“It can hardly be unknown to any one who has read history,” replied the count, with quiet hauteur. “The De Valbrancharts played a stirring part in the history of France as early as the twelfth century. But their day is over; they have no existence in the present. I am the last of the name.”
“Where have I heard it before?” said M. Gombard musingly.
“Perhaps at Cabicol,” returned the count. “This old house was the home of my family for three hundred
years. Those are our arms carved upon its front; for twenty years I have saluted them daily as I pass. It is foolish, perhaps; but I feel as if the spirit of my ancestors haunted the old roof-tree, and that they are not insensible to the filial homage.”
As he said this he looked up at the stone shield, where a lion passant, on gule, was still visible, surmounted by a fleur-de-lis argent, en chef. Raising his hat deferentially to the worn and partly-obliterated symbols of a glory that lived only in his faithful memory, the Comte de Valbranchart bowed to M. Gombard and passed on.
“And so this was the lady-love he worshipped,” said M. Gombard to himself, as the tall, pensive man disappeared down the street. “He never loved her, perhaps he never knew her; and if I had only known, I might have.… But it is no use regretting the irreparable. I should have been a more miserable man at this hour, if I had won her and loved her all these years.”
THE HOME-LIFE OF SOME EIGHTEENTH-CENTURY POETS.
“The happiest lives,” says Southey, speaking of his own, “are those which have the least variety.” There never was a truer saying. All the knowledge of the world involved in a stormy life, whether of vice, adventure, poverty, or political prominence, is not worth the half of the quiet happiness of a home-life and of what people lightly and mistakenly call monotony. And not only in such a life does the soul grow and the higher part of man gradually and calmly ripen, but his mind grows, his art grows, his genius widens and deepens. There are no shocks to arrest the creations of his mind; no periods of untrue, feverish, excited joy, followed by a ghastly reaction and a sad blank, to disturb the rest that alone produces lasting works. Not all poets and artists understood this, because very few were perfect men; not all common men understand it, because if their inborn propensities do not (and they do in only exceptional cases) lead them to this quiet haven, it requires severe experiences and much repentance before they can enter such a state. It is true that the works universally reckoned the greatest have been accomplished by men whose lives were spent among storms; but since the men who wrote them could so heroically overcome this inner obstacle, what magnificent things might they not have done if their lives had been differently ordained! The Divina Commedia, Paradise Lost, King Lear were the offspring of volcanic natures