My mind is dark as cycle-sealèd tombs,
And must remain
In darkness till the light of God illumes
Its black inane.
It was eight o’clock on a still summer evening, and, the ladies having retired, two men were lingering in a pleasant, indolent fashion over their wine in the dining-room of Roylands Grange. To be exact, only the elder gentleman was paying any attention to his port, for the young man who sat at the head of the table stared vaguely on his empty glass, and at his equally empty plate, as if his thoughts were miles away, which was precisely the case. Youth was moody, age was cheerful, for, while the former indulged in a brown study, the latter cracked nuts and sipped wine, with a just appreciation of the excellence of both. Judging from this outward aspect of things, there was something wrong with Maurice Roylands, for if reverend age in the presentable person of Rector Carriston could be merry, there appeared to be no very feasible reason why unthinking youth should be so ineffably dreary. Yet woe was writ largely on the comely face of the moody young man, and he joined but listlessly in the jocund conversation of his companion, which was punctuated in a very marked manner by the cracking of filberts.
Outside, a magical twilight brooded over the landscape, and the chill odors of eve floated from a thousand sleeping flowers into the mellow atmosphere of the room, which was irradiated by the soft gleam of many wax candles rising white and slender from amid the pale roses adorning the dinner-table. All was pleasant, peaceful, and infinitely charming; yet Maurice Roylands, aged thirty, healthy, wealthy, and not at all bad-looking, sat moodily frowning at his untasted dessert, as though he bore the weight of the world on his shoulders.
In truth, Mr. Roylands, with the usual self-worship of latter-day youth, thought he was being very hardly treated by Destiny, as that all-powerful goddess had given him everything calculated to make a mortal happy, save the capability of being happy. This was undeniably hard, and might be called the very irony of fate, for one might as well offer a sumptuous banquet to a dyspeptic, as give a man all the means of enjoyment, without the faculty of taking advantage of such good fortune. Roylands had considerable artistic power, an income of nearly six thousand a year, a fine house, friends innumerable—of the summer season sort; yet he neither cared about nor valued these blessings, for the simple reason that he was heartily sick of them, one and all. He would have been happier digging a patch of ground for his daily bread, than thus idling through life on an independent income, for Ennui, twin sister of Care, had taken possession of his soul, and in the midst of all his comforts he was thoroughly unhappy.
The proverb that “The rich are more miserable than the poor,” is but a trite one on which to preach a sermon, for did not Solomon say all that there was to be said in the matter? It was an easier task to write a new play on the theme of Hamlet, than to compose a novel discourse on the “All is vanity” text; for on some subjects the final word has been said, and he who preaches thereon says nothing new, but only repeats the ideas of former orators, who in their turn doubtless reiterated the sayings of still earlier preachers, and so on back to Father Adam, to whom the wily serpent possibly delivered a sermon on the cynically wise saying illustrated so exhaustively by Solomon ben David. Therefore, to remark that Maurice was miserable amid all his splendors is a plagiarism, and they who desire to study the original version for themselves must read Ecclesiastes, which gives a minute analysis of the whole question, with cruelly true comments thereon.
When Roylands ten years before had gone to London, against the desire of his father, to take up the profession—if it can be called so—of a sculptor, he was full of energy and ambition. He had fully determined to set the Thames on fire by the creation of statues worthy of Canova, to make a great name in the artistic world, to become a member of the Academy, to inaugurate a new era in the history of English sculpture; so, with all this glory before him, he turned his back on the flesh-pots of Egypt and went to dwell in the land of Bohemia. In order to bring the lad to his senses, Roylands senior refused to aid him with a shilling until he gave up the pitiful trade—in this country squire’s opinion—of chipping figures out of marble. Supplies being thus stopped, Maurice suffered greatly in those artistic days for lack of an assured income; yet in spite of all his deprivations, he was very happy in Bohemia until he lived down his enthusiasms. When matters came to that pass, the wine of life lost its zest for this young man, and he became a victim to melancholia, that terrible disease for which there is rarely—if any cure. He lived because he did not agree with Addison’s Cato regarding the virtues of self-destruction, but as far as actual dying went it mattered to him neither one way nor the other. If he had done but little good during his life, at least he had done but little harm, so, thinking he could scarcely be punished severely for such a negative existence, he was quite willing to leave this world he found so dreary, provided the entrance into the next one was not of too painful a nature.
It is a bad thing for a young man to thus take to the pessimistic school of philosophy as exemplified by Schopenhauer, as, having nothing to look back at, nothing to look forward to, and nothing to hold on by, the scheme of his life falls into a ruinous condition, so, being without the safety anchor of Hope, he drifts aimlessly through existence, a nuisance to himself and to every one around him. Maurice, listless and despairing, did no more work than was absolutely necessary to earn a bare subsistence, and lived his life in a semi-dreamy, semi-lethargic condition, with no very distinct idea as to what was to be the ultimate end of all this dreariness. When night fell he was then more at rest, for in sleep he found a certain amount of compensation for the woes of his waking hours. As to his modelling, he took a positive dislike to it, and for this reason improved but little in his work during the last years of his Bohemian existence. Profoundly disgusted, without any positive reason, with himself, his art, the world, and his fellow-men, heaven only knows what would have become of him, had not an event happened which, by placing him in a new position, seemed to promise his redemption from the gloomy prison of melancholia.