THE PHANTOM STEED
I'll speak to thee, though hell itself should gape,
And bid me hold my peace.
Hamlet.
Time presses. We may not linger in our course. We must fly on before our flying highwayman. Full forty miles shall we pass over in a breath. Two more hours have elapsed, and he still urges his headlong career, with heart resolute as ever, and purpose yet unchanged. Fair Newark, and the dashing Trent, "most loved of England's streams," are gathered to his laurels. Broad Notts, and its heavy paths and sweeping glades; its waste—forest no more—of Sherwood past; bold Robin Hood and his merry men, his Marian and his moonlight rides, recalled, forgotten, left behind. Hurrah! hurrah! That wild halloo, that waving arm, that enlivening shout—what means it? He is once more upon Yorkshire ground; his horse's hoof beats once more the soil of that noble shire. So transported was Dick, that he could almost have flung himself from the saddle to kiss the dust beneath his feet. Thrice fifty miles has he run, nor has the morn yet dawned upon his labors. Hurrah! the end draws nigh; the goal is in view. Halloo! halloo! on!
Bawtrey is past. He takes the lower road by Thorne and Selby. He is skirting the waters of the deep-channelled Don.
Bess now began to manifest some slight symptoms of distress. There was a strain in the carriage of her throat, a dulness in her eye, a laxity in her ear, and a slight stagger in her gait, which Turpin noticed with apprehension. Still she went on, though not at the same gallant pace as heretofore. But, as the tired bird still battles with the blast upon the ocean, as the swimmer still stems the stream, though spent, on went she: nor did Turpin dare to check her, fearing that, if she stopped, she might lose her force, or, if she fell, she would rise no more.
It was now that gray and grimly hour ere one flicker of orange or rose has gemmed the east, and when unwearying Nature herself seems to snatch brief repose. In the roar of restless cities, this is the only time when their strife is hushed. Midnight is awake—alive; the streets ring with laughter and with rattling wheels. At the third hour, a dead, deep silence prevails; the loud-voiced streets grow dumb. They are deserted of all, save the few guardians of the night and the skulking robber. But even far removed from the haunts of men and hum of towns it is the same. "Nature's best nurse" seems to weigh nature down, and stillness reigns throughout. Our feelings are, in a great measure, influenced by the hour. Exposed to the raw, crude atmosphere, which has neither the nipping, wholesome shrewdness of morn, nor the profound chillness of night, the frame vainly struggles against the dull, miserable sensations engendered by the damps, and at once communicates them to the spirits. Hope forsakes us. We are weary, exhausted. Our energy is dispirited. Sleep does "not weigh our eyelids down." We stare upon the vacancy. We conjure up a thousand restless, disheartening images. We abandon projects we have formed, and which, viewed through this medium, appear fantastical, chimerical, absurd. We want rest, refreshment, energy.
We will not say that Turpin had all these misgivings. But he had to struggle hard with himself to set sleep and exhaustion at defiance.
The moon had set. The stars,
Pinnacled deep in the intense main,