"How shall I describe her funeral? The lepers were her pall-bearers. The news of the shipwreck had quickly spread throughout the settlement, and these simple, generous people yield themselves so readily to the emotion of the hour. When the time arrived, it seemed that all who could walk had come to follow her to the churchyard. It was a moving sight—the long, wavering train of that death-stricken throng, whose sufferings had so touched the pity of our Lord when He was on earth, and the desolation of whose fate she had come to lessen. There were the young and the old alike, Protestants and Catholics without distinction, children with their faces so strangely aged with ravages of the leprosy, those advanced in years with theirs so mutilated and marred. Others, upon whom the leprosy had made such advances that they were too weak to walk, sat in their cottage doors and lifted their husky voices in singing that wailing native hymn in which they bemoan their hopeless fate. Some of the women, after a fashion of their own, wore large wreaths of blue blossoms and green leaves about their withered faces.
"And it was thus that we lepers—I say we lepers because I am one of them, since I cannot expect long to escape the disease—it was thus that we lepers followed her to the graveyard in the rock by the blue sea, where Father Damien with his own hands had helped to dig her grave. And there, dear Mother, all that is mortal of her now rests. But we know that ere this she has heard the words: 'I was sick, and ye visited me.'
"Mother Marianne would herself have written, but she was called away to the Leproserie.
"Sister Agatha."
Posthumous Fame; or, A Legend of the Beautiful
I.
There once lived in a great city, where the dead were all but innumerable, a young man by the name of Nicholas Vane, who possessed a singular genius for the making of tombstones. So beautiful they were, and so fitly designed to express the shadowy pain of mortal memory or the bright forecasting of eternal hope, that all persons were held fortunate who could secure them for the calm resting-places of their beloved sleepers. Indeed, the curious tale was whispered round that the bereft were not his only patrons, but that certain personages who were peculiarly ambitious of posthumous fame—seeing they had not long to live, and unwilling to intrust others with the grave responsibility of having them commemorated—had gone to his shop and secretly advised with him respecting such monuments as might preserve their memories from too swift oblivion.
However this may fall out, certain it is that his calling had its secrets; and once he was known to observe that no man could ever understand the human heart until he had become a maker of tombstones. Whether the knowledge thus derived should make of one a laughing or a weeping philosopher, Nicholas himself remained a joyous type of youthful manhood—so joyous, in fact, that a friend of his who wrought in colour, strolling one day into the workshop where Nicholas stood surrounded by the exquisite shapes of memorial marbles, had asked to paint the scene as a representation of Life chiselling to its beautiful purposes the rugged symbols of Death, and smiling as it wove the words of love and faith across the stony proofs of the universal tragedy. Afterwards, it is true, a great change was wrought in the young artisan.