The Knight of the Golden Melice: A Historical Romance

by John Turvill Adams

But why pursue a discourse which can have but little interest except for the speakers? The reader will suppose the further conversation which would naturally take place between two young persons in their situation. Owing to the vigilance of Spikeman, it was a long time (so at least it seemed to them) since they had met, and the interview was sweeter for that reason. While the precious moments are flitting by them unheeded, let us return to Waqua.

The Indian was so absorbed in the contemplation of the portrait, that he paid no attention to the jesting observation made by Arundel as he left the room, but continued motionless, gazing fixedly upon it. It represented a man of middle age, of a stern and somewhat forbidding countenance, standing with the open palm of the right hand thrown forward, as if he were addressing the spectator. It was exceedingly well done,—so graceful was the attitude, so boldly stood out the figure, so admirable was the coloring, so illusive the air of life. It was the first portrait that Waqua had seen, and he very naturally mistook it for a living person.

Seeing, as he supposed, a man with eyes fastened on him, standing in an attitude soliciting attention, and as if only waiting until the conversation between those who entered should cease, to address him, Waqua, with instinctive politeness, had stopped, and looking full at the painting, awaited the speech. He was somewhat surprised and scandalized, under the circumstances, at the garrulity of his companions, and, to confess the truth, Arundel sunk considerably in his estimation. However, he made all allowances for the rude manners of the whites and differences of customs, though hardly restrained by such considerations from uttering a rebuke for the others' want of respect to age, and to the master of the house, for whom he took the picture. As, after Arundel and the girl left the apartment, the figure remained standing, with eyes fastened on Waqua, and his hand continually extended, the Indian, considering it an invitation to be seated, sat down in a chair. He expected now to be addressed, and modestly dropping his eyes waited for what should be said. Thus sat Waqua, until, surprised at the continued silence of the other, he raised his eyes, and beheld him still in the same position, with lips partly open, yet emitting no sound. The situation of the Indian now became more and more embarrassing, and he hesitated what course to pursue. Greatly perplexed, he turned the matter over and over, until finally he reached the conclusion that this was a mode of welcome among the white men, and that the politeness of the other kept him silent, in order that the visitor should first take up the word, in which opinion he was confirmed by the sedate and unmoved expression of the face. With such a notion occupying his mind, he rose from his seat, and throwing the beaver robe a little off the right shoulder to allow opportunity for gesticulation, he stood before the picture, and after a moment of grave thought addressed it.

"Waqua," he said, "is a young man, and ashamed to speak first in the presence of his elder; but the customs of the white men are very different from those of their red brethren, and perhaps among his white brothers the young men speak first that their folly may appear. Because he thinks his white brother desires him to speak, he will make a very little speech."

"The silent chief (so he called the picture, not knowing what other name to use) knows that Waqua is a friend, because he sees him in company with the white man who went away with the chief's daughter with the strawberry lips. Waqua only asks the hospitality of the silent chief, and permission to remain in his lodge till his friend returns."

Thus having spoken, Waqua gathered up his robe upon his shoulder, and awaited a reply.

But in vain. Still the figure preserved silence, and maintained the same immovable attitude, gazing on him with eyes from which there was no escaping, and which seemed to pierce into his soul. The uneasiness of Waqua increased. He felt no fear, but a confusion of thought which threatened to obscure entirely his faculties. The idea crossed his mind that the man was dumb, but that accounted only for the silence. Why the immobility? If he were dumb, at least he could walk, for well-formed limbs were visible. But the man was quite still, not even winking, only fastening his eyes steadfastly on his own. To the excited imagination of the Indian, the eyes began to assume a deeper sternness, and he found it more and more difficult to withdraw his own. Suddenly, a thought darted through his mind, which made him shiver all over, and spring from his seat. The idea of fascination caused the start. He had more than once beheld the black snake extended on the ground, charming, with his glittering eyes the anguished bird which, with fainter and fainter screams, striving to delay a fate it could not escape, kept flying round and round in constantly diminishing circles, until it fell into the jaws of the destroyer. The same fatal influence he had seen exercised upon rabbits and other small game, the prey of the snake, and he did not doubt that a like fascination was attempted to be practiced on himself, and that the man was a conjurer. The thought threw him into a rage, and he determined to take vengeance for the insult. Drawing, therefore, his tomahawk from his girdle and brandishing it over his head, he exclaimed,

"Waqua is a warrior, and not a bird to be made weak by a white medicine."

But before the enraged Indian could cast the weapon from his hand, he felt his arm suddenly arrested, and, turning, beheld the laughing face of Prudence Rix.

"Stop, stop!" cried the girl, hardly able to speak for merriment; "what are you going to do? It is not a man, but only a painting."