The Atlantic Monthly, Volume 04, No. 23, September, 1859

On the following day, sweet Bessie Burleigh, with the consent, at the request even, of her father, sought out her famous cousin, bearing terms of reconciliation and proffers of renewed affection.

The actress was alone. She had just risen from her late breakfast, and was in a morning costume,—careless, but not untidy. She looked languid and jaded; the beautiful light of young love, which the night before had shone with a soft, lambent flame in every glance, seemed to have burned itself out in her hollow eyes, or to have been quenched in tears.

She flung herself on her cousin's breast with a laugh of pure joy and a child's quick impulse of lovingness; but almost immediately drew herself back, as with a sudden sense of having leaned across a chasm in the embrace. But Bessie, guessing her feeling, clung about her very tenderly, calling her pet names, smoothing her hair and kissing her wan cheek till she almost kissed back its faded roses. And infinite good she did poor Zelma.

Bessie—dear, simple heart!—was no diplomatist; she did not creep stealthily toward her object, but dashed at it at once.

"I am come, dearest Zelle, to win you home," she said. "You cannot think how lonely it is at the Grange, now that dear mamma is gone; and by-and-by it will be yet more lonely,—at least, for poor papa. He loves you still, though he was angry with you at first,—and he longs to have you come back, and to make it all up with you. Oh, I am sure, you must be weary of this life,—or rather, this mockery of life, this prolonged fever dream, this playing with passion and pain! It is killing you! Why, you look worn and anxious and sad as death by daylight, though you do bloom out strangely bright and beautiful on the stage. So, dear, come into the country, and rest and renew your life."

Zelma opened her superb eyes in amazement, and her cheek kindled with a little flush of displeasure; yet she answered playfully,—"What! would you resolve 'the new star of the drama' into nebulousness and nothingness again? Remember my art, sweet Coz; I am a priestess sworn to its altar."

"But, surely," replied Bessie, ingenuously, "you will not live on thus alone, unprotected, a mark for suspicion and calumny; for they say—they say that your husband has deserted you."

"Mr. Bury is absent, fulfilling a professional engagement. I shall await his return here," replied Zelma, haughtily.

Bessie blushed deeply and was silent. So, too, was the actress, for some moments; then, softened almost to tears, half closing her eyes, and letting her fancy float away like thistle-down over town and country, upland, valley, and moor, she said softly,—"Dear Burleigh Grange, how lovely it must be now! What a verdurous twilight reigns under the old elms of the avenue!—in what a passion of bloom the roses are unfolding to the sun, these warm May-days! How the honeysuckles drip with sweet dews! how thickly the shed hawthorn-blossoms lie on the grass of the long lane, rolling in little drifts before the wind! And the birds,—do the same birds come back to nest in their old places about the Grange, I wonder?"

"Yes," answered Bessie, smiling; "I think all the birds have come back, save one, the dearest of them all, who fled away in the night-time. Her nest is empty still. Oh, Zelle, do you remember our pleasant little chamber in the turret? I could not stay there when you were gone. It is the stillest, loneliest place in all the house now. Even your pet hound refuses to enter it."

"Now, my Cousin, you are really cruel," said Zelma, the tears at last forcing their way through her reluctant eyelids. "When I left Burleigh Grange, I went like Eve from Paradise,—forever."

"Ah, but Cousin dear, there is no terrible angel with a flaming sword guarding the gates of the Grange against you."

"Yes, the angel of its peace and ancient honor," said the actress; then added, pleasantly, "and he is backed by a mighty ogre, Respectability. No, no, Bessie, I can never go back to my old home, or my old self; it is quite impossible. But you and my uncle are very good to ask me. Heaven bless you for that! And, dear, when you are Lady Willerton, a proud wife, and, if God please, a happy mother, put me away from your thoughts, if I trouble you. Rest in the safe haven of home, anchored in content, and do not vex yourself about the poor waif afloat on wild, unknown seas. It is not worth while."

So Bessie Burleigh was obliged to abandon her dear, impracticable plan; and the cousins parted forever, though neither thought or meant it then. Bessie returned to Arden, married the master of Willerton Hall, and slid into the easy grooves of a happy, luxurious country-life; while Zelma rode for a few proud years on the topmost swell of popular favor,—then suddenly passed away beyond the horizon of London life, and so, as it were, out of the world.

One dreary November night, after having revealed new powers and won new honors by her first personation of Belvedera, Zelma went home to find on her table a brief, business-like letter from the manager of a theatre at Walton, a town in the North, stating that Mr. Lawrence Bury had died suddenly at that place of a violent, inflammatory disease, brought on, it was to be feared, by some excesses to which he had been addicted. The theatrical wardrobe of the deceased (of small value) had been retained in payment for expenses of illness and burial; his private papers were at the disposal of the widow. Deceased had been buried in the parish church-yard of Walton. This was all.

Zelma had abruptly dismissed her maid, that she might read quite unobserved a letter which she suspected brought news from her husband; so she was quite alone throughout that fearful night. What fierce, face-to-face wrestlings with grief and remorse were hers! What sweet, torturing memories of love, of estrangement, of loss! What visions of him, torn with the agonies, wild with the terrors of death, calling her name in vain imploring or with angry imprecations!—of him, so young, so sinful, dragged struggling toward the abyss of mystery and night, wrenched, as it were, out of life, with all its passions hot at his heart!

Hour after hour she sat at her table, grasping the fatal letter, still as death, and all but as cold. She yet wore the last dress of Belvedera, and was half enveloped by the black cloud of her dishevelled hair; but the simulated frenzy, which so late had drawn shuddering sighs from a thousand hearts, was succeeded by a silent, stony despair, infinitely more terrible. A sense of hopeless desolation and abandonment settled upon her soul; the distances of universes seemed to separate her from the dead. But to this suddenly succeeded a chill, awful sense of a presence, wrapped in silence and mystery, melting through all material barriers, treading on the impalpable air, not "looking ancient kindness on her pain," but lowering amid the shadows of her chamber, stern, perturbed, unreconciled. All these lonely horrors, these wild griefs, unrelieved by human sympathy or companionship, by even the unconscious comfort which flows in the breathing of a near sleeper, crowded and pressed upon her brain, and seemed to touch her veins with frost and fire.

For long weeks, Zelma lay ill, with a slow, baffling fever. Her mind, torn from its moorings, went wandering, wandering, over a vast sea of troubled dreams,—now creeping on through weary stretches of calm, now plunging into the heart of tempests and tossed upon mountainous surges, now touching momently at islands of light, now wrecked upon black, desert shores.

All was strange, vague, and terrible, at first; but gradually there stole back upon her her own life of womanhood and Art,—its scenes and changes, its struggles, temptations, and triumphs, its brief joy and long sorrow, all shaken and confused together, but still familiar. Now the faces of her audiences seemed to throng upon her, packing her room from floor to ceiling, darkening the light, sucking up all the air, and again piercing her through and through with their cold, merciless gaze. Now the characters she had personated grouped themselves around her bed, all distinct, yet duplicates and multiplications of herself, mocking her with her own voice, and glaring at her with her own eyes. Now pleasant summer-scenes at Burleigh Grange brightened the dull walls, and a memory of the long lane in the white prime of its hawthorn bloom flowed like a river of fragrance through her chamber. Then there strode in upon her a form of beauty and terror, and held her by the passion and gloom of his eye,—and with him crept in a chill and heavy air, like an exhalation from the rank turf of neglected graves.

Zelma recovered from this illness, if it could be called a recovery, to a state of only tolerable physical health, and a condition of pitiable mental apathy and languor. She turned with a half-weary, half-petulant distaste from her former pursuits and pleasures, and abandoned her profession with a sort of terror,—feeling that its mockery of sorrows, such as had fallen so crushingly on her unchastened heart, would madden her utterly. But neither could she endure again the constraint and conventionalities of English private life; she had died to her art, and she glided, like a phantom, out of her country, and out of the thoughts of the public, in whose breath she had lived, for whose pleasure she had toiled, often from the hidden force of her own sorrows, the elements of all tragedy seething in her secret heart.

Year after year she lived a wandering, out-of-the-way life on the Continent. It was said that she went to Spain, sought out her mother's wild kindred, and dwelt with them, making their life her life, their ways her ways, shrinking neither from sun-glare nor tempest, privation nor peril. But, at length, tired of wandering and satiated with adventure, she flung off the Zincala, returned to England, and even returned, forsworn, to her art, as all do, or long to do, who have once embraced it from a genuine passion.

She made no effort to obtain an engagement at Covent Garden; for her, that stage was haunted by a presence more gloomy than Hamlet, more dreadful than the Ghost. Nor did she seek to tread, with her free, unpractised step, the classic boards of Drury Lane,—where Garrick, the Grand Monarque of the Drama, though now toward the end of his reign, ruled with jealous, despotic sway,—but modestly and quietly appeared at a minor theatre, seeming, to such play-goers as remembered her brief, brilliant career and sudden disappearance, like the Muse of Tragedy returned from the shades.

She was kindly received, both for her own sake, and because of the pleasant memories which the sight of her, pale, slender, and sad-eyed, yet beautiful still, revived. Those who had once sworn by her swore by her still, and were loath to admit even to themselves that her early style of acting—easy, flowing, impulsive, the natural translation in action of a strong and imaginative nature—must remain what, in the long absence of the actress, it had become, a beautiful tradition of the stage,—that her present personations were wanting in force and spontaneity,—that they were efforts, rather than inspirations,—were marked by a weary tension of thought,—were careful, but not composed, roughened by unsteady strokes of genius, freshly furrowed with labor.

Mrs. Bury made a grave mistake in choosing for her second début her great part of Juliet; for she had outlived the possibility of playing it as she played it at that period of her life when her soul readily melted in the divine glow of youthful passion and flowed into the character, taking its perfect shape, rounded and smooth and fair. Through long years of sorrow and unrest, she had now to toil back to that golden time,—and there was a sort of sharpness and haggardness about her acting, a singular tone of weariness, broken by starts and bursts of almost preternatural power. Except in scenes and sentiments of pathos, where she had lost nothing, the last, fine, evanishing tints, the delicate aroma of the character, were wanting in her personation. It was touched with autumnal shadows,—it was comparatively hard and dry, not from any inartistic misapprehension of the poet's ideal, but because the fountain of youth in Zelma's own soul ran low, and was choked by the dead violets which once sweetened its waters.

She felt all this bitterly that night, ere the play was over; and though her audience generously applauded and old friends congratulated her, she never played Juliet again.

Yet, even in the darker and sterner parts, in which she was once so famous, she was hardly more successful now. In losing her bloom and youthful fulness of form, she had not gained that statuesque repose, or that refined essence of physical power and energy, which sometimes belongs to slenderness and pallor. She was often strangely agitated and unnerved when the occasion called most for calm, sustained power,—at times, glancing around wildly and piteously, like a haunted creature. Her passion was fitful and strained,—the fire of rage flickered in her eye, her relaxed lips quivered out curses, her hand shook with the dagger and spilled the poison. Her sorrows, real and imaginary, seemed to have broken her spirit with her heart.

But in anything weird and supernatural, awful with vague, unearthly terrors, she was greater than ever. Whenever, in her part of Lady Macbeth, she came to the sleep-walking scene, that shadowy neutral ground between death and life, where the perturbed, burdened spirit moans out its secret agony, she gave startling token of the genius which had electrified and awed her audiences of old. A solemn stillness pervaded the house; every eye followed the ghost-like gliding of her form, every ear hung upon the voice whose tones could sound the most mysterious and awful depths of human grief and despair.

It was during the first season of her reappearance that Mrs. Bury went to Drury Lane, on an off-night, to witness one of the latest efforts of Garrick as Richard the Third. He was, as usual, terribly great in the part; but, in spite of his overwhelming power, Zelma found herself watching the Lady Anne of the night with a strange, fascinated interest. This part, of too secondary and negative a character for the display of high dramatic powers, even in an actress who should be perfect mistress of herself, was borne by a young and beautiful woman, new to the London stage, though of some provincial reputation, who on this occasion was distressingly nervous and ill-assured. She had to contend not only with stage-fright, but Garrick-fright. "She met Roscius in all his terrors," and shrank from the encounter. The fierce lightnings of his dreadful eyes seemed to shrivel and paralyze her; even his demoniac cunning and persuasiveness filled her with mortal fear. Her voice shook with a pathetic tremor, became hoarse and almost inaudible; her eyes sank, or wandered wildly; her brow was bathed with the sweat of a secret agony; she might have given way utterly under the paralyzing spell, had not some sudden inspiration of genius or love, a prophetic thrill of power, or a memory of her unwearied babe, come to nerve, to upbear her. She roused, and went through her part with some flickering flashes of spirit, and through all her painful embarrassment was stately and graceful by the regal necessity of her beauty. The event was not success,—was but a shade better than utter failure; and when, soon after, that beautiful woman dropped out of London dramatic life, few were they who missed her enough to ask whither she had gone.

But Zelma, whose sad, searching eyes saw deeper than the eyes of critics, recognized from the first her grand, long-sought ideal in the fair unknown, whose name had appeared on the play-bills in small, deprecating type, under the overwhelming capitals of "MR. GARRICK"—"Mrs. Siddons." She looked upon that frightened and fragile woman with prophetic reverence and noble admiration: and as she walked her lonely chamber that night, she said to herself, somewhat sadly, but not bitterly,—"The true light of the English drama has arisen at last. 'Out, out, brief candle!'"

Season after season, year after year, Zelma continued to play in London, but never again with the fame, the homage, the flatteries and triumphs of a great actress. All these she saw at last accorded to her noble rival. Mrs. Bury had shone very acceptably in a doubtful dramatic period,—first as an inspired, impassioned enthusiast, and after as a conscientious artist, subdued and saddened, yet always careful and earnest; but, like many another lesser light, she was destined to be lost sight of in the long, splendid day of the Kembles.

Yet once again the spirit of unrest, the nomadic instinct, came back upon Zelma Bury,—haunted her heart and stirred in her blood till she could resist no longer, but, joining a company for a provincial tour, left London.

The health of the actress had been long declining, under the almost unsuspected attacks of a slow, insidious disease. She was more weak and ill than she would confess, even to herself; she wanted change, she said, only change. She never dreamed of rest. Week after week she travelled,—never tarrying long enough In one place to weary of it,—the peaceful sights and sounds of rural life tranquillizing and refreshing her soul, as the clear expanse of its sky, the green of its woods and parks, the daisied swell of its downs refreshed and soothed her eye, tired of striking forever against dull brick walls and struggling with smoke and fog.

Then May came round,—the haunted month of all the year for her. The hawthorn-hedges burst into flower,—the high-ways and by-paths and lanes became Milky Ways of bloom, and all England was once more veined with fragrance.

They were in the North, when one morning Zelma was startled by hearing the manager say that the next night they should play at Walton. It was there that Lawrence Bury died; it was there he slept, in the stranger's unvisited grave. She would seek out that grave and sink on it, as on the breast of one beloved, though long estranged. It would cool the dull, ceaseless fever of her heart to press it against the cold mound, and to whisper into the rank grass her faithful remembrance, her forgiveness, her unconquerable love.

But it was late when the players reached Walton; and, after the necessary arrangements for the evening were concluded, Zelma found that she had no time for a pilgrimage to the parish churchyard. She could see it from a window of her lodgings;—it was high-walled, dark and damp, crowded with quaint, mossy tomb-stones, and brooded over by immemorial yews. In the deepening, misty twilight, there was something awful in the spot. It was easy to fancy unquiet spectres lurking in its gloomy shadows, waiting for the night Yet Zelma's heart yearned toward it, and she murmured softly, as she turned away, "Wait for me, love!"

The play, on this night, was "The Fair Penitent." In the character of Calista Mrs. Bury had always been accounted great, though it was distasteful to her. Indeed, for the entire play she expressed only contempt and aversion; yet she played her part in it faithfully and carefully, as she performed all professional tasks.

In reading this tragedy now, one is at a loss to understand how such trash could have been tolerated at the very time of the revival of a pure dramatic literature,—how such an unsavored broth of sentiment, such a meagre hash of heroics, could have been relished, even when served by Kembles, after the rich, varied, Olympian banquets of Shakspeare.

The argument is briefly this:—

Calista, daughter of Sciolto, is betrothed to Altamount, a young lord, favored by Sciolto. Altamount has a friend, Horatio, and an enemy, Lothario, secretly the lover and seducer of Calista, whose dishonor is discovered by Horatio, shortly after her marriage with Altamount, to whom he reveals it. Calista denies the charge, with fierce indignation and scorn; and the young husband believes her and discredits his friend. But the fourth act brings the guilt of Calista and the villany of Lothario fully to light. Lothario is killed by the injured husband, Sciolto goes mad with shame and rage, and Calista falls into a state of despair and penitence.

The fifth act opens with Sciolto's elaborate preparations for vengeance on his daughter. The stage directions for this scene are,—

["A room hung with black: on one side Lothario's body on a bier; on the other a table, with a skull and other bones, a book, and a lamp on it. Calista is discovered on a couch, in black, her hair hanging loose and disordered. After soft music, she rises and comes forward."]

She takes the book from the table, but, finding it the pious prosing of some "lazy, dull, luxurious gownsman," flings it aside. She examines the cross-bones curiously, lays her hand on the skull, soliloquizing upon mortality, somewhat in the strain of Hamlet; then peers into the coffin of Lothario, beholds his pale visage, "grim with clotted blood," and the stern, unwinking stare of his dead eyes. Sciolto enters and bids her prepare to die; but while she stands meek and unresisting before him, his heart fails him; he rushes out, and is shortly after killed by Lothario's faction. Calista then dies by her own hand, leaving Altamount desperate and despairing.

Poor Calista is neither a lovely nor a lofty character; but there is something almost grand in her fierce pride, in her defiant hauteur, in her mighty struggle with shame. Mrs. Siddons made the part terribly impressive. Mrs. Bury softened it somewhat, giving it a womanly dignity and pathos that would seem foreign and almost impossible to the character.

When Zelma entered her dressing-room, on that first night at Walton, she found on her table a small spray of hawthorn-blossoms.

"How came these flowers here?" she asked, in a hurried, startled tone.

"I placed them there," replied her little maid, Susan, half-frightened by the strange agitation of her mistress. "I plucked the sprig in our landlady's garden; for I remembered that you loved hawthorn-blossoms, and used often to buy them in Covent-Garden Market."

"Ah, yes; thank you, Susan. I do indeed love them, and I will wear them to-night."

As she said this, she placed the flowers in her bosom,—but, the little maid noticed, not as an ornament, but quite out of sight, where her close bodice would crush them against her heart.

During the first acts of the play, Zelma was languid, absent, and more unequal than usual. A strange sense of evil, a vague foreboding, haunted her. It was in vain that she said to herself, "What have I, a lonely, disappointed woman, loveless and joyless, to fear of misfortune more,—since death itself were welcome as change, and doubly welcome as rest?" The nameless fear still clung to her, sending cold thrills along her veins, fiercely grasping and holding her palpitating heart.

When, in the last act, reclining on her sombre couch, she waited through the playing of the "soft music," there came to her a little season of respite and calm. Tender thoughts, and sweet, wild fancies of other days revisited her. The wilted hawthorn-blossoms in her bosom seemed to revive and to pour forth volumes of fragrance, which enveloped her like an atmosphere; and as she rose and advanced slowly toward the foot-lights, winking dimly like funeral lamps amid the gloom of the scene, it strangely seemed to her that she was going down the long, sweet lane of Burleigh Grange. The magic of that perfume, and something of kindred sweetness in the sad, wailing music, brought old times and scenes before her with preternatural distinctness. Then she became conscious of a something making still darker and deeper the gloomy shadows cast by the black hangings of the scene,—a presence, not palpable or visible to the senses, but terribly real to the finer perceptions of the spirit,—a presence unearthly, yet familiar and commanding, persistent, resistless, unappeasable,—moving as she moved, pausing as she paused, clutching at her hands, and searching after her eyes. The air about her seemed heavy with a brooding horror which sought to resolve itself into shape,—the dread mystery of life in death waiting to be revealed. Her own soul seemed groping and beating against the veil which hides the unseen; she gasped, she trembled, and great drops, like the distillation of the last mortal anguish, burst from her forehead.

She was roused by a murmur of applause from the audience. She was acting so well! Nerving herself by an almost superhuman effort, her phantom-haunted soul standing at bay, she approached the table, and began, in a voice but slightly broken, the reading of her melancholy soliloquy. But, as she laid her hand on the skull, she gave a wild start of horror,—not at the touch of the cold, smooth bone, nor at the blank, black stare of the eyeless sockets, but at finding beneath her hand a mass of soft, curling hair, damp, as with night-dew!—at beholding eyes with "speculation" in them,—ay, with human passions, luminous and full,—eyes that now yearned with love, now burned with hate,—ah, God! the eyes of Lawrence Bury!