THE STORY OF MAY DARLING.
"Lay her i' the earth;
And from her pure and unpolluted flesh
May violets spring!"—Hamlet.
It is a lovely spot, Grassyvale—"beautiful exceedingly." But its beauty is of a quiet, unimposing description; the characteristic feature of the landscape which would strike the eye of a spectator who surveyed it from the highest neighbouring eminence, is simply—repose. There are no mountains, properly so called, within a circuit of many miles—none of those natural pyramids which, in various parts of our beloved land of mountain and of flood, of battle and of song, rise in majestic grandeur, like columns of adamant to support the vault of heaven. The nearest are situated at such a distance that they appear like clouds, and might readily be mistaken for such, but for their death-like stillness, and the everlasting monotony of their outline. No waterfalls hurl their bolts of liquid crystal into dark, frowning, wave-worn chasms, which had echoed to the thunder of their fall since the birth of time. There is no far-spreading forest—no yawning ravine, with "ebon shades and low-browed rocks"—no beetling cliff or precipice, "shagged" with brushwood, as Milton hath it. There is nothing of the grand, the sublime, the terrible, or the magnificent—there is only quiet; or, if the terms do not sound affected to "ears polite," modest, unassuming beauty, such as a rainbow, were it perpetually present in the zenith, might form a characteristic and appropriate symbol of. Nature has not here wrought her miracles of beauty on a Titanic scale. What, then, is so attractive about Grassyvale? it will be asked. We are not sure but we may be as much stultified with this question as was the child in Wordsworth's sweet little poem, "We are Seven" (which the reader may turn up at leisure, when the propriety of the comparison will be seen), and may be forced, after an unsuccessful attempt to justify ourselves for holding such an opinion, to maintain, with the same dogmatic obstinacy, it is beautiful. But the length of our story compels us to exclude a description of the landscape which we had prepared.
The village of Grassyvale, which is situated on the margin of a small stream, consists of about one hundred scattered cottages, all neatly whitewashed, and most of them adorned in front with some flowering shrub—wild-briar, honeysuckle, or the like—whilst a "kail-yard" in the rear constitutes no inappropriate appendage. There is one of those dwellings conspicuous from the rest by its standing apart from them, and by an additional air of comfort and neatness which it wears, and which seems to hallow it like a radiant atmosphere. It is literally covered with a network of ivy, honeysuckle, and jasmine, the deep green of whose unvarnished leaf renders more conspicuous "the bright profusion of its scattered stars." The windows are literally darkened by a multitude of roses, which seem clustering and crowding together to gain an entrance, and scatter their "perfumed sweets" around the apartment. Near the cottage, there is also a holly planted—that evergreen-tree which seems providentially designed by nature to cheer the dreariness of winter, and, when all is withered and desolate around, to remain a perpetual promise of spring. But we have more to do with this beautiful little dwelling than merely to describe its exterior.
Behind Grassyvale, the ground begins to swell, undulating into elevations of mild acclivity, on the highest of which stands the parish church, like the ark resting on Ararat—faith's triumph, and mercy's symbol. Numerous grassy hillocks scattered around indicate the cemetery where "the rude forefathers of the hamlet sleep." Amongst those memorials which are designed to perpetuate the recollection of virtue for a few generations—and which, with their appropriate emblems and inscriptions, preach so eloquently to the heart, and realise to the letter Shakspere's memorable words, "sermons in stones"—there is one which always attracts attention. It is not a "storied urn, an animated bust"—one of those profusely decorated marble hatchments with which worldly grandeur mourns, in pompous but vain magnificence, over departed pride. No; it is only a small, unadorned slab of rather dingy-coloured freestone; and the inscription is simply—"To the memory of May Darling, who was removed from this world to a better, at the early age of nineteen. She was an affectionate daughter, a loving sister, and a sincere Christian.
"Weep not for her whose mortal race is o'er;
She is not lost, but only gone before."
Ah! there are few, few indeed, for many miles round, who would pass that humble grave without heaving a sigh or shedding a tear for her who sleeps beneath—her who was so beloved, so admired by every one, as well as being the idol and pride of her own family, and whose romantic and untimely fate (cut off "i' the morn and liquid dew of youth") was the village talk for many a day.
John Darling, the father of our heroine, was, what is no great phenomenon amongst the peasantry of Scotland, a sober, industrious, honest man. In early life he espoused the daughter of an opulent farmer, whose marriage-portion enabled him to commence life under very favourable auspices. But, in spite of obedience to the natural laws, the mildew of misfortune will blight our dearest hopes, however wisely our plans for the future may be laid, and however assiduously and judiciously they may be pursued. Untoward circumstances, which it would unnecessarily protract our narrative to relate, had reduced him, at the period to which our tale refers, to the condition of a field-labourer. Death had likewise been busy singling out victims from amongst those who surrounded his humble but cheerful fireside; and of a large family there only remained three, and he was a widower besides. May was the eldest; and, accordingly, the superintendence of the household devolved upon her. The deceased parent was of a somewhat haughty and reserved turn of mind, for the recollection of former affluence never forsook her; and this circumstance kept her much aloof from the less polished and sophisticated matrons of the village, and also rendered her a strict family disciplinarian. She concentrated her mind almost entirely upon the affairs of her own household; and her children were accordingly watched with a more vigilant eye, and brought up with more scrupulous care, than was usual with those around her. It was her pride, and "let it be her praise," to see them arrayed in more showy habiliments than those worn by their associates; and, to accomplish this darling object, what serious transmutation did her finery of former days undergo, as the mutilated robes descended from child to child, turned upside down, inside out, and otherwise suffering a metamorphosis at every remove! The dress of May, in particular—her first-born bud of bliss, the doated on of her bosom—was always attended to with special care; nor was the cultivation of her mind in any way overlooked. She very early inspired her with a love of reading, which increased with the development of her faculties, and many a day survived her by whom the passion had been awakened.
In person, May was slender; but her light, airy, sylph-like form was eminently handsome. Hair and eyes of intense depth of black contrasted admirably with a countenance which may be designated as transparent—it was nearly colourless; and only on occasions of unusual bodily exertion, or when some mental emotion suffused the cheek with a damask blush, would a tint of rosy red fluctuate over her pure skin. It can scarcely be called pale, however—it had nothing about it of that death-in-life hue which indicates the presence of disease.
"Oh, call it fair, not pale!"