The expression was at once amiable and intellectual—mellowed or blended, however, with a pensiveness which is usually, but most erroneously, called melancholy. Melancholy had nothing to do with a "mind at peace with all below—a heart whose love was innocent." The countenance, in general, affords an index of the mental character—it takes its "form and pressure," as it were, from the predominant workings of that inward principle which is the source of thought and feeling. It is there that thought and feeling, those subtle essences, are made visible to the eye—it is there that mind may be seen. The most casual observer could not fail to perceive that the soul which spoke eloquently in the eye, "and sweetly lightened o'er the face," of May Darling, was a worshipper of nature, of poetry, and of virtue; for they are often combined—they have a natural relation to one another; and, when they exist simultaneously in one individual, a mind so constituted has a capacity for enjoying the most exalted pleasure of which humanity is susceptible. May Darling was indeed imaginative and sanguine in a very high degree; and books of a romantic or dramatic character were mines of "untold wealth" to her.
"Many are poets who have never penn'd
Their inspirations."
And, although the name of this rural beauty, this humble village maiden, will be looked for in vain in the rolls of fame, she enjoyed hours of intense poetical inspiration. In both her mental character and in the style of her personal attractions, she rose far above her companions of the village. Need it be told, that often, of a fine evening, she would steal away from her gay, romping, laughing associates, and, with a favourite author in her hand, and wrapped in a vision of "sweet coming fancies," follow the course of the stream which intersected her native vale, flowing along, pure and noiseless, like the current of her own existence?
The favourite haunt in which she loved to spend her leisure hours was a beautiful dell, distant about half-a-mile from the village. It was a place so lonely, so lovely, so undisturbed, that there (but then all these fine old rural deities, those idols shrined for ages in nature's own hallowed Pantheon, have been expelled their temples, or broken by science—why should this be?)—there, if anywhere, the genius of solitude might be supposed to have fixed her abode. It was a broken piece of ground, intersected by several irregular banks, here projecting in hoar and sterile grandeur (not on an Alpine scale, however), and there clothed with tufts of the feathery willow or old gnarled thorn. The earth was carpeted with its usual covering of emerald turf; and interwoven with it, in beautiful irregularity, were numerous wild flowers—the arum, with its speckled leaves and lilac blossoms; the hyacinth, whose enamelled blue looks so charmingly in the light of the setting sun; and oxlips, cowslips, and the like—throwing up their variegated tufts, like nosegays presented by nature for some gentle creature like May Darling to gather up and lay upon her bosom. The air, of course, was permanently impregnated with the perfume which they breathed out—the everlasting incense of the flowers rising from the altars of nature to her God. Such was the sanctuary in which May gleaned from books the golden thoughts of others, or held communion with her own; and well was it adapted for nursing a romantic taste, and giving a tenderer tone to every tender feeling.
The personal attractions of this sweet and lovely creature increased with her years, and she became the reigning belle of Grassyvale and all the country round. It followed, as a matter of course, that her admirers outnumbered her years; and that the possession of her affections was, with many a rustic Adonis, a subject which troubled the little kingdom of the soul, like the Babylonish garment. At every village fête—a wedding, a harvest-home, or other rural festival—hers was the step most buoyant in the dance, hers the hand most frequently solicited, hers the form and face that riveted all eyes, and thrilled the heart of the ardent admirer "too much adoring." Amongst the other accomplishments of our heroine, skill in music was not the least prominent. Not that she excelled in those intricate graces which are often had recourse to by vocalists to conceal a bad voice, and atone for want of feeling and expression; but her "wood-note wild" was eminently characterised by the latter qualities of singing; and the effect which she produced was accordingly calculated to be lasting.
It must not be supposed, however, that the flattering unction of adulation, at best like the love of Kaled to Lara, "but half-concealed," had any pernicious influence over her mind. She was neither puffed up with vain conceit, nor display of haughty reserve and distance towards those who numbered fewer worshippers than herself; still humility of heart, which was "native there, and to the manner born," characterised her deportment; nor was there any relaxation in the discharge of the household duties which devolved upon her; and the comfort of her father, and the proper care and culture of the younger branches of the family, were as faithfully attended to as if her deformity, instead of her beauty, had been proverbial. She folded the little flutterers under her wing, like a mother bird; and, if there was one thing more than another that she took delight in, it was the training of their young minds to the love and practice of virtue and religion—the only fountains whence happiness, pure and uncontaminated, can be drawn in this life.
"So pass'd their life—a clear united stream,
By care unruffled; till, in evil hour——"
But we anticipate.
It was on a fine summer morning that May, with one of her little sisters, set out to visit the annual fair of the county town. Such an event naturally excites considerable interest over all the country round; and old and young, blind and cripple, male and female, pour along the public ways—not in "weary" but in lighthearted "droves"—full of eagerness and expectation, like the Jews to the Pool of Bethesda, when the angel was expected to make his annual descent, and impart a healing virtue to its waters; for there there is to be found variety of amusement for every mind—from the Katerfelto wonderer, "wondering for his bread," down to the more humble establishment of the halfpenny showman, with his "glorious victory of Waterloo," his "golden beetle," or "ashes from the burning mountains." But, on the occasion to which we refer, there was an exhibition in the shape of a theatrical booth, which presented extraordinary attractions for May Darling; and, accordingly, after deliberately balancing the gratification which she anticipated with the expense which it would cost (her exchequer was, of course, not very rich), she at length found herself comfortably seated near the front of the stage. The tragedy of "George Barnwell" was going off with prodigious eclat; and the performers had arrived at that scene where the hero is about to assassinate his uncle, when the insecure props that supported the gallery began to indicate a disposition to disencumber themselves of their burden, and at last finally gave way. The confusion which now ensued, not to mention the shrieks and other vocal notes of terror and dismay, it is needless to describe—these have nothing to do with our tale. Barnwell, instead of imbruing his hands in innocent blood, even "in jest," became the most active agent in rescuing his hapless audience from their perilous situation. He was a tall, handsome young man, of a very prepossessing exterior, and appeared to great advantage in his showy stage habiliments. The general rush was towards the door, the most likely avenue of escape which presented itself to the astonished rustics; but a few, amongst whom was our heroine, with more collected judgment and presence of mind, found a place of security on the stage. May was slightly bruised in her endeavours to shelter her young charge; and, although not much injured, her forlorn yet interesting appearance drew the attention of the histrionic Samaritan, and he kindly conducted her into the back settlements of the theatre. The affair was not of such a serious nature as might have been anticipated. A few dilapidated seats, and a score or two of trifling contusions, made up the sum total of the damage. A hat or two might have changed owners in the confusion; but these are things beneath the dignity of a tragedian to look after; and, as soon as matters were adjusted on the grand theatre of commotion, he returned to the object of his first solicitude. She was seated on a stool in what was dignified with the sounding appellation of a green-room—looking paler, and lovelier, and more loveable than ever. He quieted her apprehensions with respect to the catastrophe; for he was an adept in the art of imitation, and politely requested the honour of conducting her to her place of residence. It is not difficult to conceive what was the first impression which the request made upon the mind of May Darling; but the scruples of modest, virgin innocence yielded at last to the importunities of the actor, and they left the scene of mirth and confusion together.
On their journey homewards, the conversation naturally turned upon the drama; and many a fine passage, which May admired, was recited to her with all the eloquence and stage artifice which the actor was master of. And he would speak feelingly of "the gentle lady married to the Moor"—her love—the love of Desdemona, pure, exalted, all-enduring, such as death alone could quench—her wo and her fate, so replete with all that can agonise the human soul, and awaken its profoundest sympathies;—of Ophelia—"the fair Ophelia," the young, the beautiful, and the gentle—her devoted, child-like affection, her mournful distraction, and her untimely doom;—of Miranda, the island bride—the being of enchantment—half-earthly, half-heavenly—around whom the spirits of the air hovered, and ministered unto as vassals;—of Imogen, the fair and faithful—the patient, long-suffering, and finally fortunate Imogen;—of Cordelia—she of the seraph-spirit, pure and peaceful—whose love for a father surpassed that of the Roman daughter;—of Perdita, "the prettiest low-born lass that ever ran on the greensward"—the shepherdess and the princess;—of Juliet—the martyr of passion—she who drew poison from earth's sweetest flower, love, and died thereby; by love's own flame "kindled she was and blasted." These, and many other creations of fancy, which omnipotent genius has rendered almost real historical personages—not shadow, but substance—were the topics of discourse which were handled by our hero of the buskin, until the cottage of John Darling was reached. From the description which has been given of May's character, it need be no matter of surprise that the impression made upon her gentle bosom was profound; and, on taking leave of her, a request on the part of Mr Henry Wilkinson (such was the tragedian's name) to be permitted to visit her on some future occasion, made under cover of a pretext to inquire after the state of her health, was acceded to. Again and again Mr Wilkinson visited the cottage, and poured into the ear of the humble, unsuspecting, and happy inmate many a story of love, and hope, and joy—such as his knowledge of the drama, which was great, supplied him with.