The Atlantic Monthly, Volume 18, No. 107, September, 1866

It was not be denied that it was humiliation and wrath to live with her; but her husband had sought her,—she had not sought him! If he could plead for himself the force and constraint of circumstances, should not the same defence be set up for her? And what might not patience, and better management, and gentler and more noble demeanor towards her, have done for her? Was he the same man he was when he went away from Dalton? Was he the same man in Dalton that he had been in his youth? Was it not out of the pit that he himself had been digged? It became evident that the arguments for the defendant were producing a result in court. The judge on his throne, as well as the grand-jury, listened to the argument in favor of the woman. And at last the case was decided; for the judge charged the jury, that, if it could be shown that there was mere incompatibility, it was the business of the superior mind to make straight a highway for the Lord across those lives. Let every valley be exalted, every hill be brought low.

Dr. Saunders acquiesced in this verdict, and wrote a letter to his wife. He knew she could not read it, but he knew also that she could procure it to be read to her. He filled it with accounts of his situation, occupation, expectation; and he sent her money. He said that, if he could get a furlough, he might run up North for a few days, as other men went home who could get leave of absence, to see that those whom he had left behind him were doing well; and they would both perhaps be able to go and see their daughter Jenny, or else they might have her home for a holiday. He wrote a letter saying these things and others, and any wife might have been proud to receive such from her husband, "in the war."

And when he had sent it, he looked for no answer. This was a kind of giving which must look for no return. And yet an answer was sent him. He did not receive it, however, it was sent at so late a date; he was then on his way to Dalton.

When the whistle of the miniature boat which plied the lake sent a warning along the hillside that a passenger was on board who wished to land, or that mail was to be sent ashore, a small boat was rowed from the Point by a lad who was lingering about, waiting to know if any such signal were to come, and one passenger stood at the head of the ladder, waiting for him to come alongside. This was Dr. Saunders, who, having been rowed ashore, walked three miles down the road, and up along the mountain, to the Dalton neighborhood.

The first man whom he met as he walked on was the blacksmith, who had been instrumental in getting Jenny's letter written. He was sitting in front of his shop, alone. There was nothing about this man who was walking into Dalton to excite a suspicion in the mind of the shrewdest old inhabitant who should meet him that his personality was familiar to Dalton eyes. He might safely ask what questions he would, and pursue his way if he chose to do it. Nobody would recognize him.

The doctor lingered as he went past the shop; but the blacksmith did not speak, and he walked on; and he passed others, his old neighbors, as he went. This was hardly pleasant, though it might be the thing he desired.

He walked on until he came to the red farm-gate of Farmer Elkins, Nancy's uncle. There he stopped. Under the chestnut-trees, before the door, the farmer sat. The doctor walked in, and towards him like a man at home, and said, "Good evening, Uncle."

The wrinkled old farmer looked up from his drowse. He had hardly heard the words spoken; but the voice that spoke had in it a tone that was familiar, were it not for the cheeriness of it; and—but no! one glance at the figure before him assured him of anything rather than Saunders! Yet the old man, either because of his vague expectation or because of the confusion of his half-awake condition, said something audibly, of which the name of Nancy, and her name alone, was intelligible.

"Well, where is Nancy," said the other, laying his hand on the farmer's shoulder in a manner calculated to dissipate his dream.

The old man looked at the doctor with serious, suspicious eyes, scanned him from head to foot, and there was a dash of anger, of unbelief, of awe, and of deference in the spirit with which he said, "If you're Saunders, I'm glad you've come, but you might 'a' come sooner."

"You're right, and you're wrong, Uncle. I'm Saunders, true enough. But I couldn't come before,—this is my first furlough."

"Did you get the letter?"

"No, what letter? Who wrote to me?"

The judge and the jury looked down from the awful circle, in the midst of which stood Saunders, and surveyed the little hard-faced, yellow-haired farmer, with eyes which seemed intent on searching him through all his shadowy ambiguity. If only he would make such answer as any other man in all the land might expect,—thought the prisoner,—"Why, your wife, of course." The doctor was prepared to believe in a miracle. Since he went away his wife might have been spurred on by the ambition to rival her daughter, who was being educated. She perhaps had learned to write, and in her pride had written to her husband!

The answer Elkins gave was the only one of which the doctor's mind had taken no thought.

"Nancy died a month ago." There the old man paused. But as the doctor made no answer, merely stood looking at him, he went on. "She got your letter first, though, Nancy did. I think, if anything could a-hindered her dying, that would. She came out here to read your letter," (he did not say to hear it read, and Saunders noticed that,) "and my folks, she found, was busy, and nobody was round to talk it over with her, so nothing could stop her, but she put right in and worked till night, and on top o' that she would go back to the village, and it was raining, and so dark you could scurce see the road; but she'd made up her mind to go South and find you, and so we couldn't persuade her to stop over night. But the next day, when she come back to tell us when she was going to start for Dixie, she was took down right here, that suddin. There's been a good deal of that sickness round here sense, and fatalish, most always. But I tell 'em it took the smartest of the lot off first, when it took Nancy."

The doctor stood there when the teller of this story had stopped speaking. He was not looking at him,—of that the old man was certain. He seemed to be looking nowhere, and to see nothing that was near or visible.

"Come into the house and take something," said Uncle Elkins, for he began to be alarmed.

"Was Janet here?" asked the doctor, as if he had not heard the invitation.

"We had to send for her. Nancy was calling for her all the time," said Farmer Elkins, as if he doubted how far this story ought to be continued, for he did not understand the man before him. He only knew that once he had fallen down on his door-step, and lain helpless beneath his roof hard on to two months; and he watched him now as if he anticipated some renewal of that old attack,—and there was no Nancy now to nurse, and watch, and slave herself to death for him; for that was the way folk in the house were talking about Nancy and her husband in these days.

"Did she get here in time? Who went after her?"

"The minister went. We had 'em here a fortnight,—well on to 't."

"What, the minister, too?"

"No, I mean the young woman who come from Charlestown with Jenny. Her name was—" He paused long, endeavoring to recall that name. It trembled on the doctor's lips, but he did not utter it. At last said Farmer Elkins, "There! it was Miss Amey,—Amey? Yes. She took the little girl back hum with her. It was right in there, in the room where you had that spell of fever of yourn. She got you well through that! Ef anything could 'a' brought her through that turn, your letter would. It came across my mind once that, as she'd saved your life, may be you was going to save hern by that are letter! And she was so determined to get to your hospital!"

"Thank God she got the letter, any way!" exclaimed the doctor.

At that the old man walked into the house to set its best cheer before Nancy's husband, who looked so much like a mourner as he stood there under the trees, with the bitter recollections of the past overwhelming every other thought and feeling of the present.

Because it seemed to him that he could not sleep under old Elkins's roof that night, he remained there and slept there,—in the room where his fever ran its course,—in the room where Nancy died.

Because this story of the last months of her life was as gall and wormwood to him, he refused it not, but went over it with his wife's relations, and helped them spread a decent pall, according to the custom of mourners; over what had been.

Was he endeavoring to deceive himself and others into the belief that he was a mourning man? He was but accepting the varied humiliations of death; for they do not all pertain to the surrendering life. He was not thinking at all of his loss through her, nor of his gain by her. He was thinking, as he stood above the grave of fifteen years, how high Disgrace and Misery had heaped the mound. So bitterly he was thinking of the past, it was without desire that he at last arose and faced the future.

When he went to Charlestown—for a man on furlough had no time to lose—and saw his Janet in the Colonel's house,—Miss Ames took Janet home with her after that death and funeral,—when he saw how fair and beautiful a promise of girlhood was budding on the poor neglected branch, he said to his assistant, "Will you keep this child with you until the war is over? I am afraid to touch her, or interfere with her destiny. It has been so easy for me to mar, so hard to mend."

Miss Ames kept the child; the war ended. The surgeon then, like other men, returned home; his regiments were disbanded, and now, one duty, to mankind and the ages, well discharged, another, less conspicuous, but as urgent, claimed him. There was Janet, and Janet's mother,—she who had risen, not from the grave indeed, but from the midst of dangers, sacredly to guard and guide the child.

On his way to them he asked himself this question, "How many times must a man be born before he is fit to live?"

He did not answer that question; neither can I.

He informed his assistant of the court's decision in reference to the plea of "incompatibility," and she said that the justice of the sentence was not to be controverted with success by any counsellor on earth; but the reader may smile, and say that it was not difficult to come to this decision under the circumstances.

We will not argue that point. I had only the story to tell, and have told it.

ON TRANSLATING THE DIVINA COMMEDIA

THIRD SONNET

I lift mine eyes, and all the windows blazeWith forms of Saints and holy men who died,Here martyred and hereafter glorified;And the great Rose upon its leaves displaysChrist's Triumph, and the angelic roundelays,With splendor upon splendor multiplied;And Beatrice, again at Dante's side,No more rebukes, but smiles her words of praise.And then the organ sounds, and unseen choirsSing the old Latin hymns of peace and loveAnd benedictions of the Holy Ghost;And the melodious bells among the spiresO'er all the house-tops and through heaven aboveProclaim the elevation of the Host!

WOMAN'S WORK IN THE MIDDLE AGES

"King Arthur's sword, Excalibur,Wrought by the lonely maiden of the Lake.Nine years she wrought it, sitting in the deepsUpon the hidden bases of the hills."

Sir Bedivere's heart misgave him twice ere he could obey the dying commands of King Arthur, and fling away so precious a relic. The lonely maiden's industry has been equalled by many of her mortal sisters, sitting, not indeed "upon the hidden bases of the hills," but in all the varied human habitations built above them since the days of King Arthur.

The richness, beauty, and skill displayed in the needle-work of the Middle Ages demonstrate the perfection that art had attained; while church inventories, wills, and costumes represented in the miniatures of illuminated manuscripts and elsewhere, amaze us by the quantity as well as the quality of this department of woman's work. Though regal robes and heavy church vestments were sometimes wrought by monks, yet to woman's taste and skill the greater share of the result must be attributed, the professional hands being those of nuns and their pupils in convents. The life of woman in those days was extremely monotonous. For the mass of the people, there hardly existed any means of locomotion, the swampy state of the land in England and on the Continent allowing few roads to be made, except such as were traversed by pack-horses. Ladies of rank who wished to journey were borne on litters carried upon men's shoulders, and, until the fourteenth and fifteenth centuries, few representations of carriages appear. Such a conveyance is depicted in an illustration of the Romance of the Rose, where Venus, attired in the fashionable costume of the fifteenth century, is seated in a chare, by courtesy a chariot, but in fact a clumsy covered wagon without springs. Six doves are perched upon the shafts, and fastened by mediæval harness. The goddess of course possessed superhuman powers for guiding this extraordinary equipage, but to mere mortals it must have been a slow coach, and a horribly uncomfortable conveyance even when horses were substituted for doves. An ordinance of Philip le Bel, in 1294, forbids any wheel carriages to be used by the wives of citizens, as too great a luxury. As the date of the coach which Venus guides is two hundred years later, it is difficult to imagine what style of equipage belonged to those ladies over whom Philip le Bel tyrannized.

With so little means of going about, our sisters of the Middle Ages were perforce domestic; no wonder they excelled in needle-work. To women of any culture it was almost the only tangible form of creative art they could command, and the love of the beautiful implanted in their souls must find some expression. The great pattern-book of nature, filled with graceful forms, in ever-varied arrangement, and illuminated by delicate tints or gorgeous hues, suggested the beauty they endeavored to represent. Whether religious devotion, human affection, or a taste for dress prompted them, the needle was the instrument to effect their purpose. The monogram of the blessed Mary's name, intertwined with pure white lilies on the deep blue ground, was designed and embroidered with holy reverence, and laid on the altar of the Lady-chapel by the trembling hand of one whose sorrows had there found solace, or by another in token of gratitude for joys which were heightened by a conviction of celestial sympathy. The pennon of the knight—a silken streamer affixed to the top of the lance—bore his crest, or an emblematic allusion to some event in his career, embroidered, it was supposed, by the hand of his lady-love. A yet more sacred gift was the scarf worn across the shoulder, an indispensable appendage to a knight fully equipped. The emotions of the human soul send an electric current through the ages, and women who during four years of war toiled to aid our soldiers in the great struggle of the nineteenth century felt their hearts beat in unison with hers who gave, with tears and prayers, pennon and scarf to the knightly and beloved hero seven hundred years ago.

Not only were the appointments of the warriors adorned by needle-work, but the ladies must have found ample scope for industry and taste in their own toilets. The Anglo-Saxon women as far back as the eighth century excelled in needle-work, although, judging from the representations which have come down to us, their dress was much less ornamented than that of the gentlemen. During the eighth, ninth, and tenth centuries there were few changes in fashion. A purple gown or robe, with long yellow sleeves, and coverchief wrapt round the head and neck, frequently appears, the edges of the long gown and sleeves being slightly ornamented by the needle. How the ladies dressed their hair in those days is more difficult to decide, as the coverchief conceals it. Crisping-needles to curl and plat the hair, and golden hair-cauls, are mentioned in Saxon writings, and give us reason to suppose that the locks of the fair damsels were not neglected. In the eleventh century the embroidery upon the long gowns becomes more elaborate, and other changes of the mode appear.

From the report of an ancient Spanish ballad, the art of needle-work and taste in dress must have attained great perfection in that country while our Anglo-Saxon sisters were wearing their plain long gowns. The fair Sybilla is described as changing her dress seven times in one evening, on the arrival of that successful and victorious knight, Prince Baldwin. First, she dazzles him in blue and silver, with a rich turban; then appears in purple satin, fringed and looped with gold, with white feathers in her hair; next, in green silk and emeralds; anon, in pale straw-color, with a tuft of flowers; next, in pink and silver, with varied plumes, white, carnation, and blue; then, in brown, with a splendid crescent. As the fortunate Prince beholds each transformation, he is bewildered (as well he may be) to choose which array becomes her best; but when

"Lastly in white she comes, and looselyDown in ringlets floats her hair,'O,' exclaimed the Prince, 'what beauty!Ne'er was princess half so fair.'"

Simplicity and natural grace carried the day after all, as they generally do with men of true taste. "Woman is fine for her own satisfaction alone," says that nice observer of human nature, Jane Austen. "Man only knows man's insensibility to a new gown." We hope, however, that the dressmakers and tirewomen of the fair Sybilla, who had expended so much time and invention, were handsomely rewarded by the Prince, since they must have been most accomplished needle-women and handmaids to have got up their young lady in so many costumes and in such rapid succession.

A very odd fashion appears in the thirteenth and fourteenth centuries, of embroidering heraldic devices on the long gowns of the ladies of rank. In one of the illuminations of a famous psalter, executed for Sir Geoffery Loutterell, who died in 1345, that nobleman is represented armed at all points, receiving from the ladies of his family his tilting helmet, shield, and pavon. His coat of arms is repeated on every part of his own dress, and is embroidered on that of his wife, who wears also the crest of her own family.

Marie de Hainault, wife of the first Duke of Bourbon, 1354, appears in a corsage and train of ermine, with a very fierce-looking lion rampant embroidered twice on her long gown. Her jewels are magnificent. Anne, Dauphine d'Auvergne, wife of Louis, second Duke of Bourbon, married in 1371, displays an heraldic dolphin of very sinister aspect upon one side of her corsage, and on the skirt of her long gown,—which, divided in the centre, seems to be composed of two different stuffs, that opposite to the dolphin being powdered with fleurs de lis. Her circlet of jewels is very elegant, and is worn just above her brow, while the hair is braided close to the face. An attendant lady wears neither train nor jewels, but her dress is likewise formed of different material, divided like that of the Dauphine. Six little parrots are emblazoned on the right side, one on her sleeve, two on her corsage, and three on her skirt. The fashion of embroidering armorial bearings on ladies' dresses must have given needle-women a vast deal of work. It died out in the fifteenth century.

It was the custom in feudal times for knightly families to send their daughters to the castles of their suzerain lords, to be trained to weave and embroider. The young ladies on their return home instructed the more intelligent of their female servants in these arts. Ladies of rank in all countries prided themselves upon the number of these attendants, and were in the habit of passing the morning surrounded by their workwomen, singing the chansons à toile, as ballads composed for these hours were called.

Estienne Jodelle, a French poet, 1573, addressed a fair lady whose cunning fingers plied the needle in words thus translated:—

"I saw thee weave a web with care,Where at thy touch fresh roses grew,And marvelled they were formed so fair,And that thy heart such nature knew.Alas! how idle my surprise,Since naught so plain can be:Thy cheek their richest hue supplies,And in thy breath their perfume lies;Their grace and beauty all are drawn from thee."

If needle-work had its poetry, it had also its reckonings. Old account-books bear many entries of heavy payments for working materials used by industrious queens and indefatigable ladies of rank. Good authorities state that, before the sixth century, all silk materials were brought to Europe by the Seres, ancestors of the ancient Bokharians, whence it derived its name of Serica. In 551, silk-worms were introduced by two monks into Constantinople, but the Greeks monopolized the manufacture until 1130, when Roger, king of Sicily, returning from a crusade, collected some Greek manufacturers, and established them at Palermo, whence the trade was disseminated over Italy.

In the thirteenth century, Bruges was the great mart for silk. The stuffs then known were velvet, satin (called samite), and taffeta,—all of which were stitched with gold or silver thread. The expense of working materials was therefore very great, and royal ladies condescended to superintend sewing-schools.

Editha, consort of Edward the Confessor, was a highly accomplished lady, who sometimes intercepted the master of Westminster School and his scholars in their walks, questioning them in Latin. She was also skilled in all feminine works, embroidering the robes of her royal husband with her own hands.

Of all the fair ones, however, who have wrought for the service of a king, since the manufacture of Excalibur, let the name of Matilda of Flanders, wife of William the Conqueror, stand at the head of the record, in spite of historians' doubts. Matilda, born about the year 1031, was carefully educated. She had beauty, learning, industry; and the Bayeux tapestry connected with her name still exists, a monument of her achievements in the art of needle-work. It is, as everybody knows, a pictured chronicle of the conquest of England,—a wife's tribute to the glory of her husband.

As a specimen of ancient stitchery and feminine industry, this work is extremely curious. The tapestry is two hundred and twenty-two feet in length and twenty in width. It is worked in different-colored worsteds on white cloth, now brown with age. The attempts to represent the human figure are very rude, and it is merely given in outline. Matilda evidently had very few colors at her disposal, as the horses are depicted of any hue,—blue, green, or yellow; the arabesque patterns introduced are rich and varied.

During the French Revolution, this tapestry was demanded by the insurgents to cover their guns; but a priest succeeded in concealing it until the storm had passed. Bonaparte knew its value. He caused it to be brought to Paris and displayed, after which he restored the precious relic to Bayeux.

We have many records of royal ladies who practised and patronized needle-work. Anne of Brittany, first wife of Louis XII. of France, caused three hundred girls, daughters of the nobility, to be instructed in that art under her personal supervision. Her daughter Claude pursued the same laudable plan. Jeanne d'Albret, queen of Navarre, and mother of Henry IV. of France, a woman of vigorous mind, was skilled also in the handicraft of the needle, and wrought a set of hangings called "The Prison Opened," meaning that she had broken the bonds of the Pope.

The practice of teaching needle-work continued long at the French court, and it was there that Mary of Scotland learned the art in which she so much excelled. When cast into prison, she beguiled the time, and soothed the repentant anxieties of her mind, with the companionship of her needle. The specimens of her work yet existing are principally bed-trimmings, hangings, and coverlets, composed of dark satin, upon which flowers, separately embroidered, are transferred.

The romances and lays of chivalry contain many descriptions of the ornamental needle-work of those early days. In one of the ancient ballads, a knight, after describing a fair damsel whom he had rescued and carried to his castle, adds that she "knewe how to sewe and marke all manner of silken worke," and no doubt he made her repair many of his mantles and scarfs frayed and torn by time and tourney.