Faith and Unfaith: A Novel

"Your uncle, though charming, and a very dear, is also a goose," says Miss Peyton, somewhat irreverently. "Marry you, indeed! Why, I should quite as soon dream of marrying my brother!"

"Well, as I can't be your husband, it would be rather nice to be your brother," says Mr. Branscombe, cheerfully. "Your words give me hope that you regard me in that light. I shall always think of you for the future as my sister, and so I am sure" – with an eloquent and rather mischievous pause – "will Horace!"

Miss Peyton blushes again, – much more vividly this time, – and, gathering up the reins hastily, says "good-by" for the second time, without turning her flushed face to his, and drives rapidly up the avenue.

Branscombe stands on the steps watching her until she is quite lost to sight behind the rhododendrons, and then strokes his moustache thoughtfully.

"That has quite arranged itself, I should fancy," he says, slowly. "Well, I hope he will be very good to her, dear little thing!"

CHAPTER II

"Her form was fresher than the morning rose

When the dew wets its leaves." – Thomson.

Pullingham-on-the-Moors is a small, untidy, picturesque little village, situated on the side of a hill. It boasts a railway-station, a police-barrack, a solitary hotel, and two or three well-sized shops. It is old-fashioned, stationary, and, as a rule, hopelessly harmless, though now and then, dissensions, based principally on religious grounds, will arise.

These can scarcely be avoided, as one-half of the parish trips lightly after Mr. Redmond, the vicar (who has a subdued passion for wax candles, and a craving for floral decorations), and looks with scorn upon the other half, as, with solemn step and slow, it descends the high hill that leads, each Sabbath, to the "Methody" Chapel beneath.

It never grows older, this village, and never younger; is seldom cast down or elated, surprised or demonstrative, about anything. In a quaint, sleepy fashion, it has its dissipations, and acknowledges its festive seasons, – such as Christmas-tide when all the shops burst into a general bloom of colored cards, and February, when valentines adorn every pane. It has also its fair days, when fat cattle and lean sugar-sticks seem to be everywhere.

A marriage is reckoned an event, and causes some gossip: a birth does not, – possibly because of the fact that it is a weekly occurrence. Indeed, the babies in Pullingham are a "joy forever." They have their season all the year round, and never by any chance "go out;" though I have heard people very foolishly liken them to flowers. They grow, and thrive, and blossom all over the place, which no doubt is greatly to the credit of the inhabitants. Occasionally, too, some one is good enough to cause a little pleasurable excitement by dying, but very seldom, as the place is fatally healthy, and people live here until they become a social nuisance, and almost wish themselves dead. There is, I believe, some legend belonging to the country, about an old woman who had to be shot, so aggressively old did she become; but this is obscure.

About two miles from the town, one comes to Sartoris, the residence of Dorian Branscombe, which runs in a line with the lands of Scrope Royal, the property of Sir James Scrope.

Sir James is a tall, rather old-young man of thirty-two with a calm, expressive face, kindly eyes, and a somewhat lanky figure. He has a heart of gold, a fine estate, and – a step-sister.

Miss Jemima Scrope is not as nice as she might be. She has a face as hard as her manners, and, though considerably over forty, is neither fat nor fair. She has a perfect talent for making herself obnoxious to all unhappy enough to come within her reach, a temper like "Kate the Curst," and a nose like the Duke of Wellington.

Somewhere to the left, on a hill as high and pompous as itself, stands the castle, where three months out of the twelve the Duke and Duchess of Spendleton, and some of their family, put in a dreary time. They give two balls, one fancy bazaar, a private concert, and three garden-parties – neither more nor less – every year. Nobody likes them very much, because nobody knows them. Nobody dislikes them very much, for just the same reason.

The castle is beautifully situated, and is correct in every detail. There are Queen Anne rooms, and Gothic apartments, and Elizabethan anterooms, and staircases of the most vague. There are secret passages, and panels, and sliding doors, and trap-doors, and, in fact, every sort of door you could mention, and all other abominations. Artists revel in it, and grow frenzied with joy over its impossibilities, and almost every year some room is painted from it and sent to the Academy, But outside lies its chief beauty, for there are the swelling woods, and the glimpse of the far-off ocean as it gleams, now green, now steel-blue, beneath the rays of the setting sun. And beyond it is Gowran, where Clarissa lives with her father, George Peyton.

Clarissa is all that is charming. She is tall, slight, svelte: indeed, earth has not anything to show more fair. She is tender, too, and true, and very earnest, – perhaps a degree too earnest, too intense, for every-day life. Her eyes, "twin stars of beauty," are deep and gray; her hair is dark; her mouth, though somewhat large, is perfect; and her smile is indescribable, so sweet it is, so soft and lingering.

Her mother died when she was nine years old, and from that time until she was twelve she spent most of her life with the Branscombe boys, – riding, fishing, sometimes even shooting, with them. The effect of such training began to make itself felt. She was fast degenerating into a tomboy of the first water (indeed, one of the purest gems of its kind), when James Scrope, who even then was a serious young man, came to the rescue, and induced her father to send her from Gowran to a school at Brussels.

"Virtue is its own reward," they tell us: let us hope Scrope felt rewarded! Whether he did or not, I know he was considerably frightened when Clarissa (having discovered who had been the instigator of this "plot" to drive her from her beloved Gowran) came down to Scrope Hall, and, dashing into his presence like a small whirlwind, abused him for his well-meant interference in good round terms, and, having refused even to say good-by to him, had slammed the door in his face, and, starting from home next morning, had seen no more of him for six long years.

At seventeen, her aunt, the Hon. Mrs. Greville, had brought her back from Brussels to her own house in town, where she kept her for twelve months, and where she once more renewed acquaintance with her old friends, Dorian and Horace Branscombe. Mrs. Greville took her to all the most desirable balls of her season, to concerts and "small and earlies," to high-art entertainments of the most "too, too," and, having given her free scope to break the hearts of half the men in town, had sent her at last to her father, hopelessly in love with a detrimental.

The detrimental was Horace Branscombe. Mrs. Greville was intensely annoyed and disgusted. After all her care, all her trouble, to have this happen! She had married her own girls with the greatest éclat, had not made one false move with regard to any of them, and now to see Clarissa (who, with her beauty and fortune, might have married any one) throw herself away upon a penniless barrister seemed to her to savor of positive crime.

Horace, certainly, so far, had not proposed in form, but Mrs. Greville was not to be hoodwinked. He meant it. He was not always at her niece's side for nothing; and, sooner or later, Clarissa, with all her money, would go over to him. When she thought of this shocking waste of money, she groaned aloud; and then she washed her hands of the whole affair, and sent Clarissa back to Gowran, where her father received her with open arms, and made much of her.

CHAPTER III

"O Helen, fair beyond compare!I'll make a garland of thy hair,Shall bind my heart for evermair,Until the day I die!"

Across the lawn the shadows move slowly, and with a vague grace that adds to their charm. The birds are drowsy from the heat, and, sitting half hidden in the green branches, chant their songs in somewhat lazy fashion. All nature has succumbed to the fierce power of Phœbus Apollo.

"The morn is merry June, I trow:

The rose is budding fain."

Each flower in the sunlit garden is holding up its head, and breathing fragrant sighs as the hours slip by, unheeded, yet full of a vague delight.

Miss Peyton, in her white gown, and with some soft rich roses lying on her lap, is leaning back in a low chair in the deep embrasure of the window, making a poor attempt at working.

Her father, with a pencil in his hand, and some huge volumes spread out before him, is making a few desultory notes. Into the library – the coseyest, if not the handsomest, room at Gowran – the hot sun is rushing, dancing lightly over statuettes and pictures, and lingering with pardonable delay upon Clarissa's bowed head.

"Who is this coming up the avenue?" she says, presently, in slow, sleepy tones, that suit the day. "It is – no, it isn't – and yet it is – it must be James Scrope!"

"I dare say. He was to have returned yesterday. He would come here as soon as possible, of course." Rising, he joins her at the window, and watches the coming visitor as he walks his horse leisurely down the drive.

"What a dear little modest speech!" says Miss Peyton, maliciously. "Now, if I had been the author of it, I know some one who would have called me vain! But I will generously let that pass. How brown Jim has grown! Has he not?"

"Has he? I can scarcely see so far. What clear eyes you must have, child, and what a faithful memory to recollect him without hesitation, after all these years!"

"I never forget," says Clarissa, simply, which is quite the truth. "And he has altered hardly anything. He was always so old, you know, he really couldn't grow much older. What is his age now, papa? Ninety?"

"Something over thirty, I fancy," says papa, uncertainly.

"Oh, nonsense!" says Miss Peyton. "Surely you romance, or else you are an invaluable friend. When I grow brown and withered, I hope you will prove equally good to me. I shall expect you to say all sorts of impossible things, and not to blush when saying them. Ah! – here is Sir James" as the door opens, and Scrope – healthy and bronzed from foreign travel – enters quietly, staid and calm as ever.

When he has shaken hands with, and been warmly welcomed by, Mr. Peyton, he turns with some diffidence towards the girl in the clinging white gown, who is smiling at him from the window, with warm red lips, half parted and some faint amusement in her friendly eyes.

"Why, you have forgotten me," she says, presently, in a low tone of would-be reproach. "While I – I knew you at once."

"I have not forgotten," says Scrope, taking her hand and holding it, as though unconsciously. "I was only surprised, puzzled. You are so changed. All seems so different. A little child when last I saw you, and now a lady grown."

"Oh, yes, I am quite grown up," says Miss Peyton, demurely. "I can't do any more of that sort of thing, to oblige anybody, – even though papa – who adores a Juno, and thinks all women should be divinely tall – has often asked me to try. But," maliciously, "are you not going to ask me how I have progressed (isn't that the right word?) with my studies? You ought, you know, as it was you who sent me to school."

"I?" says Sir James, rather taken aback at this unexpected onslaught.

"Yes, you," repeats she, with a little nod. "Papa would never have had the cruelty even to think of such a thing. I am glad you have still sufficient grace left to blush for your evil conduct. Do you remember," with a gay laugh, "what a terrible scolding I gave you before leaving home?"

"I shall remember it to my dying day," says Sir James. "I was never so thoroughly frightened before, or since. Then and there, I registered a vow never again to interfere with any one's daughter."

"I hope you will keep that vow," says Miss Peyton, with innocent malice, and a smile only half suppressed, that torments him in memory for many a day. And then George Peyton asks some question, and presently Sir James is telling him certain facts about the Holy Land, and Asia generally, that rather upset his preconceived ideas.

"Yet I still believe it must be the most interesting spot on earth," he says, still clinging to old thoughts and settled convictions.

"Well, it's novel, you know, and the fashion, and that," says Sir James, rather vaguely. "In fact, you are nowhere nowadays if you haven't done the East; but it's fatiguing, there isn't a doubt. The people aren't as nice as they might be, and honesty is not considered the best policy out there, and dirt is the prevailing color, and there's a horrid lot of sand."

"What a dismal ending!" says Clarissa, in a tone suggestive of disappointment. "But how lovely it looks in pictures! – I don't mean the sand, exactly, but the East."

"Most things do. There is an old grandaunt of mine hung in the gallery at Scrope – "

"How shocking!" interrupted Miss Peyton, with an affected start. "And in the house, too! So unpleasant! Did she do it herself, or who hanged her?"

"Her picture, you know," says Scrope, with a laugh. "To hear that she had made away with herself would be too good to be true. She looks absolutely lovely in this picture I speak of, almost too fine for this work-a-day world; yet my father always told me she was ugly as a nightmare. Never believe in paint."

"Talking of Scrope," says Clarissa, "do you know, though I have been home now for some months, I have never been through it since I was a child? I have rather a passion for revisiting old haunts, and I want to see it again. That round room in the tower used to be my special joy. Will you show it to me? – some day? – any day?"

"What day will you come?" asks Scrope, thinking it unnecessary to express the gladness it will be to him to point put the beauties of his home to this new-old friend, – this friend so full of fresh and perfect beauty, yet so replete with all the old graces and witcheries of the child he once so fondly loved.

"I am just the least little bit in the world afraid of Miss Scrope," says Clarissa, with an irrepressible smile. "So I shall prefer to come some time when you are in. On Thursday, if that will suit you. Or Friday; or, if not then, why, Saturday."

"Make it Thursday. That day comes first," said Scrope.

"Now, that is a very pretty speech," declares Miss Peyton, vast encouragement in her tone. "Eastern air, in spite of its drawbacks, has developed your intellect, Jim. Hasn't it?"

The old familiar appellation, and the saucy smile that has always in it something of tenderness, smites some half-forgotten chord in Scrope's heart. He makes no reply, but gazes with an earnestness that almost amounts to scrutiny at Clarissa, as she stands in the open window leaning against a background of ivy, through which pale rose-buds are struggling into view. Within her slender fingers the knitting-needles move slowly, glinting and glistening in the sun's hot rays, until they seem to emit tiny flashes as they cross and recross each other. Her eyes are downcast, the smile still lingers on her lips, her whole attitude, and her pretty graceful figure, clad in its white gown, is

"Like a picture rich and rare."

"On Thursday, then, I shall see you," he says, not because he has tired of looking at her, but because she has raised her eyes and is evidently wondering at his silence. "Good-by."

"Good-by," says Clarissa, genially. Then she lays down the neglected knitting (that, indeed, is more a pretence than a reality), and comes out into the middle of the room. "For the sake of old days I shall see you to the hall door," she says, brightly. "No, papa, do not ring: I myself shall do the honors to Jim."

CHAPTER IV

"All thoughts, all passions, all delights,Whatever stirs this mortal frame,All are but ministers of Love,And feed his sacred flame." – Coleridge.

All round the drawing-room windows at Scrope a wide balcony has been built up, over which the creepers climb and trail. Stone steps leads to it from the scented garden beneath, and up these runs Clarissa, gayly, when Thursday morning had dawned, and deepened, and given place to noon.

Within the drawing-room, before a low table, sits Miss Scrope, tatting industriously. Tatting is Miss Scrope's forte. She never does anything else. Multitudinous antimacassars, of all shapes, patterns, and dimensions, grow beneath her untiring touch with the most alarming rapidity. When finished, nobody knows what becomes of them, as they instantly disappear from view and are never heard of afterwards. They are as good as a ghost in Pullingham, and obstinately refuse to be laid. It was charitably, if weakly, suggested at one time, by a member of the stronger sex, that probably she sent them out in bales as coverings for the benighted heathen; but when it was explained to this misguided being that tatted antimacassars, as a rule, run to holes, and can be seen through, even he desisted from further attempts to solve the mystery.

Miss Peyton, throwing up one of the window-sashes, steps boldly into the drawing-room and confronts this eminent tatter.

"Good-morning," she says, sweetly, advancing with smiling lips.

Miss Scrope, who has not heard her enter, turns slowly round: to say she started would be a gross calumny. Miss Scrope never starts. She merely raises her head with a sudden accession of dignity. Her dignity, as a rule, is not fascinating, and might go by another name.

"Good-afternoon, Clarissa," she says, austerely. "I am sorry you should have been forced to make an entrance like a burglar. Has the hall door been removed? It used to stand in the front of the house."

"I think it is there still," Miss Peyton ventures, meekly. "But" – prettily – "coming in through the window enabled me to see you at least one moment sooner. Shall I close it again?"

"I beg you will not distress yourself about it," says Miss Scrope, rising to ring the bell. "When Collins comes in he will see to it."

It is a wild day, though warm and sweet, and the wind outside is tearing madly over lawn and shrubberies into the wood beyond.

"But in the mean time you will perhaps catch cold, of rheumatism, or something," says Clarissa, hesitating.

"Rheumatism! pugh! nonsense!" says Miss Scrope, disdainfully. "I simply don't believe in rheumatism. It is nothing but nerves. I don't have those ridiculous pains and aches people hug nowadays, and I don't believe they have either; it employs their idle time trying to invent them."

"Is Jim in?" asks Clarissa, presently, having seated herself in a horribly comfortless but probably artistic chair.

"James is in," says Miss Scrope, severely. "Do you mean my brother? It is really almost impossible to understand young people of the present age."

"Don't you like the name Jim?" asks Clarissa, innocently, leaning slightly forward, and taking up the edge of Miss Scrope's last antimacassar to examine it with tender interest. "I think it such a dear little name, and so happily wanting in formality. I have never called him anything else since I can remember, so it comes most naturally to me."

"I think it a most unmaidenly way of addressing any gentleman whose priest christened him James," says Miss Scrope, unflinchingly. "What would you think of him werehe to call you by some hideous pet name, or, more properly speaking, nickname?"

"I shouldn't mind it in the least; indeed, I think I should rather like it," returns Clarissa, mildly.

"I believe that to be highly probable," retorts Miss Jemima, with considerable scorn.

Clarissa laughs, – not an irritating laugh, by any means, but a little soft, low, girlish laugh, very good to hear.

"If you scold me any more I shall cry," she says, lightly. "I always give way to tears when driven into a corner. It saves time and trouble. Besides," returning with some slight perversity to the charge, "shall I tell you a secret? Your brother likes that little name. He does, indeed. He has told me so a thousand times in the days gone by. Very frivolous of him, isn't it? But – ah! here he is," as the door opens, and Sir James comes in. "You are a little late, are you not?" leaning back in her chair with a certain amount of languid, but pleasing, grace, and holding out to him a slender ungloved hand, on which some rings sparkle brilliantly.

"Have I kept you waiting?" asks he, eagerly, foolishly, glad because of her last words, that seem to imply so much and really mean so little. Has she been anxious for his coming? Have the minutes appeared tedious because of his absence? "I hurried all I knew," he says; "but stewards will be stewards."

"I have been quite happy with Miss Scrope; you need not look so penitent," says Clarissa. "And who am I, that I should compete with a steward? We have been having quite a good time, and an excellent argument. Come here, and tell your sister that you think Jim the prettiest name in the world."

"Did any one throw a doubt on the subject? Lives there a soul so dead to euphony as not to recognize the music in those three letters? – Jim! Why, it is poetry itself," says Sir James, who is not so absent that he cannot scent battle on the breeze. As he speaks, he smiles: and when James Scrope smiles he is almost handsome.

"Some day you will regret encouraging that child in her folly," remarks Miss Scrope, severely. At which the child makes a saucy little grimace unseen, and rises to her feet.

"What a solemn warning!" says Scrope, with a shrug. "I hope," turning to Clarissa, "you have taken it to heart, and that it will keep you out of imaginary mischief. It ought, you know. It would be a shabby thing to bring down public censure on the head of one who has so nobly espoused your cause."

"My conduct from this day forth shall be above suspicion," says Clarissa. "Good-by, Miss Scrope," stooping to press her fresh warm lips to the withered cross old cheek beneath her: "I am going to tread old ground with – James."

She follows him across hall and corridor, through two modern rooms, and past a portière, into another and larger hall beyond. Here, standing before a heavy oaken doer, he turns the handle of it, and, as it swings back slowly and sleepily, they pass into another room, so unexpectedly and so strangely different from any they have yet entered, as almost to make one start.

It is a huge old-fashioned apartment, stone-floored and oak panelled, that once, in olden days, must have been a refectory. Chairs carved in oak, and built like bishops' thrones, line the walls, looking as though no man for many a hundred years has drawn them from their present position. Massive cabinets and cupboards, cunningly devised by crafty hands in by-gone days, look out from dusky corners, the hideous faces carved upon them wreathed in their eternal ghastly smiles. From narrow, painted windows great gleams of sunset from the gay world without pour in, only to look sadly out of place in the solemn gloomy room. But one small door divides it from the halls outside; yet centuries seem to roll between it and them.

In one corner a door lies half open, and behind it a narrow flight of stairs runs upward to a turret chamber above, – a tiny stairway, heavily balustraded and uncarpeted, that creates in one a mad desire to ascend and learn the secrets that may lie at its top.

Miss Peyton, scarce noticing the monkish refectory, runs to the stairs and mounts them eagerly, Sir James following her in a more leisurely fashion.

"Now for my own room," she says, with some degree of quickness in her tone. She reaches the turret chamber as she speaks, and looks around her. It is quite a circle, and apparently of the same date as the one they have just quitted. Even the furniture, though of lighter make and size, is of a similar age and pattern. Ugly little chairs and unpleasantly solid tables are dotted here and there, a perfect wealth of Old-World work cut into them. Everything is carved, and to an unsympathetic observer it might occur that the carver must have been a person subject to fiendish visions and unholy nightmares. But no doubt the beauty of his designs lies in their ugliness, and his heads are a marvel of art, and his winged creatures priceless!

The high chimney-piece is en rapport with all the rest, and scowls unceasingly; and the very windows – long and deep – have little faces carved on either side of them, of the most diabolical.