut to life and light;——
Fold the white vesture, snow on snow,
And lay her where the violets blow.