The Atlantic Monthly, Volume 13, No. 80, June, 1864

It was about this time, that, one night, when Hazel passed the tea, Éloise's eye, wandering a moment, suddenly woke from a little apathy and observed that there was no widow's cap on Mrs. Arles's hair, that it had refined away through various shades of lace till at last even the delicate cobweb on the back of the head was gone and the glossy locks lay bare, that the sables had become simply black gauze over a steely shine of silk, that the little Andalusian foot lay relieved on a white embroidered cushion, that its owner was glancing up and smiling at a gentleman who bent above her, and that that gentleman was Mr. St. George. When this change had taken place, and whether it had been abrupt or gradual, her careless eye could not tell; and, forgetting her own part momentarily in order to take in the whole of the drama in which they were all acting, Éloise spilled her tea and made some work for Hazel. As the girl rectified her mishap, it flashed on Éloise that she had done nothing more about her suit; she noticed, too, how pale Hazel was, and how subdued and still in all her movements; she remembered that probably Vane had found it impossible to see her and to elude his ever-present master; and she thereupon availed herself of his first disengaged moment to stand at Mr. St. George's side, and ask him if he had ever thought again of a request she had once made him.

"I was thinking of it at this moment," he replied, looking at her with something like sunshine suffusing the brown depth of his eyes; "but the truth is, I am not on such terms with Marlboro' that I may demand a favor."

"Then I shall."

"On your peril!" he cried, with hasty rigor.

But Éloise escaped, trailing one end of her scarf behind, looking back at him, laughing, and shaking her threatening fan as he stepped after her. And then Mr. St. George resumed his haughty silence.

Éloise went down the hall after Hazel. She found her in the empty dining-room, having just set down the salver; the last light, that, stealing in, illumined all the paintings of clusters of fruit and bunches of flowers upon the white panelling, had yet a little ray to spare for the girl where she crouched with her sobs, her apron flung above her head; and when Éloise laid her hand gently on her shoulder, she sprang as if one had struck her.

"Oh, Miss 'Loise! Miss 'Loise! I'm in such trouble!" she gasped.

It did not take long for the little story to find the air. Vane and Hazel, secure of Éloise's efforts, had married. It was one of the immutable Blue Bluffs laws that they had broken: there were no marriages allowed off the place there. Vane was expiating his offence no one knew where, and there were even rumors that he had already been sent away to the Cuban plantation of the Marlboro's, whither all refractory slaves were wont to journey.

Éloise went slowly back to the drawing-room, then out upon the piazza, and with her went that bending grace that accompanied her least motion, and always reminded you of a flower swaying on its stem. Mr. Marlboro' leaned there, listening to Miss Murray's singing within. Éloise went and took her place beside him, while his face brightened. He had been eating opium again, and his eyes were full of dreams. From where they stood upon the piazza they could see the creek winding, a strip of silvery redness, along the coast, and far in the distance where it met the sea, a film upon the sky, rose the dim castellated height of Blue Bluffs, like an azure mist.

"There is something there that I want," said Éloise, archly, looking at the Bluffs.

"There? you shall not wish twice."

Then Hazel approaching, as by signal, offered Mr. Marlboro' a cup, which he declined without gesture or glance, while there gleamed in her eye a subtle look that told how easy it would have been to brew poison for this man who had such an ungodly power over her fate.

"That is my little maid," said Éloise. "I have lent her to Mrs. Arles awhile, though. Is she not pretty,—Hazel?"

"That is Hazel, then? A very witch-hazel!"

"Yes."

"And you want Vane?"

"Yes, Mr. Marlboro'."

"I did not know she was your maid. But the offence of Vane, if overlooked, would be a breach of discipline entailing too hazardous effects. Authority should never relax. What creeps through the iron fingers once can creep again. The gentle dews distilling through the pores of the granite congeal in the first frost and rend the rock. I would have difficulty, Miss Éloise, in pardoning such an offence to you, yourself. Ah, yes, that would be impossible, by Heaven!"

Éloise laughed in her charming way, and said,—

"But, Mr. Marlboro', would it not be an admirable lesson to your people, if Vane were sold?"

"A lesson to teach them all to go and do likewise, eh, Marlboro'?" said St. George, passing, with Miss Humphreys on his arm.

"I have never sold, I never sell, a slave," replied Marlboro', in his placid tone; but St. George was out of hearing. "Yet, Miss Éloise,—if—if you will accept him"–

"Mr. Marlboro'! Indeed? Truly indeed? How happy you make me!"

"And you can make me as happy,—happier, by the infinity of heaven over earth!"

"But ought I to accept such a gift?" asked Éloise, oblivious of his last speech. "But can I?—may I?"—as St. George's warning stole into her memory.

"Most certainly you can! most certainly you shall! he is yours!" And before Éloise could pour forth one of her multitudinous thanks, he had moved away.

Marlboro's, however, was not that noble nature that spurns to beg at the moment when it grants. Directly, he had wheeled about, and with an eager air was again beside her.

"And, Éloise," he said, "if in response I might have one smile, one hope"–

Thoughtlessly enough, Éloise turned her smiling face upon him, and gave him her hand.

"And you give it to me at last, this hand, to crown my life!" he said,—for to his excited brain the trifling deed seemed the weighty event, and when he looked up Éloise still was smiling. Only for a second, though, for her processes of thought were not instantaneous, while to him it was one of Mahomet's moments holding an eternity, and she smiled while she was thinking, thinking simply of her little handmaiden's pleasure. She tried to release her hand. But Mr. Marlboro' did not know that his grasp upon it was that of a vice, for under an artificial stimulus every action is as intense as the fired fancy itself. And as she found it impossible to free it without visible violence, other thoughts visited Éloise. Why should she not give it to him? Who else cared for it? What object had her lonely life? Speak sweetly as they might, what one of her old gallants forgot her loss of wealth? Here was a man to make happy, here was a heart to rest upon, here was a slave of his own passions to set free. Why should she continue to live with Mr. St. George for her haughty master, when here was this man at her feet? Why, but that suddenly the conviction smote her that she loved the one and despised the other, that she adored the master and despised the slave? And she snatched away her hand.

Just then Mr. St. George was coming down the piazza again, on his promenade, his head bent low as he spoke to the clinging little lady on his arm. Passing Éloise, as he raised his face, their eyes met. She was doing, he thought, the very thing that he had disadvised, and, as if to warn her afresh, he looked long, a derisive smile curling his proud lip. That was enough. "He knows it!" exclaimed Éloise to herself. "He believes it! He thinks I love him! He never shall be sure of it!" And turning once more, her face hung down and away, she laid her hand in Marlboro's, without a word or a glance. He bent low over it in the shadow, pressing it with his fervent lips, murmuring, "Mine! mine at last! my own!" And St. George saw the whole.

Just then a little sail crept in sight from where they stood, winding down the creek at the foot of the lawn.

"Oh, how delightful to be on the water to-night!" cried Laura Murray.

"You have but to command," said Mr. St. George, with a certain gayety that seemed struck out like sparks against the flinty fact of the late occurrence,—and half the party trooped down the turf to the shore. The boats were afloat and laden before one knew it. Mr. Marlboro' and Éloise were just one instant too late. Laura Murray shook a triumphant handkerchief at them, and St. George feathered his oar, pausing a moment as if he would return, and then gave a great sweep and his boat fairly leaped over the water.

Mr. Marlboro' did not hesitate. There was the sail they had first seen, now on the point of being lowered beneath the alder-bushes by the young hunters who had sought shore for the night. Gold slipped from one hand to another, a word, a name, and a promise. Éloise was on board, expecting Mrs. Arles and Mrs. Houghton to follow. Marlboro' sprang upon the end, and drew in the rope behind him, waving the other ladies a farewell; the sails were stretched again, the rudder shipped, and wing and wing they went skimming down the channel, past the little fleet of wherries, ploughing the shallow current into foam and spray on their wild career.

"Marlboro' is mad!" said St. George, with a whitening cheek.

Marlboro', standing up, one arm about the mast, and catching the slant beam of the late-rising moon on his face, that shone awfully rapt and intent, saluted them with an ironical cheer, and dashed on. Éloise held the tiller for the moment, still pulsating with her late emotions, not above a trifling play of vanity, welcoming the exhilaration of a race, where she might half forget her trouble, and pleased with a vague anticipation of some intervention that might recall the word which even in these five dragging moments had already begun to corrode and eat into her heart like a rusting fetter. The oarsmen in the wherries bent their muscles to the strife, the boats danced over the tiny crests, the ladies sang their breeziest sea-songs to cheer them at the work. The sail-boat rounded a curve and was almost out of sight.

"Oars never caught sails yet," muttered St. George, and he put his boat to the shore. "There, Murray, try your lazy mettle, and take my oar. As for me, I'm off,"—and he sprang upon the bank, sending the boat spinning off into the current again from his foot. In ten minutes a horseman went galloping by on the high-road skirting the shore, with a pace like that of the Spectre of the Storm.

"Now, Mr. Marlboro'," said Éloise, "shall we not turn back, victorious?"

"Turn?" said Marlboro', shaking loose another fold of the linen. "I never turn! Look your last on the tiny tribe,—we shall see them no more!"

Éloise sprang to her feet. He caught her hand and replaced her; his face was so white that it shone, there was a wild glitter in his eye, and the smile that brooded over her had something in it absolutely terrific.

"We have gone far enough," said Éloise, resolutely. "I wish to rejoin my friends."

"You are with me!" said Marlboro', proudly.

She was afraid to say another word, for to oppose him now in his exultant rage might only work the mood to frenzy. The creek had widened almost to a river,—the sea was close at hand, with its great tumbling surf. She looked at the horizon and the hill for help, but none came; destruction was before them, and on they flew.

Marlboro' stood now, and steadied the tiller with his foot.

"This is motion!" said he. "We fly upon the wings of the wind! The viewless wind comes roaring out of the black region of the East, it fills the high heaven, it roars on to the uttermost undulation of the atmosphere, and we are a part of it! We are only a mote upon its breath, a dust-atom driven before it, Éloise,—and yet one great happiness is greater than it, drowns it in a vaster flood of viewless power, can whisper to it calm!"

How should Éloise contradict him? With such rude awakening, he might only snatch her in his arms and plunge down to death. Perhaps he half divined the fear.

"Yes, Éloise," he said. "They are both here, life and death, at our beck! I can take you to my heart, one instant the tides divide, then they close above us, and you are mine for ever and ever and only,—sealed mine beneath all this crystal sphere of the waters! We hear the gentle lapping of the ripples on the shore, we hear the tones of evening-bells swim out and melt above us, we hear the oar shake off its shower of tinkling drops,—up the jewel-strewn deeps of heaven the planets hang out their golden lamps to light our slumbers! Heart to heart and lip to lip, we are at rest, we are at peace, nothing comes between us, our souls have the eternities in which to mingle!"

He saw Éloise shudder, and turned from his dream, blazing full upon her. "Life, then, is best!" he cried. "But life together and alone, life where we count out its throbs in some far purple island of the main, prolonged who knows how far?—love shall make for us perpetual youth, there shall no gloom enter our Eden, perfect solitude and perfect bliss! Alone, we two in our pride and our joy can defy the powers of any other heaven, we shall become gods ourselves! Up helm and away! Life is best!"

THE NEVA

                I walk, as in a dream,                Beside the sweeping stream,Wrapped in the summer midnight's amber haze:                Serene the temples stand,                And sleep, on either hand,The palace-fronts along the granite quays.                Where golden domes, remote,                Above the sea-mist float,The river-arms, dividing, hurry forth;                And Peter's fortress-spire,                A slender lance of fire,Still sparkles back the splendor of the North.                The pillared angel soars                Above the silent shores;Dark from his rock the horseman hangs in air;                And down the watery line                The exiled Sphinxes pineFor Karnak's morning in the mellow glare.                I hear, amid the hush,                The restless current's rush,The Neva murmuring through his crystal zone:                A voice portentous, deep,                To charm a monarch's sleepWith dreams of power resistless as his own.                Strong from the stormy Lake,                Pure from the springs that breakIn Valdaï vales the forest's mossy floor,                Greener than beryl-stone                From fir woods vast and lone,In one full stream the braided currents pour.                "Build up your granite piles                Around my trembling isles,"I hear the River's scornful Genius say:                "Raise for eternal time                Your palaces sublime,And flash your golden turrets in the day!                "But in my waters cold                A mystery I hold,—Of empires and of dynasties the fate:                I bend my haughty will,                Unchanged, unconquered still,And smile to note your triumph: mine can wait.                "Your fetters I allow,                As a strong man may bowHis sportive neck to meet a child's command,                And curb the conscious power                That in one awful hourCould whelm your halls and temples where they stand.                "When infant Rurik first                His Norseland mother nursed,My willing flood the future chieftain bore:                To Alexander's fame                I lent my ancient name,What time my waves ran red with Pagan gore.                "Then Peter came. I laughed                To feel his little craftBorne on my bosom round the marshy isles:                His daring dream to aid,                My chafing floods I laid,And saw my shores transfixed with arrowy piles.                "I wait the far-off day                When other dreams shall swayThe House of Empire builded by my side,—                Dreams that already soar                From yonder palace-door,And cast their wavering colors on my tide,—                "Dreams where white temples rise                Below the purple skies,By waters blue, which winter never frets,—                Where trees of dusky green                From terraced gardens lean,And shoot on high the reedy minarets.                "Shadows of mountain-peaks                Vex my unshadowed creeks;Dark woods o'erhang my silvery birchen bowers;                And islands, bald and high,                Break my clear round of sky,And ghostly odors blow from distant flowers.                "Then, ere the cold winds chase                These visions from my face,I see the starry phantom of a crown,                Beside whose blazing gold                This cheating pomp is cold,A moment hover, as the veil drops down.                "Build on! That day shall see                My streams forever free.Swift as the wind, and silent as the snow,                The frost shall split each wall:                Your domes shall crack and fall:My bolts of ice shall strike your barriers low!"                On palace, temple, spire,                The morn's descending fireIn thousand sparkles o'er the city fell:                Life's rising murmur drowned                The Neva where he woundBetween his isles: he keeps his secret well.

ROBSON

In the whole of London there is not a dirtier, narrower, and more disreputable thoroughfare than Wych Street. It runs from that lowest part of Drury Lane where Nell Gwyn once had her lodgings, and stood at her door in very primitive costume to see the milkmaids go a-Maying, and parallel to Holywell Street and the Strand, into the church-yard of St. Clements Danes. No good, it was long supposed, could ever come out of Wych Street. The place had borne an evil name for centuries. Up a horrible little court branching northward from it good old George Cruikshank once showed me the house where Jack Sheppard, the robber and prison-breaker, served his apprenticeship to Mr. Wood, the carpenter; and on a beam in the loft of this house Jack is said to have carved his name. When the pavement of the Strand is under repair, Wych Street becomes, perforce, the principal channel of communication between the east and the west end; and Theodore Hook used to say that he never passed through Wych Street in a hackney-coach without being blocked up by a hearse and a coal-wagon in the van, and a mud-cart and the Lord Mayor's carriage in the rear. Wych Street is among the highways we English are ashamed to show to foreigners. We have threatened to pull it down bodily, any time these two hundred years, and a portion of the southern side, on which the old Lyons Inn abutted, has indeed been razed, preparatory to the erection of a grand metropolitan hotel on the American system; but the funds appear not to be forthcoming; the scheme languishes; and, on the other side of the street, another legal hostelry, New Inn, still flourishes in weedy dampness, immovable in the strength of vested interests. Many more years must, I am afraid, elapse before we get rid of Wych Street. It is full of quaint old Tudor houses, with tall gables, carved porches, and lattice-casements; but the picturesque appearance of these tenements compensates but ill for their being mainly dens of vice and depravity, inhabited by the vilest offscourings of the enormous city. Next to Napoli senza sole, Wych Street, Drury Lane, is, morally and physically, about the shadiest street I know.

In Wych Street stands, nevertheless, an oasis in the midst of a desert, a pretty and commodious little theatre, called the Olympic. The entertainments here provided have earned, for brilliance and elegance, so well-deserved a repute, that the Olympic Theatre has become one of the most favorite resorts of the British aristocracy. The Brahminical classes appear oblivious of the yellow streak of caste, when they come hither. On four or five nights in every week during the season, Drury Lane is rendered well-nigh impassable by splendid equipages which have conveyed dukes and marquises and members of Parliament to the Olympic. Frequently, but prior to the lamented death of Prince Albert, you might observe, if you passed through Wych Street in the forenoon, a little platform, covered with faded red cloth, and shaded by a dingy, striped awning, extending from one of the entrance-doors of the Olympic to the edge of the sidewalk. The initiated became at once aware that Her Most Gracious Majesty intended to visit the Olympic Theatre that very evening. The Queen of England goes to theatres no more; but the Prince of Wales and his pretty young wife, the stout, good-tempered Duke of Cambridge, and his sister, the bonny Princess Mary, are still constant visitors to Wych Street. So gorgeous is often the assemblage in this murkiest of streets, that you are reminded of the days when the French noblesse, in all the pride of hoops and hair-powder, deigned to flock to the lowly wine-shop of Ramponneau.

My business, however, is less with the Olympic Theatre, as it at present exists, than with its immediate predecessor. About fifteen years ago, there stood in Wych Street a queer, low-browed little building with a rough wooden portico before it,—not unlike such a portico as I have recently seen in front of a dilapidated inn at Culpepper, Virginia,—and with little blinking windows, very much resembling the port-holes of a man-of-war. According to tradition, the place had, indeed, a kind of naval origin. Old King George III., who, when he was not mad, or meddling with politics, was really a good-natured kind of man, once made Philip Astley, the riding-master, and proprietor of the circus in South Lambeth, a present of a dismantled seventy-four gun-ship captured from the French. With these timbers, some lath and plaster, a few bricks, and a little money, Astley ran up a theatre dedicated to the performance of interludes and burlettas,—that is, of pieces in which the dialogue was not spoken, but sung, in order to avoid interference with the patent-rights of Drury Lane and Covent Garden. In our days, this edifice was known as the Olympic. When I knew this theatre first, it had fallen into a state of seemingly hopeless decadence. Nobody succeeded there. To lease the Olympic Theatre was to court bankruptcy and invite collapse. The charming Vestris had been its tenant for a while. There Liston and Wrench had delighted the town with their most excellent fooling. There many of Planche's most sparkling burlesques had been produced. There a perfect boudoir of a green-room had been fitted up by Bartolozzi's beautiful and witty daughter; and there Hook and Jerrold, Haynes Bayley and A' Beckett had uttered their wittiest sayings. But the destiny of the Olympic was indomitable. There was nae luck about the house; and Eliza Vestris went bankrupt at last. Management after management tried its fortunes in the doomed little house, but without success. Desperate adventurers seized upon it as a last resource, or chose it as a place wherein to consummate their ruin. The Olympic was contiguous to the Insolvent Debtors' Court, in Portugal Street, and from the paint-pots of the Olympic scene-room to the whitewash of the commercial tribunal there was but one step.

It must have been in 1848 that the famous comedian, William Farren, having realized a handsome fortune as an actor, essayed to lose a considerable portion of his wealth by becoming a manager. He succeeded in the last-named enterprise quite as completely as he had done in the other: I mean, that he lost a large sum of money in the Olympic Theatre. He played all kinds of pieces: among others, he gave the public two very humorous burlesques, founded on Shakspeare's plays of "Macbeth" and "The Merchant of Venice." The authors were two clever young Oxford men: Frank Talfourd, the son of the poet-Judge,—father and son are, alas! both dead,—and William Hale, the son of the well-known Archdeacon and Master of the Charter-House. Shakspearian burlesques were no novelty to the town. We had had enough and to spare of them. W. J. Hammond, the original Sam Weller in the dramatized version of "Pickwick," had made people laugh in "Macbeth Travestie" and "Othello according to Act of Parliament." The Olympic burlesques were slightly funnier, and not nearly so coarse as their forerunners; but they were still of no striking salience. Poorly mounted, feebly played,—save in one particular,—they drew but thin houses. Gradually, however, you began to hear at clubs and in critical coteries—at the Albion and the Garrick and the Café de l'Europe, at Evans's and at Kilpack's, at the Réunion in Maiden Lane and at Rules's oyster-room, where poor Albert Smith used to reign supreme—rumors about a new actor. The new man was playing Macbeth and Shylock in Talfourd and Hale's parodies. He was a little stunted fellow, not very well-favored, not very young. Nobody—among the bodies who were anybody—had ever heard of him before. Whence he came, or what he was, none knew; but everybody came at last to care. For this little stunted creature, with his hoarse voice and nervous gestures and grotesque delivery, his snarls, his leers, his hunchings of the shoulders, his contortions of the limbs, his gleaming of the eyes, and his grindings of the teeth, was a genius. He became town-talk. He speedily grew famous. He has been an English, I might almost say a European, I might almost say a worldwide celebrity ever since; and his name was Frederick Robson.