Part 23

"Only the eyes had life, They gleamed with demon light."--THALABA.

From an impulse equally resistless and painful, he approached the portrait, held the candle toward it, and could distinguish the words on the border of the painting,--Jno. Melmoth, anno 1646. John was neither timid by nature, nor nervous by constitution, nor superstitious from habit, yet he continued to gaze in stupid horror on this singular picture, till, aroused by his uncle's cough, he hurried into his room. The old man swallowed the wine. He appeared a little revived; it was long since he had tasted such a cordial,--his heart appeared to expand to a momentary confidence. "John, what did you see in that room?" "Nothing, Sir." "That's a lie; everyone wants to cheat or to rob me." "Sir, I don't want to do either." "Well, what did you see that you--you took notice of?" "Only a picture, Sir." "A picture, Sir!--the original is still alive." John, though under the impression of his recent feelings, could not but look incredulous. "John," whispered his uncle;-- "John, they say I am dying of this and that; and one says it is for want of nourishment, and one says it is for want of medicine,--but, John," and his face looked hideously ghastly, "I am dying of a fright. That man," and he extended his meager arm toward the closet, as if he was pointing to a living being; "that man, I have good reason to know, is alive still." "How is that possible, Sir?" said John involuntarily, "the date on the picture is 1646." "You have seen it,--you have noticed it," said his uncle. "Well,"--he rocked and nodded on his bolster for a moment, then, grasping John's hand with an unutterable look, he exclaimed, "You will see him again, he is alive." Then, sinking back on his bolster, he fell into a kind of sleep or stupor, his eyes still open, and fixed on John.

The house was now perfectly silent, and John had time and space for reflection. More thoughts came crowding on him than he wished to welcome, but they would not be repulsed. He thought of his uncle's habits and character, turned the matter over and over again in his mind, and he said to himself, "The last man on earth to be superstitious. He never thought of anything but the price of stocks, and the rate of exchange, and my college expenses, that hung heavier at his heart than all; and such a man to die of a fright,--a ridiculous fright, that a man living 150 years ago is alive still, and yet--he is dying." John paused, for facts will confute the most stubborn logician. "With all his hardness of mind, and of heart, he is dying of a fright. I heard it in the kitchen, I have heard it from himself,--he could not be deceived. If I had ever heard he was nervous, or fanciful, or superstitious, but a character so contrary to all these impressions;--a man that, as poor Butler says, in his 'Remains of the Antiquarian,' would have 'sold Christ over again for the numerical piece of silver which Judas got for him,'--such a man to die of fear! Yet he IS dying," said John, glancing his fearful eye on the contracted nostril, the glazed eye, the drooping jaw, the whole horrible apparatus of the facies Hippocraticae displayed, and soon to cease its display.

Old Melmoth at this moment seemed to be in a deep stupor; his eyes lost that little expression they had before, and his hands, that had convulsively been catching at the blankets, let go their short and quivering grasp, and lay extended on the bed like the claws of some bird that had died of hunger,--so meager, so yellow, so spread. John, unaccustomed to the sight of death, believed this to be only a sign that he was going to sleep; and, urged by an impulse for which he did not attempt to account to himself, caught up the miserable light, and once more ventured into the forbidden room,-- the BLUE CHAMBER of the dwelling. The motion roused the dying man;--he sat bolt upright in his bed. This John could not see, for he was now in the closet; but he heard the groan, or rather the choked and gurgling rattle of the throat, that announces the horrible conflict between muscular and mental convulsion. He started, turned away; but, as he turned away, he thought he saw the eyes of the portrait, on which his own was fixed, MOVE, and hurried back to his uncle's bedside.

Old Melmoth died in the course of that night, and died as he had lived, in a kind of avaricious delirium. John could not have imagined a scene so horrible as his last hours presented. He cursed and blasphemed about three halfpence, missing, as he said, some weeks before, in an account of change with his groom, about hay to a starved horse that he kept. Then he grasped John's hand, and asked him to give him the sacrament. "If I send to the clergyman, he will charge me something for it, which I cannot pay,-- I cannot. They say I am rich,--look at this blanket;--but I would not mind that, if I could save my soul." And, raving, he added, "Indeed, Doctor, I am a very poor man. I never troubled a clergyman before, and all I want is, that you will grant me two trifling requests, very little matters in your way,--save my soul, and (whispering) make interest to get me a parish coffin,--I have not enough left to bury me. I always told everyone I was poor, but the more I told them so, the less they believed me."

John, greatly shocked, retired from the bedside, and sat down in a distant corner of the room. The women were again in the room, which was very dark. Melmoth was silent from exhaustion, and there was a deathlike pause for some time. At this moment John saw the door open, and a figure appear at it, who looked round the room, and then quietly and deliberately retired, but not before John had discovered in his face the living original of the portrait. His first impulse was to utter an exclamation of terror, but his breath felt stopped. He was then rising to pursue the figure, but a moment's reflection checked him. What could be more absurd, than to be alarmed or amazed at a resemblance between a living man and the portrait of a dead one! The likeness was doubtless strong enough to strike him even in that darkened room, but it was doubtless only a likeness; and though it might be imposing enough to terrify an old man of gloomy and retired habits, and with a broken constitution, John resolved it should not produce the same effect on him.

But while he was applauding himself for this resolution, the door opened, and the figure appeared at it, beckoning and nodding to him, with a familiarity somewhat terrifying. John now started up, determined to pursue it; but the pursuit was stopped by the weak but shrill cries of his uncle, who was struggling at once with the agonies of death and his housekeeper. The poor woman, anxious for her master's reputation and her own, was trying to put on him a clean shirt and nightcap, and Melmoth, who had just sensation enough to perceive they were taking something from him, continued exclaiming feebly, "They are robbing me,--robbing me in my last moments,--robbing a dying man. John, won't you assist me,--I shall die a beggar; they are taking my last shirt,--I shall die a beggar."--And the miser died.

. . . . .

A few days after the funeral, the will was opened before proper witnesses, and John was found to be left sole heir to his uncle's property, which, though originally moderate, had, by his grasping habits, and parsimonious life, become very considerable.

As the attorney who read the will concluded, he added, "There are some words here, at the corner of the parchment, which do not appear to be part of the will, as they are neither in the form of a codicil, nor is the signature of the testator affixed to them; but, to the best of my belief, they are in the handwriting of the deceased." As he spoke he showed the lines to Melmoth, who immediately recognized his uncle's hand (that perpendicular and penurious hand, that seems determined to make the most of the very paper, thriftily abridging every word, and leaving scarce an atom of margin), and read, not without some emotion, the following words: "I enjoin my nephew and heir, John Melmoth, to remove, destroy, or cause to be destroyed, the portrait inscribed J. Melmoth, 1646, hanging in my closet. I also enjoin him to search for a manuscript, which I think he will find in the third and lowest left-hand drawer of the mahogany chest standing under that portrait,--it is among some papers of no value, such as manuscript sermons, and pamphlets on the improvement of Ireland, and such stuff; he will distinguish it by its being tied round with a black tape, and the paper being very moldy and discolored. He may read it if he will;--I think he had better not. At all events, I adjure him, if there be any power in the adjuration of a dying man, to burn it."

After reading this singular memorandum, the business of the meeting was again resumed; and as old Melmoth's will was very clear and legally worded, all was soon settled, the party dispersed, and John Melmoth was left alone.

. . . . .

He resolutely entered the closet, shut the door, and proceeded to search for the manuscript. It was soon found, for the directions of old Melmoth were forcibly written, and strongly remembered. The manuscript, old, tattered, and discolored, was taken from the very drawer in which it was mentioned to be laid. Melmoth's hands felt as cold as those of his dead uncle, when he drew the blotted pages from their nook. He sat down to read,--there was a dead silence through the house. Melmoth looked wistfully at the candles, snuffed them, and still thought they looked dim, (perchance he thought they burned blue, but such thought he kept to himself). Certain it is, he often changed his posture, and would have changed his chair, had there been more than one in the apartment.

He sank for a few moments into a fit of gloomy abstraction, till the sound of the clock striking twelve made him start,--it was the only sound he had heard for some hours, and the sounds produced by inanimate things, while all living beings around are as dead, have at such an hour an effect indescribably awful. John looked at his manuscript with some reluctance, opened it, paused over the first lines, and as the wind sighed round the desolate apartment, and the rain pattered with a mournful sound against the dismantled window, wished--what did he wish for?--he wished the sound of the wind less dismal, and the dash of the rain less monotonous.--He may be forgiven, it was past midnight, and there was not a human being awake but himself within ten miles when he began to read.

. . . . .

The manuscript was discolored, obliterated, and mutilated beyond any that had ever before exercised the patience of a reader. Michaelis himself, scrutinizing into the pretended autograph of St. Mark at Venice, never had a harder time of it.--Melmoth could make out only a sentence here and there. The writer, it appeared, was an Englishman of the name of Stanton, who had traveled abroad shortly after the Restoration. Traveling was not then attended with the facilities which modern improvement has introduced, and scholars and literati, the intelligent, the idle, and the curious, wandered over the Continent for years, like Tom Corvat, though they had the modesty, on their return, to entitle the result of their multiplied observations and labors only "crudities."

Stanton, about the year 1676, was in Spain; he was, like most of the travelers of that age, a man of literature, intelligence, and curiosity, but ignorant of the language of the country, and fighting his way at times from convent to convent, in quest of what was called "Hospitality," that is, obtaining board and lodging on the condition of holding a debate in Latin, on some point theological or metaphysical, with any monk who would become the champion of the strife. Now, as the theology was Catholic, and the metaphysics Aristotelian, Stanton sometimes wished himself at the miserable Posada from whose filth and famine he had been fighting his escape; but though his reverend antagonists always denounced his creed, and comforted themselves, even in defeat, with the assurance that he must be damned, on the double score of his being a heretic and an Englishman, they were obliged to confess that his Latin was good, and his logic unanswerable; and he was allowed, in most cases, to sup and sleep in peace. This was not doomed to be his fate on the night of the 17th August 1677, when he found himself in the plains of Valencia, deserted by a cowardly guide, who had been terrified by the sight of a cross erected as a memorial of a murder, had slipped off his mule unperceived, crossing himself every step he took on his retreat from the heretic, and left Stanton amid the terrors of an approaching storm, and the dangers of an unknown country. The sublime and yet softened beauty of the scenery around, had filled the soul of Stanton with delight, and he enjoyed that delight as Englishmen generally do, silently.

The magnificent remains of two dynasties that had passed away, the ruins of Roman palaces, and of Moorish fortresses, were around and above him;--the dark and heavy thunder clouds that advanced slowly, seemed like the shrouds of these specters of departed greatness; they approached, but did not yet overwhelm or conceal them, as if Nature herself was for once awed by the power of man; and far below, the lovely valley of Valencia blushed and burned in all the glory of sunset, like a bride receiving the last glowing kiss of the bridegroom before the approach of night. Stanton gazed around. The difference between the architecture of the Roman and Moorish ruins struck him. Among the former are the remains of a theater, and something like a public place; the latter present only the remains of fortresses, embattled, castellated, and fortified from top to bottom,--not a loophole for pleasure to get in by,--the loopholes were only for arrows; all denoted military power and despotic subjugation a l'outrance. The contrast might have pleased a philosopher, and he might have indulged in the reflection, that though the ancient Greeks and Romans were savages (as Dr. Johnson says all people who want a press must be, and he says truly), yet they were wonderful savages for their time, for they alone have left traces of their taste for pleasure in the countries they conquered, in their superb theaters, temples (which were also dedicated to pleasure one way or another), and baths, while other conquering bands of savages never left anything behind them but traces of their rage for power. So thought Stanton, as he still saw strongly defined, though darkened by the darkening clouds, the huge skeleton of a Roman amphitheater, its arched and gigantic colonnades now admitting a gleam of light, and now commingling with the purple thunder cloud; and now the solid and heavy mass of a Moorish fortress, no light playing between its impermeable walls,-- the image of power, dark, isolated, impenetrable. Stanton forgot his cowardly guide, his loneliness, his danger amid an approaching storm and an inhospitable country, where his name and country would shut every door against him, and every peal of thunder would be supposed justified by the daring intrusion of a heretic in the dwelling of an old Christian, as the Spanish Catholics absurdly term themselves, to mark the distinction between them and the baptized Moors.

All this was forgot in contemplating the glorious and awful scenery before him,--light struggling with darkness,--and darkness menacing a light still more terrible, and announcing its menace in the blue and livid mass of cloud that hovered like a destroying angel in the air, its arrows aimed, but their direction awfully indefinite. But he ceased to forget these local and petty dangers, as the sublimity of romance would term them, when he saw the first flash of the lightning, broad and red as the banners of an insulting army whose motto is Vae victis, shatter to atoms the remains of a Roman tower;--the rifted stones rolled down the hill, and fell at the feet of Stanton. He stood appalled, and, awaiting his summons from the Power in whose eye pyramids, palaces, and the worms whose toil has formed them, and the worms who toil out their existence under their shadow or their pressure, are perhaps all alike contemptible, he stood collected, and for a moment felt that defiance of danger which danger itself excites, and we love to encounter it as a physical enemy, to bid it "do its worst," and feel that its worst will perhaps be ultimately its best for us. He stood and saw another flash dart its bright, brief, and malignant glance over the ruins of ancient power, and the luxuriance of recent fertility. Singular contrast! The relics of art forever decaying,--the productions of nature forever renewed.--(Alas! for what purpose are they renewed, better than to mock at the perishable monuments which men try in vain to rival them by.) The pyramids themselves must perish, but the grass that grows between their disjointed stones will be renewed from year to year.

Stanton was thinking thus, when all power of thought was suspended, by seeing two persons bearing between them the body of a young, and apparently very lovely girl, who had been struck dead by the lightning. Stanton approached, and heard the voices of the bearers repeating, "There is none who will mourn for her!" "There is none who will mourn for her!" said other voices, as two more bore in their arms the blasted and blackened figure of what had once been a man, comely and graceful;--"there is not ONE to mourn for her now!" They were lovers, and he had been consumed by the flash that had destroyed her, while in the act of endeavoring to defend her. As they were about to remove the bodies, a person approached with a calmness of step and demeanor, as if he were alone unconscious of danger, and incapable of fear; and after looking on them for some time, burst into a laugh so loud, wild, and protracted, that the peasants, starting with as much horror at the sound as at that of the storm, hurried away, bearing the corpses with them. Even Stanton's fears were subdued by his astonishment, and, turning to the stranger, who remained standing on the same spot, he asked the reason of such an outrage on humanity. The stranger, slowly turning round, and disclosing a countenance which--(Here the manuscript was illegible for a few lines), said in English--(A long hiatus followed here, and the next passage that was legible, though it proved to be a continuation of the narrative, was but a fragment.)

. . . . .

The terrors of the night rendered Stanton a sturdy and unappeasable applicant; and the shrill voice of the old woman, repeating, "no heretic--no English--Mother of God protect us--avaunt Satan!"-- combined with the clatter of the wooden casement (peculiar to the houses in Valencia) which she opened to discharge her volley of anathematization, and shut again as the lightning glanced through the aperture, were unable to repel his importunate request for admittance, in a night whose terrors ought to soften all the miserable petty local passions into one awful feeling of fear for the Power who caused it, and compassion for those who were exposed to it.--But Stanton felt there was something more than national bigotry in the exclamations of the old woman; there was a peculiar and personal horror of the English.--And he was right; but this did not diminish the eagerness of his. . . .

. . . . .

The house was handsome and spacious, but the melancholy appearance of desertion . . . .

. . . . .

--The benches were by the wall, but there were none to sit there; the tables were spread in what had been the hall, but it seemed as if none had gathered round them for many years;--the clock struck audibly, there was no voice of mirth or of occupation to drown its sound; time told his awful lesson to silence alone;--the hearths were black with fuel long since consumed;--the family portraits looked as if they were the only tenants of the mansion; they seemed to say, from their moldering frames, "there are none to gaze on us;" and the echo of the steps of Stanton and his feeble guide, was the only sound audible between the peals of thunder that rolled still awfully, but more distantly,--every peal like the exhausted murmurs of a spent heart. As they passed on, a shriek was heard. Stanton paused, and fearful images of the dangers to which travelers on the Continent are exposed in deserted and remote habitations, came into his mind. "Don't heed it," said the old woman, lighting him on with a miserable lamp;--"it is only he. . . .

. . . . .

The old woman having now satisfied herself, by ocular demonstration, that her English guest, even if he was the devil, had neither horn, hoof, nor tail, that he could bear the sign of the cross without changing his form, and that, when he spoke, not a puff of sulphur came out of his mouth, began to take courage, and at length commenced her story, which, weary and comfortless as Stanton was, . . . .