The Dream - Mary Shelley

THE time of the occurrence of the little legend about to be narrated, was that of the commencement of the reign of Henry IV of France, whose accession and conversion, while they brought peace to the kingdom whose throne he ascended, were inadequate to heal the deep wounds mutually inflicted by the inimical parties. Private feuds, and the memory of mortal injuries, existed between those now apparently united; and often did the hands that had clasped each p other in seeming friendly greeting, involuntarily, as the grasp was released, clasp the dagger's hilt, as fitter spokesman to their passions than the words of courtesy that had just fallen from their lips. Many of the fiercer Catholics retreated to their distant provinces; and while they concealed in solitude their rankling discontent, not less keenly did they long for the day when they might show it openly. In a large and fortified château built on a rugged steep overlooking the Loire, not far from the town of Nantes, dwelt the last of her race, and the heiress of their fortunes, the young and beautiful Countess de Villeneuve. She had spent the preceding year in complete solitude in her secluded abode; and the mourning she wore for a father and two brothers, the victims of the civil wars, was a graceful and good reason why she did not appear at court, and mingle with its festivities. But the orphan countess inherited a high name and broad lands; and it was soon signified to her that the king, her guardian, desired that she should bestow them, together with her hand, upon some noble whose birth and accomplishments should entitle him to the gift. Constance, in reply, expressed her intention of taking vows, and retiring to a convent. The king earnestly and resolutely forbade this act, believing such an idea to be the result of sensibility overwrought by sorrow, and relying on the hope that, after a time, the genial spirit of youth would break through this cloud.

A year passed, and still the countess persisted; and at last Henry, unwilling, to exercise compulsion, —desirous, too, of judging for himself of the motives that led one so beautiful, young, and gifted with fortune's favours, to desire to bury herself in a cloister, —announced his intention, now that the period of her mourning was expired, of visiting her château; and if he brought not with him, the monarch said, inducement sufficient to change her design, he would yield his consent to its fulfilment.

Many a sad hour had Constance passed —many a day of tears, and many a night of restless misery. She had closed her gates against every visitant; and, like the Lady Olivia in 'Twelfth Night', vowed herself to loneliness and weeping. Mistress of herself, she easily silenced the entreaties and remonstrances of underlings, and nursed her grief as it had been the thing she loved. Yet it was too keen, too bitter, too burning, to be a favoured guest. In fact, Constance, young, ardent, and vivacious, battled with it, struggled and longed to cast it off; but all that was joyful in itself, or fair in outward show, only served to renew it; and she could best support the burden of her sorrow with patience, when, yielding to it, it oppressed but did not torture her.

Constance had left the castle to wander in the neighbouring grounds. Lofty and extensive as were the apartments of her abode, she felt pent up within their walls, beneath their fretted roofs. The spreading uplands and the antique wood, associated to her with every dear recollection of her past life, enticed her to spend hours and days beneath their leafy coverts. The motion and change eternally working, as the wind stirred among the boughs, or the journeying sun rained its beams through them, soothed and called her out of that dull sorrow which clutched her heart with so unrelenting a pang beneath her castle roof.

There was one spot on the verge of the well-wooded park, one nook of ground, whence she could discern the country extended beyond, yet which was in itself thick set with tall umbrageous trees —a spot which she had forsworn, yet whither unconsciously her steps for ever tended, and where again for the twentieth time that day, she had unaware found herself. She sat upon a grassy mound, and looked wistfully on the flowers she had herself planted to adorn the verdurous recess —to her the temple of memory and love. She held the letter from the king which was the parent to her of so much despair. Dejection sat upon her features, and her gentle heart asked fate why, so young, unprotected, and forsaken, she should have to struggle with this new form of wretchedness.

'I but ask,' she thought, 'to live in my father's halls —in the spot familiar to my infancy --to water with my frequent tears the graves of those I loved; and here in these woods, where such a mad dream of happiness was mine, to celebrate for ever the obsequies of Hope!'

A rustling among the boughs now met her car —her heart beat quick —all again was still.

'Foolish girl!' she half muttered; 'dupe of thine own passionate fancy: because here we met; because seated here I have expected, and sounds like these have announced, his dear approach; so now every. coney as it stirs, and every bird as it awakens silence, speaks of him. O Gaspar! —mine once —never again will this beloved spot be made glad by thee —never more!'

Again the bushes were stirred, and footsteps were heard in the brake. She rose; her heart beat high; it must be that silly Manon, with her impertinent entreaties for her to return. But the steps were firmer and slower than would be those of her waiting-woman; and now emerging from the shade, she too plainly discerned the intruder. He first impulse was to fly: but once again to see him —to hear his voice: —once again before she placed eternal vows between them, to stand together, and find the wide chasm filled which absence had made, could not injure the dead, and would soften the fatal sorrow that made her cheek so pale.

And now he was before, her, the same beloved one with whom she had exchanged vows of constancy. He, like her, seemed sad; nor could she resist the imploring glance that entreated her for one moment to remain.

'I come, lady,' said the young knight, 'without a hope to bend your inflexible will. 1 come but once again to see you, and to bid you farewell before I depart for the Holy Land. I come to beseech you not to immure yourself in the dark cloister to avoid one as hateful as myself, —one you will never see more. Whether I die or live, France and I are parted for ever!'

'That were fearful, were it true,' said Constance; 'but King Henry will never so lose his favourite cavalier. The throne you helped to build, you still will guard. Nay, as I ever had power over thought of thine, go not to Palestine.'

'One word of yours could detain me —one smile —Constance' —and the youthful lover knelt before her; but her harsher purpose was recalled by the image once so dear and familiar, now so strange and so forbidden.

'Linger no longer here!' she cried. 'No smile, no word of mine will ever again be yours. Why are you here —here, where the spirits of the dead wander, and claiming these shades as their own, curse the false girl who permits their murderer to disturb their sacred repose?'

'When love was young and you were kind,' replied the knight, 'you taught me to thread the intricacies of these woods you welcomed me to this dear spot, where once you vowed to be my own —even beneath these ancient trees.'

'A wicked sin it was,' said Constance, 'to unbar my father's doors to the son of his enemy, and dearly is it punished!'

The young knight gained courage as she spoke; yet he dared not move, lest she, who, every instant, appeared ready to take flight, should be startled from her momentary tranquillity, but he slowly replied: —'Those were happy days, Constance, full of terror and deep joy, when evening brought me to your feet; and while hate and vengeance were as its atmosphere to yonder frowning castle, this leafy, starlit bower was the shrine of love.'

'Happy ? —miserable days!' echoed Constance; 'when I imagined good could arise from failing in my duty, and that disobedience would be rewarded of God. Speak not of love, Gaspar! --a sea of blood divides us for ever! Approach me not! The dead and the beloved stand even now between us: their pale shadows warn me of my fault, and menace me for listening to their murderer.'

'That am not I!' exclaimed the youth. 'Behold, Constance, we are each the last of our race. Death has dealt cruelly with us, and we are alone. It was not so when first we loved —when parent, kinsman, brother, nay, my own mother breathed curses on the house of Villeneuve; and in spite of all I blessed it. I saw thee, my lovely one, and blessed it. The God of peace planted love in our hearts, and with mystery and secrecy we met during many a summer night in the moonlit dells; and when daylight was abroad, in this sweet recess we fled to avoid its scrutiny, and here, even here, where now I kneel in supplication, we both knelt and made our vows. Shall they be broken?'

Constance wept as her lover recalled the images of happy hours. 'Never,' she exclaimed, 'O never! Thou knowest, or wilt soon know, Gaspar, the faith and resolves of one who dare not be yours. Was it for us to talk of love and happiness, when war, and hate, and blood were raging around! The fleeting flowers our young hands strewed were trampled by the deadly encounter of mortal foes. By your father's hand mine died; and little boots it to know whether, as my brother swore, and you deny, your hand did or did not deal the blow that destroyed him. You fought among those by whom he died. Say no more —no other word: it is impiety towards the unreposing dead to hear you. Go, Gaspar; forget me. Under the chivalrous and gallant Henry your career may he glorious; and some fair girl will listen, as once I did, to your vows, and be made happy by them. Farewell! May the Virgin bless you! In my cell and cloister-home I will not forget the best Christian lesson —to pray for our enemies. Gaspar, farewell!'

She glided hastily from the bower: with swift steps she threaded the glade and sought the castle. Once within the seclusion of her own apartment she gave way to the burst of grief that tore her gentle bosom like a tempest; for hers was that worst sorrow, which taints past joys, making wait upon the memory of bliss, and linking love and fancied guilt in such fearful society as that of -the tyrant when he bound a living body to a corpse. Suddenly a thought darted into her mind. At first she rejected it as puerile and superstitious; but it would not be driven away. She called hastily for her attendant. 'Manon,' she said, 'didst thou ever sleep on St Catherine's couch?'

Manon crossed herself. 'Heaven forefend! None ever did, since I was born, but two: one fell into the Loire and was drowned; the other only looked upon the narrow bed, and turned to her own home without a word. It is an awful place; and if the votary have not led a pious and good life, woe betide the hour when she rests her head on the holy stone!'

Constance crossed herself also. 'As for our lives, it is only through our Lord and the blessed saints that we can any of us hope for righteousness. I will sleep on that couch tomorrow night!'

'Dear, my lady! and the king arrives tomorrow.'

'The more need that I resolve. It cannot be that misery so intense should dwell in any heart, and no cure be found. I had hoped to be the bringer of peace to our houses; and if the good work to be for me a crown of thorns Heaven shall direct me. I will rest tomorrow night on St Catherine's bed: and if, as I have heard, the saint deigns to direct her votaries in dreams, I will be guided by her; and, believing that I act according to the dictates of Heaven, I shall feel resigned even to the worst.'

The king was on his way to Nantes from Paris, and he slept )n this night at a castle but a few miles distant Before dawn a young cavalier was introduced into his chamber. The knight had a serious, nay, a sad aspect; and all beautiful as he was in feature and limb, looked wayworn and haggard. He stood silent in Henry's presence, who, alert and gay, turned his lively blue eyes upon his guest, saying gently, 'So thou foundest her obdurate, Gaspar?'

'I found her resolved on our mutual misery. Alas! my liege, it is not, credit me, the least of my grief, that Constance sacrifices her own happiness when she destroys mine.'

'And thou believest that she will say nay to the gaillard chevalier whom we ourselves present to her ?'

'Oh, my liege, think not that thought! it cannot be. My heart deeply, most deeply, thanks you for your generous condescension. But she whom her lover's voice in solitude —whose entreaties, when memory and seclusion aided the spell —could not persuade, will resist even your majesty's commands. She is bent upon entering a cloister; and I, so please you, will now take my leave: —1 am henceforth a soldier of the cross.'

'Gaspar,' said the monarch, 'I know woman better than thou. It is not by submission nor tearful plaints she is to be won. The death of her relatives naturally sits heavy at the young countess' heart; and nourishing in solitude her regret and her repentance, she fancies that Heaven itself forbids your union. Let the voice of the world reach her —the voice of earthly power and earthly kindness —the one commanding, the other pleading, and both finding response in her own heart —and by my say and the Holy Cross. she will be yours. Let our plan still hold. And now to horse: the morning wears, and the sun is risen.'

The king arrived at the bishop's palace, and proceeded forthwith to mass in the cathedral. A sumptuous dinner succeeded, and it was afternoon before the monarch proceeded through the town beside the Loire to where, a little above Nantes, the Chateau Villeneuve was situated. The, young countess received him at the gate. Henry looked in vain for the cheek blanched by misery, the aspect of downcast despair which he had been taught to expect. Her cheek was flushed, her manner animated, her voice scarce tremulous. 'She loves him not,' thought Henry, or already her heart has consented.'

A collation was prepared for the monarch; and after some little hesitation, arising from the cheerfulness of her mien, he mentioned the name of Gaspar. Constance blushed instead of turning pale, and replied very quickly, 'Tomorrow, good my liege; I ask for a respite but until tomorrow; —all will then be decided; —tomorrow I am vowed to God —or' -

She looked confused, and the king, at once surprised and pleased, said, 'Then you hate not young De Vaudemont; —you forgive him for the inimical blood that warms his veins.'

'We are taught that we should forgive, that we should love our enemies,' the countess replied, with some trepidation.

'Now, by Saint Denis, that is a right welcome answer for the novice,' said the king, laughing. 'What ho! my faithful servingman, Don Apollo in disguise! come forward, and thank your lady for her love.'

In such disguise as had concealed him from all, the cavalier had hung behind, and viewed with infinite surprise the demeanour and calm countenance of the lady. He could not hear her words: but was this even she whom he had seen trembling and weeping the evening before? this she whose very heart was torn by conflicting passion? —who saw the pale ghosts of parent and kinsman stand between her and the lover whom more than her life she adored? It was a riddle hard to solve. The king's call was in unison with his impatience, and he sprang forward. He was at her feet; while she, still passion-driven overwrought by the very calmness she had assumed, uttered one cry as she recognized him. and sank senseless on the floor.

All this was very unintelligible. Even when her attendants had brought her to life, another fit succeeded, and then passionate floods of tears; while the monarch, waiting in the hall, eyeing the half-eaten collation, and, humming some romance in commemoration of woman's waywardness, knew not how to reply to Vaudemont's look of bitter disappointment and anxiety. At length the countess' chief attendant came with an apology. 'Her lady was ill, very ill. The next day she would throw herself at the king's feet, at once to solicit his excuse, and to disclose her purpose.'

'Tomorrow —again tomorrow! Does tomorrow bear some charm, maiden?' said the king. 'Can you read us the riddle pretty one? What strange tale belongs to tomorrow, that all rests on its advent?

Manon coloured, looked down, and hesitated. But Henry was no tyro in the art of enticing ladies' attendants to disclose their ladies' council. Manon was besides, frightened by the countess' scheme, on which she was still obstinately bent, so she was the more readily induced to betray it. To sleep in St Catherine's bed, to rest on a narrow ledge overhanging the deep rapid Loire, and if, as was most probable, the luckless dreamer escaped from falling into it, to take the disturbed visions that, such uneasy slumber might produce for the dictate of Heaven, was a madness of which even Henry himself could scarcely . deem any woman capable. But could Constance, her whose beauty was so highly intellectual, and whom he had heard perpetually praised for her strength of mind and talents, could she be so strangely infatuated! And can passion play such freaks with us? —like death, levelling even the aristocracy of the soul, and bringing noble and peasant, the wise and foolish, under one thraldom? It was strange —yes she must have her way. That she hesitated in her decision was much; and it was to he hoped that St Catherine would play no ill-natured part. Should it be otherwise, a purpose to be swayed by a dream might be influenced by other waking thoughts. To the more material kind of danger some safeguard should be brought.

There is no feeling more awful than that which invades a weak human heart bent upon gratifying its ungovernable impulses in contradiction to the dictates of conscience. Forbidden pleasures are said to be the most agreeable; —it may be so to rude natures, to those who love to struggle, combat, and contest; who find happiness in a fray, and joy in the conflict of passion. But softer and sweeter was the gentle spirit of Constance; and love and duty contending crushed and tortured her poor heart. To commit her conduct to the inspirations of religion, or, if it was so to be named, of superstition, was a blessed relief. The very perils that threatened her undertaking gave zest to it; —to dare for his sake was happiness; —the very difficulty of the way that led to the completion of her wishes at once gratified her love and distracted her thoughts from her despair. Or if it was decreed that she must sacrifice all, the risk of danger and of death were of trifling import in comparison with the anguish which would then be her portion for ever.

The night threatened to be stormy, the raging wind shook the casements, and the trees waved their huge shadowy arms, as giants might in fantastic dance and mortal broil. Constance and Manon, unattended, quitted the chateau by a postern, and began to descend the hillside. The moon had not yet risen; and though the way was familiar to both, Manon tottered and trembled; while the countess, drawing her silken cloak around her, walked with a firm step down the steep. They came to the river's side, where a small boat was moored, and one man was in waiting. Constance stepped lightly in, and then aided her fearful companion. In a few moments they were in the middle of the stream. The warm, tempestuous, animating, equinoctial wind swept over them. For the first time since her mourning, a thrill of pleasure swelled the bosom of Constance. She hailed the emotion with double joy. It cannot be, she thought, that Heaven will forbid me to love one so brave, so generous, and so good as the noble Gaspar. Another I can never love; 1 shall die if divided from him; and this heart, these limbs, so alive with glowing sensation, are they already predestined to an early grave? Oh no 1 life speaks aloud within them: 1 shall live to love. Do not all things love? —the winds as they whisper to the rushing waters? the waters as they kiss the flowery banks, and speed to mingle with the sea? Heaven and earth are sustained by, and live through, love; and shall Constance alone, whose heart has ever been a deep, gushing, overflowing well of true affection, be compelled to set a stone upon the fount to lock it up for ever?

These thoughts bade fair for pleasant dreams; and perhaps the countess, an adept in the blind god's lore, therefore indulged them the more readily. But as thus she was engrossed by soft emotions, Manon caught her arm: —'Lady, look,' she cried; 'it comes yet the oars have no sound. Now the Virgin shield us! Would we were at home!'

A dark boat glided by them. Four rowers, habited in black cloaks, pulled at oars which, as Manon said, gave no sound; another sat at the helm: like the rest, his person was veiled in a dark mantle, but he wore no cap; and though his face was turned from them, Constance recognized her lover. 'Gaspar,' she cried aloud, 'dost thou live?' —but the figure in the boat neither turned its head nor replied, and quickly it was lost. in the shadowy waters.

How changed now was the fair countess' reverie! Already Heaven had begun its spell, and unearthly forms were around, as she strained her eyes through the gloom. Now she saw and now she lost view of the bark that occasioned her terror; and now it seemed that another was there, which held the spirits of the dead; and her father waved to her from shore, and her brothers frowned on her.

Meanwhile they neared the landing. Her bark was moored in a little cove, and Constance stood upon the bank. Now she trembled, and half yielded to Manon's entreaty to return; till the unwise suivante mentioned the king's and De Vaudemont's name, and spoke of the answer to be given tomorrow. What answer, if she turned back from her intent?

She now hurried forward up the broken ground of the bank, and then along its edge, till they came to a bill which abruptly hung over the tide. A small chapel stood near. With trembling fingers the countess drew forth the key and unlocked its. door. They entered. It was dark —save that a little lamp, flickering in the wind, showed an uncertain light from before the figure of Saint Catherine. The two women knelt; they prayed; and then rising, with a cheerful accent the countess bade her attendant good-night. She unlocked a little low iron door. It opened on a narrow cavern. The roar of waters was heard beyond. 'Thou mayest not follow, my poor Manon,' said Constance, — 'nor dost thou much desire: —this adventure is for me alone.'

It was hardly fair to leave the trembling servant in the chapel alone, who had neither hope nor fear, nor love, nor grief to beguile her; but, in those days, esquires and waiting-women often played the part of subalterns in the army, gaming knocks and no fame. Besides, Manon was safe in holy ground. The countess meanwhile pursued her way groping in the dark through the narrow tortuous passage. At length what seemed light to her long darkened sense gleamed on her. She reached an open cavern in the overhanging hill's side, looking over the rushing tide beneath. . She looked out upon the night. The waters of the Loire were speeding, as since that day have they ever sped —changeful, yet the same; the heavens were thickly veiled with clouds, and the wind in the trees was as mournful and ill-omened as if it rushed round a murderer's tomb. Constance shuddered a little, and looked upon her, bed, —a narrow ledge of earth and a grown stone bordering on the very verge of the precipice. She doffed her mantle, —such was one of the conditions of the spell; —she bowed her head, and loosened the tresses of her dark hair; she bared her feet; and thus, fully prepared for suffering to the utmost the chill influence of the cold night, she stretched herself on the narrow couch that scarce afforded room for her repose, and whence, if she moved in sleep, she must he precipitated into the cold waters below.

At first it seemed to her as if she never should sleep again. No great wonder that exposure to the blast and her perilous position should forbid her eyelids to close. At length she fell into a reverie so soft and soothing that she wished even to watch,; and then by degrees her senses became confused; and now she was on St Catherine's bed —the Loire rushing beneath, and the wild wind sweeping by —and now —oh whither? —and what dreams did the saint send, to drive her to despair, or to bid her be blest for ever?

Beneath the rugged hill, upon the dark tide, another watched, who feared a thousand things, and scarce dared hope. He had meant to precede the lady on her way, but when he found that he had outstayed his time, with muffled oars and breathless haste he had shot by the bark that contained his Constance, nor even turned at her voice, fearful to incur her blame, and her commands to return. He had seen her emerge from the passage, and shuddered as she leant over the cliff. He saw her step forth, clad as she was in white, and could mark her as she lay on the edge beetling above. What a vigil did the lovers keep! —she given up to visionary thoughts, he knowing —and the consciousness thrilled his bosom with strange emotion —that love, and love for him, had led her to that perilous couch; and that while angers surrounded her in every shape, she was alive only to a small still voice that whispered to her heart the dream which was to decide their destinies. She slept perhaps —but he waked rid watched; and night wore away, as now praying, now entranced by alternating hope and fear, he sat in his boat, his eyes fixed on the white garb of the slumberer above.

Morning—was it morning that struggled in the clouds? Would morning ever come to waken her? And had she slept? and what dreams of weal or woe had peopled her sleep? Gaspar grew impatient. He commanded his boatmen still to wait, and he sprang forward, intent on clambering the precipice. In vain they urged the danger, nay, the impossibility of the attempt; he clung to the rugged face of the hill, and found footing where it would seem no footing was. The acclivity, indeed, was not high; the dangers of St Catherine's bed arising from the likelihood that any one who slept on so narrow a couch would be precipitated into the waters beneath. Up the steep ascent Gaspar continued to toil, and at last reached the roots of a tree that grew near the summit. Aided by its branches, he made good his stand at the very extremity of the ledge, near the pillow on which lay the uncovered head of his beloved. Her hands were folded on her bosom; her dark hair fell round her throat and pillowed her cheek; her face was serene: sleep was there in all its innocence and in all its helplessness; every wilder emotion was hushed, and her bosom heaved in regular breathing. He could see her heart beat as it lifted her fair hands crossed above. No statue hewn of marble in monumental effigy was ever half so fair; and within that surpassing form dwelt a soul true, tender, self-devoted, and affectionate as ever warmed a human breast.

With what deep passion did Gaspar gaze, gathering hope from the placidity of her angel countenance! A smile wreathed her lips, and he too involuntarily smiled, as he hailed the happy omen; when suddenly her cheek was flushed, her bosom heaved, a tear stole from her dark lashes, and then a whole shower fell, as starting up she cried, 'No! —he shall not die! —I will unloose his chains! —I will save him!' Gaspar's hand was there. He caught her light form ready to fall from the perilous couch. She opened her eyes and beheld her lover, who had watched over her dream of fate, and who had saved her.

Manon also had slept well, dreaming or not, and was startled in the morning to find that she waked surrounded by a crowd. The little desolate chapel was hung with tapestry, the altar adorned with golden chalices —the priest was chanting mass to a goodly array of kneeling knights. Manon saw that King Henry was there; and she looked for another whom she found not, when the iron door of the cavern passage opened, and Gaspar de Vaudemont entered from it, leading the fair form of Constance; who, in her white robes and dark dishevelled hair, with a face in which smiles and blushes contended with deeper emotion, approached the altar, and, kneeling with her lover, pronounced the vows that united them for ever.

It was long before the happy Gaspar could win from his lady the secret of her dream. In spite of the happiness she now enjoyed, she had suffered too much not to look back even with terror to those days when she thought love a crime, and every event connected with them wore an awful aspect. 'Many a vision,' she said, 'she had that fearful night. She had seen the spirits of her father and brothers in Paradise; she had beheld Gaspar victoriously combating among the infidels; she had beheld him in King Henry's court, favoured and beloved; and she herself —now pining in a cloister, now a bride, now grateful to Heaven for the full measure of bliss presented to her, now weeping away her sad days —till suddenly she thought herself in Paynim land; and the saint herself, St Catherine, guiding her unseen through the city of the infidels. She entered a palace, and beheld the miscreants rejoicing in victory; and then, descending to the dungeons beneath, they groped their way through damp vaults, and low, mildewed passages, to one cell, darker more frightful than the rest. On the floor lay one with soiled tattered garments, with unkempt locks and wild, matted beard. His cheek was worn and thin; his eyes had lost their fire; his form was a mere skeleton; the chains hung loosely on the fleshless bones.'

'And was it my appearance in that attractive state and winning costume that softened the hard heart of Constance?' asked Gaspar, smiling at this painting of what would never be.

'Even so,' replied Constance; 'for my heart whispered me that this was my doing; and who could recall the life that waned in your pulses —who restore, save the destroyer? My heart never warmed to my living, happy knight as then it did to his wasted image as it lay, in the visions of night, at my feet. A veil fell from my eyes; a darkness was dispelled from before me. Methought I then knew for the first time what life and what death was. I was bid believe that to make the living happy was not to injure the dead; and I felt how wicked and how vain was that false philosophy which placed virtue and good in hatred, and unkindness. You should not die; I would loosen your chains and save you, and bid you live for love. I sprang forward, and the death I deprecated for you would, in my presumption, have been mine, —then, when first I felt the real value of life, —but that your arm was there to save me, your dear voice to bid me be blest for evermore.'

THE END

The Curse of the Fires and of the Shadows - W.B. Yeats

One summer night, when there was peace, a score of Puritan troopers under the pious Sir Frederick Hamilton, broke through the door of the Abbey of the White Friars which stood over the Gara Lough at Sligo. As the door fell with a crash they saw a little knot of friars, gathered about the altar, their white habits glimmering in the steady light of the holy candles. All the monks were kneeling except the abbot, who stood upon the altar steps with a great brazen crucifix in his hand. 'Shoot them!' cried Sir Frederick Hamilton, but none stirred, for all were new converts, and feared the crucifix and the holy candles. The white lights from the altar threw the shadows of the troopers up on to roof and wall. As the troopers moved about, the shadows began a fantastic dance among the corbels and the memorial tablets. For a little while all was silent, and then five troopers who were the body-guard of Sir Frederick Hamilton lifted their muskets, and shot down five of the friars. The noise and the smoke drove away the mystery of the pale altar lights, and the other troopers took courage and began to strike. In a moment the friars lay about the altar steps, their white habits stained with blood. 'Set fire to the house!' cried Sir Frederick Hamilton, and at his word one went out, and came in again carrying a heap of dry straw, and piled it against the western wall, and, having done this, fell back, for the fear of the crucifix and of the holy candles was still in his heart. Seeing this, the five troopers who were Sir Frederick Hamilton's body-guard darted forward, and taking each a holy candle set the straw in a blaze. The red tongues of fire rushed up and flickered from corbel to corbel and from tablet to tablet, and crept along the floor, setting in a blaze the seats and benches. The dance of the shadows passed away, and the dance of the fires began. The troopers fell back towards the door in the southern wall, and watched those yellow dancers springing hither and thither.

For a time the altar stood safe and apart in the midst of its white light; the eyes of the troopers turned upon it. The abbot whom they had thought dead had risen to his feet and now stood before it with the crucifix lifted in both hands high above his head. Suddenly he cried with a loud voice, 'Woe unto all who smite those who dwell within the Light of the Lord, for they shall wander among the ungovernable shadows, and follow the ungovernable fires!' And having so cried he fell on his face dead, and the brazen crucifix rolled down the steps of the altar. The smoke had now grown very thick, so that it drove the troopers out into the open air. Before them were burning houses. Behind them shone the painted windows of the Abbey filled with saints and martyrs, awakened, as from a sacred trance, into an angry and animated life. The eyes of the troopers were dazzled, and for a while could see nothing but the flaming faces of saints and martyrs. Presently, however, they saw a man covered with dust who came running towards them. 'Two messengers,' he cried, 'have been sent by the defeated Irish to raise against you the whole country about Manor Hamilton, and if you do not stop them you will be overpowered in the woods before you reach home again! They ride north-east between Ben Bulben and Cashel-na-Gael.'

Sir Frederick Hamilton called to him the five troopers who had first fired upon the monks and said, 'Mount quickly, and ride through the woods towards the mountain, and get before these men, and kill them.'

In a moment the troopers were gone, and before many moments they had splashed across the river at what is now called Buckley's Ford, and plunged into the woods. They followed a beaten track that wound along the northern bank of the river. The boughs of the birch and quicken trees mingled above, and hid the cloudy moonlight, leaving the pathway in almost complete darkness. They rode at a rapid trot, now chatting together, now watching some stray weasel or rabbit scuttling away in the darkness. Gradually, as the gloom and silence of the woods oppressed them, they drew closer together, and began to talk rapidly; they were old comrades and knew each other's lives. One was married, and told how glad his wife would be to see him return safe from this harebrained expedition against the White Friars, and to hear how fortune had made amends for rashness. The oldest of the five, whose wife was dead, spoke of a flagon of wine which awaited
him upon an upper shelf; while a third, who was the youngest, had a sweetheart watching for his return, and he rode a little way before the others, not talking at all. Suddenly the young man stopped, and they saw that his horse was trembling. 'I saw something,' he said, 'and yet I do not know but it may have been one of the shadows. It looked like a great worm with a silver crown upon his head.' One of the five put his hand up to his forehead as if about to cross himself, but remembering that he had changed his religion he put it down, and said: 'I am certain it was but a shadow, for there are a great many about us, and of very strange kinds.' Then they rode on in silence. It had been raining in the earlier part of the day, and the drops fell from the branches, wetting their hair and their shoulders. In a little they began to talk again. They had been in many battles against many a rebel together, and now told each other over again the story of their wounds, and so awakened in their hearts the strongest of all fellowships, the fellowship of the sword, and half forgot the terrible solitude of the woods.

Suddenly the first two horses neighed, and then stood still, and would go no further. Before them was a glint of water, and they knew by the rushing sound that it was a river. They dismounted, and after much tugging and coaxing brought the horses to the river-side. In the midst of the water stood a tall old woman with grey hair flowing over a grey dress. She stood up to her knees in the water, and stooped from time to time as though washing. Presently they could see that she was washing something that half floated. The moon cast a flickering light upon it, and they saw that it was the dead body of a man, and, while they were looking at it, an eddy of the river turned the face towards them, and each of the five troopers recognised at the same moment his own face. While they stood dumb and motionless with horror, the woman began to speak, saying slowly and loudly: 'Did you see my son? He has a crown of silver on his head, and there are rubies in the crown.' Then the oldest of the troopers, he who had been most often wounded, drew his sword and cried: 'I have fought for the truth of my God, and need not fear the shadows of Satan,' and with that rushed into the water. In a moment he returned. The woman had vanished, and though he had thrust his sword into air and water he had found nothing.

The five troopers remounted, and set their horses at the ford, but all to no purpose. They tried again and again, and went plunging hither and thither, the horses foaming and rearing. 'Let us,' said the old trooper, 'ride back a little into the wood, and strike the river higher up.' They rode in under the boughs, the ground-ivy crackling under the hoofs, and the branches striking against their steel caps. After about twenty minutes' riding they came out again upon the river, and after another ten minutes found a place where it was possible to cross without sinking below the stirrups. The wood upon the other side was very thin, and broke the moonlight into long streams. The wind had arisen, and had begun to drive the clouds rapidly across the face of the moon, so that thin streams of light seemed to be dancing a grotesque dance among the scattered bushes and small fir-trees. The tops of the trees began also to moan, and the sound of it was like the voice of the dead in the wind; and the troopers remembered the belief that tells how the dead in purgatory are spitted upon the points of the trees and upon the points of the rocks. They turned a little to the south, in the hope that they might strike the beaten path again, but they could find no trace of it.

Meanwhile, the moaning grew louder and louder, and the dance of the white moon-fires more and more rapid. Gradually they began to be aware of a sound of distant music. It was the sound of a bagpipe, and they rode towards it with great joy. It came from the bottom of a deep, cup-like hollow. In the midst of the hollow was an old man with a red cap and withered face. He sat beside a fire of sticks, and had a burning torch thrust into the earth at his feet, and played an old bagpipe furiously. His red hair dripped over his face like the iron rust upon a rock. 'Did you see my wife?' he cried, looking up a moment; 'she was washing! she was washing!' 'I am afraid of him,' said the young trooper, 'I fear he is one of the Sidhe.' 'No,' said the old trooper, 'he is a man, for I can see the sun-freckles upon his face. We will compel him to be our guide'; and at that he drew his sword, and the others did the same. They stood in a ring round the piper, and pointed their swords at him, and the old trooper then told him that they must kill two rebels, who had taken the road between Ben Bulben and the great mountain spur that is called Cashel-na-Gael, and that he must get up before one of them and be their guide, for they had lost their way. The piper turned, and pointed to a neighbouring tree, and they saw an old white horse ready bitted, bridled, and saddled. He slung the pipe across his back, and, taking the torch in his hand, got upon the horse, and started off before them, as hard as he could go.

The wood grew thinner and thinner, and the ground began to slope up toward the mountain. The moon had already set, and the little white flames of the stars had come out everywhere. The ground sloped more and more until at last they rode far above the woods upon the wide top of the mountain. The woods lay spread out mile after mile below, and away to the south shot up the red glare of the burning town. But before and above them were the little white flames. The guide drew rein suddenly, and pointing upwards with the hand that did not hold the torch, shrieked out, 'Look; look at the holy candles!' and then plunged forward at a gallop, waving the torch hither and thither. 'Do you hear the hoofs of the messengers?' cried the guide. 'Quick, quick! or they will be gone out of your hands!' and he laughed as with delight of the chase. The troopers thought they could hear far off, and as if below them, rattle of hoofs; but now the ground began
to slope more and more, and the speed grew more headlong moment by moment. They tried to pull up, but in vain, for the horses seemed to have gone mad. The guide had thrown the reins on to the neck of the old white horse, and was waving his arms and singing a wild Gaelic song. Suddenly they saw the thin gleam of a river, at an immense distance below, and knew that they were upon the brink of the abyss that is now called Lug-na-Gael, or in English the Stranger's Leap. The six horses sprang forward, and five screams went up into the air, a moment later five men and horses fell with a dull crash upon the green slopes at the foot of the rocks.

Catherine & Heathcliff

Catherine announcing to Nelly her marriage to Linton

"I cannot express it; but surely you and everybody have a notion that there is or should be an existence of yours beyond you. What were the use of my creation, if I were entirely contained here? My great miseries in this world have been Heathcliff's miseries, and I watched and felt each from the beginning: my great thought in living is himself. If all else perished, and he remained, I should still continue to be; and if all else remained, and he were annihilated, the universe would turn to a mighty stranger: I should not seem a part of it. My love for Linton is like the foliage in the woods; time will change it, I'm well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary. Nelly, I am Heathcliff! He's always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being."

Catherine after her marriage with Linton during her illness

"'Look!" she cried eagerly, "that's my room with the candle in it, and the trees swaying before it: and the other candle is in Joseph's garret. Joseph sits up late, doesn't he? He's waiting till I come home that he may lock the gate. Well, he'll wait a while yet. It's a rough journey, and a sad heart to travel it; and we must pass by Gimmerton Kirk, to go that journey! We've braved its ghosts often together, and dared each other to stand among the graves and ask them to come. But, Heathcliff, if I dare you now, will you venture? If you do, I'll keep you. I'll not lie there by myself: they may bury me twelve feet deep, and throw the church down over me, but I won't rest till you are with me. I never will!"

Quarrel between Heathcliff and Catherine in Catherine's deathbed

"You teach me now how cruel you've been-cruel and false. Why did you despise me? Why did you betray you own heart, Cathy? I have not one word of comfort. You deserve this. You have killed yourself. Yes, you may kiss me, and cry; and wring out my kisses and tears: they'll blight you-they'll damn you. You loved me-then what right had you to leave me? What right-answer me-for the poor fancy you felt for Linton? Because misery and degradation, and death, and nothing that God or Satan could inflict would have parted us, you, of your own will, did it. I have not broken your heart-you have broken it; and in breaking it, you have broken mine. So much the worse for me, that I am strong. Do I want to live? What kind of living will it be when you-oh, God! would you like to live with your soul in the grave?"
"Let me alone. Let me alone," sobbed Catherine. "If I have done wrong, I'm dying for it. It is enough! You left me too: but I won't upbraid you! I forgive you. Forgive me!"
"It is hard to forgive, and to look at those eyes, and feel those wasted hands," he answered. "Kiss me again; and don't let me see your eyes! I forgive what you have done to me. I love my murderer-but yours! How can I?"

Heathcliff's reaction when he learns about Catherine's death

"May she wake in torment!" he cried, with frightful vehemence, stamping his foot, and groaning in a sudden paroxysm of ungovernable passion. "Why, she's a liar to the end! Where is she? Not there-not in heaven-not perished-where? Oh! you said you cared nothing for my sufferings! And I pray one prayer-I repeat it till my tongue stiffens-Catherine Earnshaw, may you not rest as long as I am living! You said I killed you-haunt me, then! The murdered do haunt their murderers, I believe. I know that ghosts have wandered on earth, Be with me always-take any form-drive me mad! only do not leave me in this abyss, where I cannot find you! Oh, God! it is unutterable! I cannot live without my life! I cannot live without my soul!"
He dashed his head against the knotted trunk; and, lifting up his eyes, howled, not like a man, but like a savage beast getting goaded to death with knives and spears. I observed several splashes of blood about the bark of the tree, and his hand and forehead were both stained; probably the scene I witnessed was a repetition of others acted during the night.

Heathcliff one step before his death, one step closer to his Catherine

"Then you are not afraid of death?" I pursued.
"Afraid? No!" he replied. "I have neither a fear, nor a presentiment, nor a hope of death. Why should I? With my hard constitution and temperate mode of living, and unperilous occupations there is scarcely a black hair on my head. And yet I cannot continue in this condition! I have to remind myself to breathe-almost to remind my heart to beat! And it is like bending back a stiff spring: it is by compulsion that I do the slightest act not prompted by one thought; and by compulsion that I notice anything alive or dead, which is not associated with one universal idea. I have a single wish, and my whole being and faculties are yearning to attain it. They have yearned towards it so long, and so unwaveringly, that I'm convinved it will be reached-and soon-because it has devoured my existence: I am swallowed up in the anticipation of its fulfilment. My confessions have not relieved me; but they may account for some otherwise unaccountable phases of humour which I show. O God! It is a long fight; I wish it were over!

These excerpts were taken from Emily Bronte's Wuthering Heights, one of my favourite novels and one that is purely Gothic. Catherine Earnshaw and Heathcliff loved each other with a strange but deep love, a love beyond time and space. And there is nothing more sublime that this...

Reviewing Tom Holland's The Vampyre

When I first encountered this particular book on the shelves of an English bookstore I was instantly attracted by its main title and even more by the subtitle: The Secret History of Lord Byron. Of course this is a pretty well known myth which has been made famous and proliferated by Polidori's Vampyre and relates Lord Byron with vampirism. And that is because Polidori's Vampyre based on a fragment of novel that Lord Byron himself attempted to write maintains a lot of characteristics with the Byronic Hero, which is not the real Byron but the caricature that has been created after his name. So attracted by this background and a lover of Lord Byron, I bought the book without any hesitation. I wanted to see how the writer managed to blend history with fantasy and to check if such an attempt was really possible and successful.

I have to admit that while I was reading the book I had a strange feeling that I couldn't help. I was refusing to connect the fictional Byron with the real Byron which was rather difficult since the novel had him as a protagonist. I refused to make the connection because I firmly believe that Holland's fantasy had nothing to do with the poet himself. Just taking a lot of biographical elements of a person's life and blending them with reality is like abusing in a way his true life, his true memory. And this is a thing in question, at least in my point of view. Why for example didn't the author choose to write about a completely fictional vampyre and why did he choose Lord Byron as the medium of his story? Was such a choice rather pure on its intention or was it a "catchy" idea? These thoughts preoccupied all the time, from the first till the last page of reading the book.

But let's discuss the more technical details. As far as the the plot is concerned I found a lot of flaws in it. There were many elements that didn't seem to fit, many things were kept unsaid and unexplained and I was left with a rather chaotic feeling. The ending itself was rather abrupt and very superficial. Although the writer tried through the novel to justify and explain the protagonist's choices and way of life, it left me with a vague feeling in the end. Nothing made sense. There was a gothic atmosphere but it didn't manage to take me with it.

Another thing that disappointed me in this particular novel was the thing that it had nothing to offer to the gothic genre in particular. It wasn't worthy of the pre-existent gothic novels and it wasn't either worthy of the present gothic needs. What I mean is that the Vampyres of Holland had similar characteristics to the main characters of the other gothic novels like Stoker's Dracula and Anne Rice's Lestat and it didn't make any new suggestions on what a vampire is or could be. On this respect, it was a rather boring reading. I have read many gothic-vampire fiction and what I really want each time is an author who will make some interesting suggestions and he will not repeat the same old stories.

Lastly, I have to say that the only thing that made me read the book till the end was that I wanted to see how the author mixed Lord Byron's biography and work with the figments of his imagination. I wouldn't say that he was successful in this part as well. When you decide to write such a novel and to talk fictionally about personalities strong and elegant like Lord Byron's you have too be at least worthy of their powerfullness. And this is a high-fetched challenge. Either you succeed or you fail. Your work cannot be mediocre. And I think that Tom Holland failed for all the above reasons. And that is a pity because we need good contemporary gothic literature.

Yes, it is a rather interesting story for those who do not have high expectations and want to read something with a quick plot but I wouldn't suggest it to a gothic lover or scholar who expects to find something worth reading, something innovative. But this is just my own opinion for all that matters. If anyone has read the novel it would be my pleasure to hear his comments on it.

Ann Radcliffe

Ann Radcliffe was the most popular writer of her day and almost universally admired. Contemporary critics called her the mighty enchantress and the Shakespeare of romance-writers. Her popularity continued through the nineteenth century; for Keats, she was Mother Radcliffe, and for Scott, the first poetess of romantic fiction

Little was or is known about Radcliffe's life, so not surprisingly apocryphal stories sprang up about her: it was reported that she had gone mad as a result of her dreadful imagination and been confined to an asylum, that she had been captured as a spy in Paris, or that she ate rare pork chops before retiring to stimulate nightmares for her novels; several times she was falsely rumored to be dead. She seems to have been happily married and to have been fortunate in having a husband who encouraged her to write. There is no explanation for why, at the age of thirty-two, the most popular writer of her times stopped publishing; there is of course much speculation by her biographers and by literary critics. In 1833, years after her death, her husband published some of her poems and a historical romance, Gaston de Blondville; it is not clear that she intended to publish these works. Gaston de Blondville is of interest because it is her only novel that does not explain away the supernatural happenings and because it contains, apparently as a preface, her thoughts on the sublime and Gothic fiction, "On the Supernatural in Poetry".

Radcliffe and sensibility

Radcliffe created the novel of suspense by combining the Gothic romance of Walpole with the novel of sensibility, which focused on the proper, tender heroine and emphasized the love interest. In all her novels, "a beautiful and solitary girl is persecuted in picturesque surroundings, and, after many fluctuations of fortune, during which she seems again and again on the point of reaching safety, only to be thrust back into the midst of perils, is restored to her friends and marries the man of her choice" (J.M.S. Tompkins). Her novels are as much about interrupted courtship as terror. In fact, for a writer classified as a "terror novelist," there is relatively little terror in her novels in proportion to her descriptions of nature and her focus on the sensibilities of her virtuous characters.

More recent critics of of Radcliffe have demurred from the earlier perception of her as the high priestess of sensibility and of her novels as an affirmation of the value of sensibility; what Radcliffe is really doing, they suggest, is pointing out the dangers of excessive sensibility. Many of the heroine's problems and distresses arise from her acute sensibility, particularly when it yields to imagination; she must learn to use reason to guide her sensibility. In The Mysteries of Udolpho, the heroine's dying father warns her of the dangers of excessively exercising her sensibility:

Above all, my dear Emily... do not indulge in the pride of fine feeling, the romantic error of amiable minds. Those who really possess sensibility ought early to be taught that it is a dangerous quality, which is continually extracting the excess of misery or delight from every surrounding circumstance. And since, in our passage through this world, painful circumstances occur more frequently than pleasing ones, and since our sense of evil is, I fear, more acute than our sense of good, we become the victims of our feelings, unless we can in some degree command them.

The heroine must learn to respond to the seemingly inexplicable with reason, not yield to the emotionalism of sensibility: "mystery ... by exciting awe and curiousity, reduced the mind to a state of sensibility, which rendered it more liable to the influence of superstition in general" (The Mysteries of Udolpho).

Characters

Her villains, like Montoni in The Mysteries of Udolpho and Schedoni in The Italian, contributed to the development of the Byronic characters and are her most striking characters. Otherwise, her characters lack individuality, for the most part; the reader cares about them because they are embroiled in thrilling situations, not because they are interesting or compelling in themselves. Because of the lack of individuality, some critics have suggested that her novels do not bear rereading.

Ellen Moers sees in Radcliffe's heroines an expression of literary feminism which she calls heroinism. (Literary feminism and feminism are not the same, and she is certainly not calling Radcliffe a feminist.) Heroinism takes many forms, such as the intellectual or thinking heroine, the passionate or woman-in-love heroine, and the traveling heroine. Radcliffe's heroines fall into the category of the traveling heroine, "who moves, who acts, who copes with vicissitude and adventure." Threatened and beset, the heroine is forced to flee her home or her refuge; her flight allows her to experience exciting adventures. Her traveling also occurs within doors, where she explores corridors, vaults, abandoned wings, locked rooms in the castle or abbey or the caves under them. Moers notes, "It was only indoors, in Mrs. Radcliffe's day, that the heroine of a novel could travel brave and free, and stay respectable." And Julia, in A Sicilian Romance, is concerned about the proprieties, as are Radcliffe's other heroines. Moers suggests, furthermore, that Radcliffe's propensity for sending her heroines traveling, whether indoors or outdoors, makes the Gothic novel a female equivalent of the male picaresque novel.

It is not just her heroines who travel; the heroine's pursuers, the heroes, and other main characters (like Madame de Menon) also travel. All this movement gives Radcliffe repeated opportunities to describe scenery, which is generally sublime or romantic, and its influence on the character.

Scenery, the sublime, and obscurity

For most contemporary readers, the charm and much of the originality of Radcliffe's novel lay in her descriptions of landscape, which were influenced by her favorite painters–Salvator Rosa, Claude, and Gaspar Poussin. However, from the time of their original publication, other readers have complained about the number and extent of her nature descriptions; contemporary critics have suggested that the scenic descriptions are one of Radcliffe's main interests, if not the main interest. Radcliffe's scenery is often obscure or perceived through a dim light: "To the warm imagination, the forms which float half-veiled in darkness afford a higher delight than the most distinct scenery the sun can show" (The Mysteries of Udolpho). In preferring obscurity to clarity, she conforms to Edmund Burke's theory of the sublime in A Philosophical Enquiry into the Origin of Our Idea of the Sublime and Beautiful (1757). Burke's treatise, the definitive essay on this subject in the eighteenth century, provides a theoretical basic for the contradictory emotions of pleasure and fear that the Gothic novel arouses in readers The sublime, he asserts, has only one cause, terror: " Whatever is fitted in any sort to excite the ideas of pain and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror."

He assigns obscurity a key role in creating the experience of the sublime:

To make anything very terrible, obscurity seems in general to be necessary. When we know the full extent of any danger, when we can accustom our eyes to it, a great deal of the apprehension vanishes. Every one will be sensible of this, who considers how greatly night adds to our dread, in all cases of danger, and how much the notions of ghosts and goblins, of which none can form clear ideas, affect minds which give credit to the popular tales concerning such sorts of beings.

S.L. Varnado sees hints of the numinous reality behind the everyday world in Radcliffe's use of the sublime and in her subtle rendering of the apparently preternatural. (The numinous is the divine and the spiritual, or it may be the revelation or suggestion that a god is present; always, it inspires awe and reverence.) The foremost theorist of the numinous is Rudolph Otto, who identifies it as the non-rational, awe-inspiring, and fascinating mystery on which all religion is based. In The Idea of the Holy, he explains the attraction and fear inspired by the Gothic as a reaction to the numinous. The most obvious expression of the numinous in her novels is the characters' perception of a higher force or presence in nature. As Madame de Menon wanders through a sublime landscape, "The scene inspired madame with reverential awe, and her thoughts involuntarily rose, 'from Nature up to Nature's God'" (p. 104).

Mystery

Her novels emphasize action, not, as the picaresque novel often does, for its own sake but as a way to engender suspense, create mystery, and rouse amazement. The mysteriousness of the characters' world derives not only from inexplicable happenings but also from their unfamiliarity with the castles or abbeys they are residing in. Although Julia and Emilia have lived their entire lives in the Castle Mazzini, neither of them set foot in the abandoned south wing until impelled by anxiety for Ferdinand's safety.

Also contributing to the sense of mystery is the obscurity of the sublime. Obscure sounds, inexplicable happenings, and dimly-perceived figures justify the distresses and anxieties of the characters– until the mysteries are explained, of course.

Morality

Radcliffe's emphasis on morality has caused her to be accused of didacticism. In the introduction to The Romance of the Forest, she prides herself on "the attention given in the following pages to the cause of morality." It is precisely this emphasis which contributed to her popularity, in E.B. Murray's view:

For her Gothic terrors had in some way to be moral dilemmas for her heroines–they are quite as titillating to her and should be to her readers as the decorously modified terrors she took over from Walpole, or the sublime landscapes she took over from the paintings of Salvator Rosa and made part of her Gothic art.

Thus, Radcliffe combined thrilling content with irreproachable morality. Moreover, she combines them with aesthetic considerations in her emphasis on taste, which the OED defines as "The sense of what is appropriate, harmonious, or beautiful; esp. discernment and appreciation of the beautiful in nature or art." For Radcliffe, virtue was related to taste–"Virtue and taste are nearly the same, for virtue is little more than active taste" (The Mysteries of Udolpho)–as well as to sensibility.

The unconscious

Was part at least of her success due to (inadvertently) tapping into the unconscious? As the unconscious is not limited in time or space, so Radcliffe's novels are often vague about location (the south of Italy) or time (the sixteenth century). And the content of her novels consists of the kind of fears and experiences which we push into the unconscious.

The standard situations in her stories are those which recur in everyone's nightmares – wandering along in an unrecognizable, eerie place, or tying to flee from unidentified but frightful pursuers in an endless tunnel or staircase, or being imprisoned in a tiny cell that seems to be closing in. No matter how crudely Mrs. Radcliffe described these things, she had the knack of stimulating the readers own dream-making function, which took over and supplied the private horrors of each individual imagination. Probably, too, her central theme–a pure, pale maiden persecuted by a vicious but dominating sadist–became a powerful sex symbol for both male and female readers (Lionel Stevenson).

Cynthia Griffin Wolff offers a different interpretation of the disguised sexuality in Radcliffe's novels: Radcliffe, whose heroines are torn between an evil, sadistic villain and a virtuous, benevolent hero, is expressing the "Devil/Priest" syndrome. This syndrome is the female version of the male stereotyped view of women as being either virgins or whores, the "Virgin/Whore" syndrome. In Wolff's view, Radcliffe unconsciously acknowledges women's active sexual feelings by projecting them onto men. The Freudian equation of "inner space" with female sexuality–the caves, secret rooms, dark passageways, tunnels, bedrooms in which heroines may be locked–supports sexual readings of Radcliffe's novels. Wolff sees the Gothic building as a "way of identifying a woman's body (in imagination, of course, the reader's own body) when she is undergoing the siege of conflict over sexual stimulation or arousal."

Politics and society

The English upper classes generally perceived the French Revolution as threatening the basis and stability of society and endangering their social position and personal safety. Radcliffe's novels, it has been suggested, allowed them a safe expression of anxieties about disruption and chaos while finally affirming conservative social values, traditional morality, and the (political) status quo. For instance, did Radcliffe deny her submissive heroines full powers of choice, independent judgment, and achievement in order to uphold patriarchal ideals, as Nina de Vinci Nichols theorizes?

Dissent took other forms than revolutionary bloodshed. In the late eighteenth century, protest against the limitations on women led to a debate about the nature of women and their role in society. Mary Wollstonecraft, a radical feminist, argued for women's natural equality and right to social and political freedom and urged women to assert themselves. Such protest threatened the status quo and male dominance, and Radcliffe's novels reflect this controversy, though she affirms, finally, the status quo:

... in her romances Radcliffe investigates specifically the paradoxical role sensibility plays in simultaneously restricting women and providing them power and an arena for action. Moreover, in the process of her investigation, Radcliffe uncovers the root cause of the late eighteenth-century turmoil, the economic aggressiveness currently victimizing defenseless women of sensibility. But despite her penetrating insight, Radcliffe does not abandon sentimental values; instead, she retreats from the terrifying implications of her discovery and simply dismisses the threat sentimentalism cannot combat. Rather than proposing an alternative to paternalistic society and its values, she merely reasserts an idealized–and insulated–paternalism and relegates the issues she cannot resolve to the background of her narrative (Mary Poovey).

The fact that her heroines disappear into marriage and idyllic tranquillity at the end reassured readers and set to rest the anxieties aroused by the novel.

Radcliffe's influence

Radcliffe was an innovator in her use of the supernatural and landscape; she also showed how suspense could be used to structure a novel. To the Gothic machinery which Walpole introduced, she added the abbey and the monastery. And she inaugurated a new type of Gothic novel–the supernatural explained; the mysterious, supernatural or horrific events which terrify readers are eventually shown to have natural explanations. That she influenced the flood of Gothic writers who followed her is undeniable; a few contemporary writers adopted titles and pseudonyms meant to mislead readers into thinking their works had been written by Radcliffe. E.B. Murray sardonically comments, "It may be no small praise to have been one of the most influential mediocre writers that English literature has produced, and, there is no one with a better claim to that distinction than Ann Radcliffe." It is much harder to prove direct influence in fiction generally, though Sir Walter Scott, who wrote appreciatively of Radcliffe, seems to have followed her lead in some of his novels.

Her influence spread to the Continent, where she was admired by Balzac and influenced Victor Hugo, Dumas, and Baudelaire. Her magic continued to work its spell on the modern horror story; H.P. Lovecraft praised her for adding to the genre "a genuine sense of the unearthly in scene and incident which closely approached genius; eery touch of setting and action contributing artistically to the impression of illimitable frightfulness which she wished to convey."

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The Mortal Immortal - Mary Shelley

July 16, 1833. -- This is a memorable anniversary for me; on it I complete my three hundred and twenty-third year!

The Wandering Jew? -- certainly not. More than eighteen centuries have passed over his head. In comparison with him, I am a very young Immortal.

Am I, then, immortal? This is a question which I have asked myself, by day and night, for now three hundred and three years, and yet cannot answer it. I detected a grey hair amidst my brown locks this very day -- that surely signifies decay. Yet it may have remained concealed there for three hundred years -- for some persons have become entirely white-headed before twenty years of age.

I will tell my story, and my reader shall judge for me. I will tell my story, and so contrive to pass some few hours of a long eternity, become so wearisome to me. For ever! Can it be? to live for ever! I have heard of enchantments, in which the victims were plunged into a deep sleep, to wake, after a hundred years, as fresh as ever: I have heard of the Seven Sleepers -- thus to be immortal would not be so burthensome: but, oh! the weight of never-ending time -- the tedious passage of the still-succeeding hours! How happy was the fabled Nourjahad! -- But to my task.

All the world has heard of Cornelius Agrippa. His memory is as immortal as his arts have made me. All the world has also heard of his scholar, who, unawares, raised the foul fiend during his master's absence, and was destroyed by him. The report, true or false, of this accident, was attended with many inconveniences to the renowned philosopher. All his scholars at once deserted him -- his servants disappeared. He had no one near him to put coals on his ever-burning fires while he slept, or to attend to the changeful colours of his medicines while he studied. Experiment after experiment failed, because one pair of hands was insufficient to complete them: the dark spirits laughed at him for not being able to retain a single mortal in his service.

I was then very young -- very poor -- and very much in love. I had been for about a year the pupil of Cornelius, though I was absent when this accident took place. On my return, my friends implored me not to return to the alchymist's abode. I trembled as I listened to the dire tale they told; I required no second warning; and when Cornelius came and offered me a purse of gold if I would remain under his roof, I felt as if Satan himself tempted me. My teeth chattered -- my hair stood on end; -- I ran off as fast as my trembling knees would permit.

My failing steps were directed whither for two years they had every evening been attracted, -- a gently bubbling spring of pure living water, beside which lingered a dark-haired girl, whose beaming eyes were fixed on the path I was accustomed each night to tread. I cannot remember the hour when I did not love Bertha; we had been neighbours and playmates from infancy, -- her parents, like mine were of humble life, yet respectable, -- our attachment had been a source of pleasure to them. In an evil hour, a malignant fever carried off both her father and mother, and Bertha became an orphan. She would have found a home beneath my paternal roof, but, unfortunately, the old lady of the near castle, rich, childless, and solitary, declared her intention to adopt her. Henceforth Bertha was clad in silk -- inhabited a marble palace -- and was looked on as being highly favoured by fortune. But in her new situation among her new associates, Bertha remained true to the friend of her humbler days; she often visited the cottage of my father, and when forbidden to go thither, she would stray towards the neighbouring wood, and meet me beside its shady fountain.

She often declared that she owed no duty to her new protectress equal in sanctity to that which bound us. Yet still I was too poor to marry, and she grew weary of being tormented on my account. She had a haughty but an impatient spirit, and grew angry at the obstacle that prevented our union. We met now after an absence, and she had been sorely beset while I was away; she complained bitterly, and almost reproached me for being poor. I replied hastily, --

"I am honest, if I am poor! -- were I not, I might soon become rich!"

This exclamation produced a thousand questions. I feared to shock her by owning the truth, but she drew it from me; and then, casting a look of disdain on me, she said, --

"You pretend to love, and you fear to face the Devil for my sake!"

I protested that I had only dreaded to offend her; -- while she dwelt on the magnitude of the reward that I should receive. Thus encouraged -- shamed by her -- led on by love and hope, laughing at my later fears, with quick steps and a light heart, I returned to accept the offers of the alchymist, and was instantly installed in my office.

A year passed away. I became possessed of no insignificant sum of money. Custom had banished my fears. In spite of the most painful vigilance, I had never detected the trace of a cloven foot; nor was the studious silence of our abode ever disturbed by demoniac howls. I still continued my stolen interviews with Bertha, and Hope dawned on me -- Hope -- but not perfect joy: for Bertha fancied that love and security were enemies, and her pleasure was to divide them in my bosom. Though true of heart, she was something of a coquette in manner; I was jealous as a Turk. She slighted me in a thousand ways, yet would never acknowledge herself to be in the wrong. She would drive me mad with anger, and then force me to beg her pardon. Sometimes she fancied that I was not sufficiently submissive, and then she had some story of a rival, favoured by her protectress. She was surrounded by silk-clad youths -- the rich and gay. What chance had the sad-robed scholar of Cornelius compared with these?

On one occasion, the philosopher made such large demands upon my time, that I was unable to meet her as I was wont. He was engaged in some mighty work, and I was forced to remain, day and night, feeding his furnaces and watching his chemical preparations. Bertha waited for me in vain at the fountain. Her haughty spirit fired at this neglect; and when at last I stole out during a few short minutes allotted to me for slumber, and hoped to be consoled by her, she received me with disdain, dismissed me in scorn, and vowed that any man should possess her hand rather than he who could not be in two places at once for her sake. She would be revenged! And truly she was. In my dingy retreat I heard that she had been hunting, attended by Albert Hoffer. Albert Hoffer was favoured by her protectress, and the three passed in cavalcade before my smoky window. Methought that they mentioned my name; it was followed by a laugh of derision, as her dark eyes glanced contemptuously towards my abode.

Jealousy, with all its venom and all its misery, entered my breast. Now I shed a torrent of tears, to think that I should never call her mine; and, anon, I imprecated a thousand curses on her inconstancy. Yet, still I must stir the fires of the alchymist, still attend on the changes of his unintelligible medicines.

Cornelius had watched for three days and nights, nor closed his eyes. The progress of his alembics was slower than he expected: in spite of his anxiety, sleep weighted upon his eyelids. Again and again he threw off drowsiness with more than human energy; again and again it stole away his senses. He eyed his crucibles wistfully. "Not ready yet," he murmured; "will another night pass before the work is accomplished? Winzy, you are vigilant -- you are faithful -- you have slept, my boy -- you slept last night. Look at that glass vessel. The liquid it contains is of a soft rose-colour: the moment it begins to change hue, awaken me -- till then I may close my eyes. First, it will turn white, and then emit golden flashes; but wait not till then; when the rose-colour fades, rouse me." I scarcely heard the last words, muttered, as they were, in sleep. Even then he did not quite yield to nature. "Winzy, my boy," he again said, "do not touch the vessel -- do not put it to your lips; it is a philtre -- a philtre to cure love; you would not cease to love your Bertha -- beware to drink!"

And he slept. His venerable head sunk on his breast, and I scarce heard his regular breathing. For a few minutes I watched the vessel -- the rosy hue of the liquid remained unchanged. Then my thoughts wandered -- they visited the fountain, and dwelt on a thousand charming scenes never to be renewed -- never! Serpents and adders were in my heart as the word "Never!" half formed itself on my lips. False girl! -- false and cruel! Never more would she smile on me as that evening she smiled on Albert. Worthless, detested woman! I would not remain unrevenged -- she should see Albert expire at her feet -- she should die beneath my vengeance. She had smiled in disdain and triumph -- she knew my wretchedness and her power. Yet what power had she? -- the power of exciting my hate -- my utter scorn -- my -- oh, all but indifference! Could I attain that -- could I regard her with careless eyes, transferring my rejected love to one fairer and more true, that were indeed a victory!

A bright flash darted before my eyes. I had forgotten the medicine of the adept; I gazed on it with wonder: flashes of admirable beauty, more bright than those which the diamond emits when the sun's rays are on it, glanced from the surface of the liquid; and odour the most fragrant and grateful stole over my sense; the vessel seemed one globe of living radiance, lovely to the eye, and most inviting to the taste. The first thought, instinctively inspired by the grosser sense, was, I will -- I must drink. I raised the vessel to my lips. "It will cure me of love -- of torture!" Already I had quaffed half of the most delicious liquor ever tasted by the palate of man, when the philosopher stirred. I started -- I dropped the glass -- the fluid flamed and glanced along the floor, while I felt Cornelius's gripe at my throat, as he shrieked aloud, "Wretch! you have destroyed the labour of my life!"

The philosopher was totally unaware that I had drunk any portion of his drug. His idea was, and I gave a tacit assent to it, that I had raised the vessel from curiosity, and that, frightened at its brightness, and the flashes of intense light it gave forth, I had let it fall. I never undeceived him. The fire of the medicine was quenched -- the fragrance died away -- he grew calm, as a philosopher should under the heaviest trials, and dismissed me to rest.

I will not attempt to describe the sleep of glory and bliss which bathed my soul in paradise during the remaining hours of that memorable night. Words would be faint and shallow types of my enjoyment, or of the gladness that possessed my bosom when I woke. I trod air -- my thoughts were in heaven. Earth appeared heaven, and my inheritance upon it was to be one trance of delight. "This it is to be cured of love," I thought; "I will see Bertha this day, and she will find her lover cold and regardless; too happy to be disdainful, yet how utterly indifferent to her!"

The hours danced away. The philosopher, secure that he had once succeeded, and believing that he might again, began to concoct the same medicine once more. He was shut up with his books and drugs, and I had a holiday. I dressed myself with care; I looked in an old but polished shield which served me for a mirror; methoughts my good looks had wonderfully improved. I hurried beyond the precincts of the town, joy in my soul, the beauty of heaven and earth around me. I turned my steps toward the castle -- I could look on its lofty turrets with lightness of heart, for I was cured of love. My Bertha saw me afar off, as I came up the avenue. I know not what sudden impulse animated her bosom, but at the sight, she sprung with a light fawn-like bound down the marble steps, and was hastening towards me. But I had been perceived by another person. The old high-born hag, who called herself her protectress, and was her tyrant, had seen me also; she hobbled, panting, up the terrace; a page, as ugly as herself, held up her train, and fanned her as she hurried along, and stopped my fair girl with a "How, now, my bold mistress? whither so fast? Back to your cage -- hawks are abroad!"

Bertha clasped her hands -- her eyes were still bent on my approaching figure. I saw the contest. How I abhorred the old crone who checked the kind impulses of my Bertha's softening heart. Hitherto, respect for her rank had caused me to avoid the lady of the castle; now I disdained such trivial considerations. I was cured of love, and lifted above all human fears; I hastened forwards, and soon reached the terrace. How lovely Bertha looked! her eyes flashing fire, her cheeks glowing with impatience and anger, she was a thousand times more graceful and charming than ever. I no longer loved -- oh no! I adored -- worshipped -- idolized her!

She had that morning been persecuted, with more than usual vehemence, to consent to an immediate marriage with my rival. She was reproached with the encouragement that she had shown him -- she was threatened with being turned out of doors with disgrace and shame. Her proud spirit rose in arms at the threat; but when she remembered the scorn that she had heaped upon me, and how, perhaps, she had thus lost one whom she now regarded as her only friend, she wept with remorse and rage. At that moment I appeared. "Oh, Winzy!" she exclaimed, "take me to your mother's cot; swiftly let me leave the detested luxuries and wretchedness of this noble dwelling -- take me to poverty and happiness."

I clasped her in my arms with transport. The old dame was speechless with fury, and broke forth into invective only when we were far on the road to my natal cottage. My mother received the fair fugitive, escaped from a gilt cage to nature and liberty, with tenderness and joy; my father, who loved her, welcomed her heartily; it was a day of rejoicing, which did not need the addition of the celestial potion of the alchymist to steep me in delight.

Soon after this eventful day, I became the husband of Bertha. I ceased to be the scholar of Cornelius, but I continued his friend. I always felt grateful to him for having, unaware, procured me that delicious draught of a divine elixir, which, instead of curing me of love (sad cure! solitary and joyless remedy for evils which seem blessings to the memory), had inspired me with courage and resolution, thus winning for me an inestimable treasure in my Bertha.

I often called to mind that period of trance-like inebriation with wonder. The drink of Cornelius had not fulfilled the task for which he affirmed that it had been prepared, but its effects were more potent and blissful than words can express. They had faded by degrees, yet they lingered long -- and painted life in hues of splendour. Bertha often wondered at my lightness of heart and unaccustomed gaiety; for, before, I had been rather serious, or even sad, in my disposition. She loved me the better for my cheerful temper, and our days were winged by joy.

Five years afterwards I was suddenly summoned to the bedside of the dying Cornelius. He had sent for me in haste, conjuring my instant presence. I found him stretched on his pallet, enfeebled even to death; all of life that yet remained animated his piercing eyes, and they were fixed on a glass vessel, full of roseate liquid.

"Behold," he said, in a broken and inward voice, "the vanity of human wishes! a second time my hopes are about to be crowned, a second time they are destroyed. Look at that liquor -- you may remember five years ago I had prepared the same, with the same success; -- then, as now, my thirsting lips expected to taste the immortal elixir -- you dashed it from me! and at present it is too late."

He spoke with difficulty, and fell back on his pillow. I could not help saying, --

"How, revered master, can a cure for love restore you to life?"

A faint smile gleamed across his face as I listened earnestly to his scarcely intelligible answer.

"A cure for love and for all things -- the Elixir of Immortality. Ah! if now I might drink, I should live for ever!"

As he spoke, a golden flash gleamed from the fluid; a well-remembered fragrance stole over the air; he raised himself, all weak as he was -- strength seemed miraculously to re-enter his frame -- he stretched forth his hand -- a loud explosion startled me -- a ray of fire shot up from the elixir, and the glass vessel which contained it was shivered to atoms! I turned my eyes towards the philosopher; he had fallen back -- his eyes were glassy -- his features rigid -- he was dead!

But I lived, and was to live for ever! So said the unfortunate alchymist, and for a few days I believed his words. I remembered the glorious intoxication that had followed my stolen draught. I reflected on the change I had felt in my frame -- in my soul. The bounding elasticity of the one -- the buoyant lightness of the other. I surveyed myself in a mirror, and could perceive no change in my features during the space of the five years which had elapsed. I remembered the radiant hues and grateful scent of that delicious beverage -- worthy the gift it was capable of bestowing -- I was, then, IMMORTAL!

A few days after I laughed at my credulity. The old proverb, that "a prophet is least regarded in his own country," was true with respect to me and my defunct master. I loved him as a man -- I respected him as a sage -- but I derided the notion that he could command the powers of darkness, and laughed at the superstitious fears with which he was regarded by the vulgar. He was a wise philosopher, but had no acquaintance with any spirits but those clad in flesh and blood. His science was simply human; and human science, I soon persuaded myself, could never conquer nature's laws so far as to imprison the soul for ever within its carnal habitation. Cornelius had brewed a soul-refreshing drink -- more inebriating than wine -- sweeter and more fragrant than any fruit: it possessed probably strong medicinal powers, imparting gladness to the heart and vigour to the limbs; but its effects would wear out; already they were diminished in my frame. I was a lucky fellow to have quaffed health and joyous spirits, and perhaps a long life, at my master's hands; but my good fortune ended there: longevity was far different from immortality.

I continued to entertain this belief for many years. Sometimes a thought stole across me -- Was the alchymist indeed deceived? But my habitual credence was, that I should meet the fate of all the children of Adam at my appointed time -- a little late, but still at a natural age. Yet it was certain that I retained a wonderfully youthful look. I was laughed at for my vanity in consulting the mirror so often, but I consulted it in vain -- my brow was untrenched -- my cheeks -- my eyes -- my whole person continued as untarnished as in my twentieth year.

I was troubled. I looked at the faded beauty of Bertha -- I seemed more like her son. By degrees our neighbors began to make similar observations, and I found at last that I went by the name of the Scholar bewitched. Bertha herself grew uneasy. She became jealous and peevish, and at length she began to question me. We had no children; we were all in all to each other; and though, as she grew older, her vivacious spirit became a little allied to ill-temper, and her beauty sadly diminished, I cherished her in my heart as the mistress I idolized, the wife I had sought and won with such perfect love.

At last our situation became intolerable: Bertha was fifty -- I twenty years of age. I had, in very shame, in some measure adopted the habits of advanced age; I no longer mingled in the dance among the young and gay, but my heart bounded along with them while I restrained my feet; and a sorry figure I cut among the Nestors of our village. But before the time I mention, things were altered -- we were universally shunned; we were -- at least, I was -- reported to have kept up an iniquitous acquaintance with some of my former master's supposed friends. Poor Bertha was pitied, but deserted. I was regarded with horror and detestation.

What was to be done? we sat by our winter fire -- poverty had made itself felt, for none would buy the produce of my farm; and often I had been forced to journey twenty miles to some place where I was not known, to dispose of our property. It is true, we had saved something for an evil day -- that day was come.

We sat by our lone fireside -- the old-hearted youth and his antiquated wife. Again Bertha insisted on knowing the truth; she recapitulated all she had ever heard said about me, and added her own observations. She conjured me to cast off the spell; she described how much more comely grey hairs were than my chestnut locks; she descanted on the reverence and respect due to age -- how preferable to the slight regard paid to mere children: could I imagine that the despicable gifts of youth and good looks outweighed disgrace, hatred and scorn? Nay, in the end I should be burnt as a dealer in the black art, while she, to whom I had not deigned to communicate any portion of my good fortune, might be stoned as my accomplice. At length she insinuated that I must share my secret with her, and bestow on her like benefits to those I myself enjoyed, or she would denounce me -- and then she burst into tears.

Thus beset, methought it was the best way to tell the truth. I reveled it as tenderly as I could, and spoke only of a very long life, not of immortality -- which representation, indeed, coincided best with my own ideas. When I ended I rose and said,--

"And now, my Bertha, will you denounce the lover of your youth? -- You will not, I know. But it is too hard, my poor wife, that you should suffer for my ill-luck and the accursed arts of Cornelius. I will leave you -- you have wealth enough, and friends will return in my absence. I will go; young as I seem and strong as I am, I can work and gain my bread among strangers, unsuspected and unknown. I loved you in youth; God is my witness that I would not desert you in age, but that your safety and happiness require it."

I took my cap and moved toward the door; in a moment Bertha's arms were round my neck, and her lips were pressed to mine. "No, my husband, my Winzy," she said, "you shall not go alone -- take me with you; we will remove from this place, and, as you say, among strangers we shall be unsuspected and safe. I am not so old as quite to shame you, my Winzy; and I daresay the charm will soon wear off, and, with the blessing of God, you will become more elderly-looking, as is fitting; you shall not leave me."

I returned the good soul's embrace heartily. "I will not, my Bertha; but for your sake I had not thought of such a thing. I will be your true, faithful husband while you are spared to me, and do my duty by you to the last."

The next day we prepared secretly for our emigration. We were obliged to make great pecuniary sacrifices -- it could not be helped. We realized a sum sufficient, at least, to maintain us while Bertha lived; and, without saying adieu to any one, quitted our native country to take refuge in a remote part of western France.

It was a cruel thing to transport poor Bertha from her native village, and the friends of her youth, to a new country, new language, new customs. The strange secret of my destiny rendered this removal immaterial to me; but I compassionated her deeply, and was glad to perceive that she found compensation for her misfortunes in a variety of little ridiculous circumstances. Away from all tell-tale chroniclers, she sought to decrease the apparent disparity of our ages by a thousand feminine arts -- rouge, youthful dress, and assumed juvenility of manner. I could not be angry. Did I not myself wear a mask? Why quarrel with hers, because it was less successful? I grieved deeply when I remembered that this was my Bertha, whom I had loved so fondly and won with such transport -- the dark-eyed, dark-haired girl, with smiles of enchanting archness and a step like a fawn -- this mincing, simpering, jealous old woman. I should have revered her grey locks and withered cheeks; but thus! -- It was my work, I knew; but I did not the less deplore this type of human weakness.

Her jealously never slept. Her chief occupation was to discover that, in spite of outward appearances, I was myself growing old. I verily believe that the poor soul loved me truly in her heart, but never had woman so tormenting a mode of displaying fondness. She would discern wrinkles in my face and decrepitude in my walk, while I bounded along in youthful vigour, the youngest looking of twenty youths. I never dared address another woman. On one occasion, fancying that the belle of the village regarded me with favouring eyes, she brought me a grey wig. Her constant discourse among her acquaintances was, that though I looked so young, there was ruin at work within my frame; and she affirmed that the worst symptom about me was my apparent health. My youth was a disease, she said, and I ought at all times to prepare, if not for a sudden and awful death, at least to awake some morning white-headed and bowed down with all the marks of advanced years. I let her talk -- I often joined in her conjectures. Her warnings chimed in with my never-ceasing speculations concerning my state, and I took an earnest, though painful, interest in listening to all that her quick wit and excited imagination could say on the subject.

Why dwell on these minute circumstances? We lived on for many long years. Bertha became bedrid and paralytic; I nursed her as a mother might a child. She grew peevish, and still harped upon one string -- of how long I should survive her. It has ever been a source of consolation to me, that I performed my duty scrupulously towards her. She had been mine in youth, she was mine in age; and at last, when I heaped the sod over her corpse, I wept to feel that I had lost all that really bound me to humanity.

Since then how many have been my cares and woes, how few and empty my enjoyments! I pause here in my history -- I will pursue it no further. A sailor without rudder or compass, tossed on a stormy sea -- a traveller lost on a widespread heath, without landmark or stone to guide him -- such I have been: more lost, more hopeless than either. A nearing ship, a gleam from some far cot, may save them; but I have no beacon except the hope of death.

Death! mysterious, ill-visaged friend of weak humanity! Why alone of all mortals have you cast me from your sheltering fold? Oh, for the peace of the grave! the deep silence of the iron-bound tomb! that thought would cease to work in my brain, and my heart beat no more with emotions varied only by new forms of sadness!

Am I immortal? I return to my first question. In the first place, is it not more probably that the beverage of the alchymist was fraught rather with longevity than eternal life? Such is my hope. And then be it remembered, that I only drank half of the potion prepared by him. Was not the whole necessary to complete the charm? To have drained half the Elixir of Immortality is but to be half-immortal -- my For-ever is thus truncated and null.

But again, who shall number the years of the half of eternity? I often try to imagine by what rule the infinite may be divided. Sometimes I fancy age advancing upon me. One grey hair I have found. Fool! do I lament? Yes, the fear of age and death often creeps coldly into my heart; and the more I live, the more I dread death, even while I abhor life. Such an enigma is man -- born to perish -- when he wars, as I do, against the established laws of his nature.

But for this anomaly of feeling surely I might die: the medicine of the alchymist would not be proof against fire -- sword -- and the strangling waters. I have gazed upon the blue depths of many a placid lake, and the tumultuous rushing of many a mighty river, and have said, peace inhabits those waters; yet I have turned my steps away, to live yet another day. I have asked myself, whether suicide would be a crime in one to whom thus only the portals of the other world could be opened. I have done all, except presenting myself as a soldier or duelist, an objection of destruction to my -- no, not my fellow mortals, and therefore I have shrunk away. They are not my fellows. The inextinguishable power of life in my frame, and their ephemeral existence, places us wide as the poles asunder. I could not raise a hand against the meanest or the most powerful among them.

Thus have I lived on for many a year -- alone, and weary of myself -- desirous of death, yet never dying -- a mortal immortal. Neither ambition nor avarice can enter my mind, and the ardent love that gnaws at my heart, never to be returned -- never to find an equal on which to expend itself -- lives there only to torment me.

This very day I conceived a design by which I may end all -- without self-slaughter, without making another man a Cain -- an expedition, which mortal frame can never survive, even endued with the youth and strength that inhabits mine. Thus I shall put my immortality to the test, and rest for ever -- or return, the wonder and benefactor of the human species.

Before I go, a miserable vanity has caused me to pen these pages. I would not die, and leave no name behind. Three centuries have passed since I quaffed the fatal beverage; another year shall not elapse before, encountering gigantic dangers -- warring with the powers of frost in their home -- beset by famine, toil, and tempest -- I yield this body, too tenacious a cage for a soul which thirsts for freedom, to the destructive elements of air and water; or, if I survive, my name shall be recorded as one of the most famous among the sons of men; and, my task achieved, I shall adopt more resolute means, and, by scattering and annihilating the atoms that compose my frame, set at liberty the life imprisoned within, and so cruelly prevented from soaring from this dim earth to a sphere more congenial to its immortal essence.