I replied: “That I admired the sketch exceedingly; but that to understand its full merit, I felt it absolutely necessary to be informed of the subject.”
“That is the very thing I complain of,” answered Tinto; “you have accustomed yourself so much to these creeping twilight details of yours, that you are become incapable of receiving that instant and vivid flash of conviction which darts on the mind from seeing the happy and expressive combinations of a single scene, and which gathers from the position, attitude, and countenance of the moment, not only the history of the past lives of the personages represented, and the nature of the business on which they are immediately engaged, but lifts even the veil of futurity, and affords a shrewd guess at their future fortunes.”
“In that case,” replied I, “Painting excels the ape of the renowned Gines de Passamonte, which only meddled with the past and the present; nay, she excels that very Nature who affords her subject; for I protest to you, Dick, that were I permitted to peep into that Elizabeth-chamber, and see the persons you have sketched conversing in flesh and blood, I should not be a jot nearer guessing the nature of their business than I am at this moment while looking at your sketch. Only generally, from the languishing look of the young lady, and the care you have taken to present a very handsome leg on the part of the gentleman, I presume there is some reference to a love affair between them.”
“Do you really presume to form such a bold conjecture?” said Tinto. “And the indignant earnestness with which you see the man urge his suit, the unresisting and passive despair of the younger female, the stern air of inflexible determination in the elder woman, whose looks express at once consciousness that she is acting wrong and a firm determination to persist in the course she has adopted——”
“If her looks express all this, my dear Tinto,” replied I, interrupting him, “your pencil rivals the dramatic art of Mr. Puff in The Critic, who crammed a whole complicated sentence into the expressive shake of Lord Burleigh’s head.”
“My good friend, Peter,” replied Tinto, “I observe you are perfectly incorrigible; however, I have compassion on your dulness, and am unwilling you should be deprived of the pleasure of understanding my picture, and of gaining, at the same time, a subject for your own pen. You must know then, last summer, while I was taking sketches on the coast of East Lothian and Berwickshire, I was seduced into the mountains of Lammermoor by the account I received of some remains of antiquity in that district. Those with which I was most struck were the ruins of an ancient castle in which that Elizabeth-chamber, as you call it, once existed. I resided for two or three days at a farmhouse in the neighbourhood, where the aged goodwife was well acquainted with the history of the castle, and the events which had taken place in it. One of these was of a nature so interesting and singular, that my attention was divided between my wish to draw the old ruins in landscape, and to represent, in a history-piece, the singular events which have taken place in it. Here are my notes of the tale,” said poor Dick, handing a parcel of loose scraps, partly scratched over with his pencil, partly with his pen, where outlines of caricatures, sketches of turrets, mills, old gables, and dovecots, disputed the ground with his written memoranda.
I proceeded, however, to decipher the substance of the manuscript as well as I could, and move it into the following Tale, in which, following in part, though not entirely, my friend Tinto’s advice, I endeavoured to render my narrative rather descriptive than dramatic. My favourite propensity, however, has at times overcome me, and my persons, like many others in this talking world, speak now and then a great deal more than they act.
CHAPTER II.
Well, lord, we have not got that which we have;
’Tis not enough our foes are this time fled,
Being opposites of such repairing nature.
Henry VI. Part II.
In the gorge of a pass or mountain glen, ascending from the fertile plains of East Lothian, there stood in former times an extensive castle, of which only the ruins are now visible. Its ancient proprietors were a race of powerful and warlike barons, who bore the same name with the castle itself, which was Ravenswood. Their line extended to a remote period of antiquity, and they had intermarried with the Douglasses, Humes, Swintons, Hays, and other families of power and distinction in the same country. Their history was frequently involved in that of Scotland itself, in whose annals their feats are recorded. The Castle of Ravenswood, occupying, and in some measure commanding, a pass betweixt Berwickshire, or the Merse, as the southeastern province of Scotland is termed, and the Lothians, was of importance both in times of foreign war and domestic discord. It was frequently beseiged with ardour, and defended with obstinacy, and, of course, its owners played a conspicuous part in story. But their house had its revolutions, like all sublunary things: it became greatly declined from its splendour about the middle of the 17th century; and towards the period of the Revolution, the last proprietor of Ravenswood Castle saw himself compelled to part with the ancient family seat, and to remove himself to a lonely and sea-beaten tower, which, situated on the bleak shores between St. Abb’s Head and the village of Eyemouth, looked out on the lonely and boisterous German Ocean. A black domain of wild pasture-land surrounded their new residence, and formed the remains of their property.