When it was known how Zelma Burleigh had fled, and with whom, the neighboring gentry were duly shocked and scandalized. The village gossips declared that they had always foreseen some such fate for "that strange girl," and sagely prophesied that the master of Willerton Hall would abandon all thought of an alliance with a family whose escutcheon had suffered so severely. But they counted on the baronet, not on the man,—and so, for once, were mistaken.
As for honest Roger Burleigh, he was beside himself with amazement and indignation at the folly and ingratitude of his niece and the measureless presumption of "that infernal puppy of a play-actor," as he denominated Zelma's clever husband.
As he was one day talking over the sad affair with his friend Sir Harry, who best succeeded in soothing him down, he inveighed against all actors and actresses in the strongest terms of aversion and contempt, giving free expression to the violent provincial prejudice of his time against players of all degrees.
"But, my dear Sir," interrupted the young Baronet, "your niece has not become an actress,—only the wife of a promising actor."
"No,—but she will be one yet. She's stage-struck now, more than anything else; and mark my words,—that villain will have her on the boards before the year's end, and live by her ranting. Why, you see, Sir Harry, strolling is in the blood, and must out, I suppose. The girl, as you may have heard, is half gypsy. My brother, Captain Burleigh, was a sad scamp, and actually married a Spanish Zincala! He was drunk at the time, we have the consolation to believe, or he could never have so far belied his good old English blood, dissipated dog as he was. To be sure, she saved his life once, and really was a beautiful, devoted creature, by all accounts; and if Zelma had done no worse than she,—run away with any poor devil, provided only he were a gentleman,—or if she had gone off vagabondizing with one of her mother's people, it would not have been so infamous an affair as it is; she might still have been accounted an honest woman;—but, my God, Sir Harry, a strolling player!"
Mrs. Burleigh was but a dutiful echo of her husband's prejudices, and gave up her hapless niece as lost beyond redemption; but Bessie, though she grieved more than either, suffered from no sense of humiliation, and allowed no virtuous anger, no injurious doubts, to enter her blessed little heart. Yet she missed her lost companion, her strong friend, and, still vine-like in her instincts, turned wholly to the new support,—to one who submitted himself gladly to the sweet inthralment, and felt all the grander for the luscious weight and tendril-like clasp. And so Love came to pretty Bessie's heart "with healing in his wings."
Unspeakable was the dismay of Mr. Bury at finding that a very modest amount of personal property was all that his runaway wife could hope to receive from her relatives,—that she was utterly portionless, her father having more than exhausted the patrimony of a younger son. He had supposed, from Zelma's apparently honorable position in the household of her uncle, that she was, if not an heiress, at least respectably dowered. Had he been better informed, it is doubtful whether, improvident and enamored as he was, he would have ruralized and practicalized Romeo in the lane of Burleigh Grange. Zelma herself, too unworldly to suspect that self-interest had anything to do with her conquest, never alluded to her lack of dowry till it was too late. Then both manly shame and manly passion (for the actor loved her in his way, which was by no means her way, or the way of any large, loyal nature) restrained all unbecoming expression of chagrin and disappointment,—which yet sunk into his heart, and prepared the not uncongenial coil for a goodly crop of suspicion, jealousy, alienation, aversion, and all manner of domestic infelicities.
We cannot follow Zelma step by step, in her precarious and wandering life, for the six months succeeding her marriage. It was a life not altogether distasteful to her. She was not enough of a fine lady to be dismayed or humiliated by its straits and shifts of poverty, by its isolation and ostracism; while there was something in its alternations of want and profusion, in its piquant contrasts of real and mimic life, in its excitement, action, and change, which had a peculiar charm for her wild and restless spirit. But from many of the associations of the stage, from nearly all actors and actresses, and from all green-room loungers, she instinctively recoiled, and held herself haughtily aloof from the motley little world behind the scenes,—apparently by no effort, but as sphered apart by the atmosphere of refinement and superiority which enveloped her. Yet she almost constantly accompanied her husband to rehearsal and play, where, for a time, her presence was grateful both to the pride and a more amiable passion of her mercurial lord. But the sight of that shy, shadowy figure haunting the wings, of those keen, critical eyes ever following the business of the stage, at last grew irksome to him, and he would fain have persuaded her to remain quietly at their lodgings, whilst he was attending to his professional duties. But no, she would go with him,—not for pleasure, or even affection, but, as she always avowed, for artistic purposes. That she had cherished, ever since her marriage, the plan of adopting her husband's profession, she had never concealed from him. He usually laughed, in his gay, supercilious way, when she spoke of this purpose, or lightly patted her grand head and declared her to be a wilful, unpractical enthusiast,—too much a child of Nature to attempt an art of any kind,—born to live and be poetry, not to declaim it,—to inspire genius, not to embody it,—a Muse, not a Sibyl.
Once, when she was more than usually earnest in pleading for her plan,—not merely on the strength of her own deep, prophetic conviction of her fitness for a dramatic career, but on the ground of an urgent and bitter necessity for exertion on her part, to ward off actual destitution and suffering,—he exclaimed, somewhat impatiently,—"Why, Zelma, it is an impossibility, almost an absurdity, you urge! You could never make an actress. You are too hopelessly natural, erratic, and impulsive. You would follow no teaching implicitly, but, when you saw fit, would trample on conventionalities and venerable stage-traditions. You would set up the standard of revolt against the ancient canons of Art, and flout it in the faces of the critics, and—fail,—ay, fail, in spite of your great, staring eyes, the tragic weight of your brows, and the fiery swell of your nostril."