TALES OF THE DEAD: THE FAMILY PORTRAITS by Johann August Apel

 

Part One

“No longer shall you gaze on’t; lest your fancy

May think anon, it moves. ——

The fixture of her eye has motion in’t.”

Winter’s Tale.

 

Night had insensibly superseded day, when Ferdinand’s carriage continued its slow course through the forest; the postilion uttering a thousand complaints on the badness of the roads, and Ferdinand employing the leisure which the tedious progress of his carriage allowed, with reflections to which the purpose of his journey gave rise.

 

As was usual with young men of rank, he had visited several universities; and after having travelled over the principal parts of Europe, he was now returning to his native country to take possession of the property of his father, who had died in his absence.

 

Ferdinand was an only son, and the last branch of the ancient family of Meltheim: it was on this account that his mother was the more anxious that he should form a brilliant alliance, to which both his birth and fortune entitled him; she frequently repeated that Clotilde of Hainthal was of all others the person she should be most rejoiced to have as a daughter-in-law, and who should give to the world an heir to the name and estates of Meltheim. In the first instance, she merely named her amongst other distinguished females whom she recommended to her son’s attention: but after a short period she spoke of none but her: and at length declared, rather positively, that all her happiness depended on the completion of this alliance, and hoped her son would approve her choice.

 

Ferdinand, however, never thought of this union but with regret; and the urgent remonstrances which his mother ceased not to make on the subject, only contributed to render Clotilde, who was an entire stranger to him, less amiable in his eyes: he determined at last to take a journey to the capital, whither Mr. Hainthal and his daughter were attracted by the carnival. He wished at least to know the lady, ere he consented to listen to his mother’s entreaties; and secretly flattered himself that he should find some more cogent reasons for opposing this union than mere caprice, which was the appellation the old lady gave to his repugnance.

 

Whilst travelling alone in his carriage, as night approached, the solitary forest, his imagination drew a picture of his early life, which happy recollections rendered still happier. It seemed, that the future presented no charms for him to equal the past; and the greater pleasure he took in retracing what no longer existed, the less wish he felt to bestow a thought on that futurity to which, contrary to his inclinations, he seemed destined. Thus, notwithstanding the slowness with which his carriage proceeded over the rugged ground, he found that he was too rapidly approaching the termination of his journey.

 

The postilion at length began to console himself; for one half of the journey was accomplished, and the remainder presented only good roads: Ferdinand, however, gave orders to his groom to stop at the approaching village, determining to pass the night there.

 

The road through the village which led to the inn was bordered by gardens, and the sound of different musical instruments led Ferdinand to suppose that the villagers were celebrating some rural fête. He already anticipated the pleasure of joining them, and hoped that this recreation would dissipate his melancholy thoughts. But on listening more attentively, he remarked that the music did not resemble that usually heard at inns; and the great light he perceived at the window of a pretty house from whence came the sounds that had arrested his attention, did not permit him to doubt that a more select party than are accustomed to reside in the country at that unfavourable season, were amusing themselves in performing a concert.

 

The carriage now stopped at the door of a small inn of mean appearance. Ferdinand, who counted on much inconvenience and few comforts, asked who was the lord of the village. They informed him that he occupied a château situated in an adjoining hamlet. Our traveller said no more, but was obliged to content himself with the best apartment the landlord could give him. To divert his thoughts, he determined to walk in the village, and directed his steps towards the spot where he had heard the music; to this the harmonious sounds readily guided him: he approached softly, and found himself close to the house where the concert was performing. A young girl, sitting at the door, was playing with a little dog, who began to bark. Ferdinand, drawn from his reverie by this singular accompaniment, begged the little girl to inform him who lived in that house. “It is my father,” she replied, smiling; “come in, sir.” And saying this, she slowly went up the steps.

 

Ferdinand hesitated for an instant whether to accept this unceremonious invitation. But the master of the house came down, saying to him in a friendly tone: “Our music, sir, has probably been the only attraction to this spot; no matter, it is the pastor’s abode, and to it you are heartily welcome. My neighbours and I,” continued he, whilst leading Ferdinand in, “meet alternately at each other’s houses once a week, to form a little concert; and to-day it is my turn. Will you take a part in the performance, or only listen to it? Sit down in this apartment. Are you accustomed to hear better music than that performed simply by amateurs? or do you prefer an assemblage where they pass their time in conversation? If you like the latter, go into the adjoining room, where you will find my wife surrounded by a young circle: here is our musical party, there is their conversazióni.” Saying this, he opened the door, made a gentle inclination of the head to Ferdinand, and seated himself before his desk. Our traveller would fain have made apologies; but the performers in an instant resumed the piece he had interrupted. At the same time the pastor’s wife, a young and pretty woman, entreated Ferdinand, in the most gracious manner possible, entirely to follow his own inclinations, whether they led him to remain with the musicians, or to join the circle assembled in the other apartment. Ferdinand, after uttering some common-place terms of politeness, followed her into the adjoining room.

 

The chairs formed a semicircle round the sofa, and were occupied by several women and by some men. They all rose on Ferdinand’s entering, and appeared a little disconcerted at the interruption. In the middle of the circle was a low chair, on which sat, with her back to the door, a young and sprightly female, who, seeing everyone rise, changed her position, and at sight of a stranger blushed and appeared embarrassed. Ferdinand entreated the company not to interrupt the conversation. They accordingly reseated themselves, and the mistress of the house invited the new guest to take a seat on the sofa by two elderly ladies, and drew her chair near him. “The music,” she said to him, “drew you amongst us, and yet in this apartment we have none; I hear it nevertheless with pleasure myself: but I cannot participate in my husband’s enthusiasm for simple quartets and symphonies; several of my friends are of the same way of thinking with me, which is the reason that, while our husbands are occupied with their favourite science, we here enjoy social converse, which sometimes, however, becomes too loud for our virtuoso neighbours. To-day, I give a long-promised tea-drinking. Everyone is to relate a story of ghosts, or something of a similar nature. You see that my auditors are more numerous than the band of musicians.”

 

“Permit me, madam,” replied Ferdinand, “to add to the number of your auditors; although I have not much talent in explaining the marvellous.”

 

“That will not be any hindrance to you here,” answered a very pretty brunette; “for it is agreed amongst us that no one shall search for any explanation, even though it bears the stamp of truth, as explanations would take away all pleasure from ghost stories.”

 

“I shall benefit by your instructions,” answered Ferdinand: “but without doubt I interrupt a very interesting recital;—dare I entreat—?”

 

The young lady with flaxen hair, who rose from the little seat, blushed anew; but the mistress of the house drew her by the arm, and laughing, conducted her to the middle of the circle. “Come, child,” said she, “don’t make any grimace; reseat yourself, and relate your story. This gentleman will also give us his.”

 

“Do you promise to give us one, sir?” said the young lady to Ferdinand. He replied by a low bow. She then reseated herself in the place destined for the narrator, and thus began:

 

“One of my youthful friends, named Juliana, passed every summer with her family at her father’s estate. The château was situated in a romantic country; high mountains formed a circle in the distance; forests of oaks and fine groves surrounded it. It was an ancient edifice, and had descended through a long line of ancestry to Juliana’s father; for which reason, instead of making any alterations, he was only anxious to preserve it in the same state they had left it to him.

 

“Among the number of antiquities most prized by him was the family picture gallery; a vaulted room, dark, high, and of gothic architecture, where hung the portraits of his forefathers, as large as the natural size, covering the walls, which were blackened by age. Conformable to an immemorial custom, they ate in this room: and Juliana has often told me, that she could not overcome, especially at supper-time, a degree of fear and repugnance; and that she had frequently feigned indisposition, to avoid entering this formidable apartment. Among the portraits there was one of a female, who, it would seem, did not belong to the family; for Juliana’s father could neither tell whom it represented, nor how it had become ranged amongst his ancestry: but as to all appearance it had retained its station for ages, my friend’s father was unwilling to remove it.

 

“Juliana never looked at this portrait without an involuntary shuddering: and she has told me, that from her earliest infancy she has felt this secret terror, without being able to define the cause. Her father treated this sentiment as puerile, and compelled her sometimes to remain alone in that room. But as Juliana grew up, the terror this singular portrait occasioned, increased; and she frequently supplicated her father, with tears in her eyes, not to leave her alone in that apartment— ‘That portrait,’ she would say, ‘regards me not gloomily or terribly, but with looks full of a mild melancholy. It appears anxious to draw me to it, and as if the lips were about to open and speak to me.—That picture will certainly cause my death.’

 

“Juliana’s father at length relinquished all hope of conquering his daughter’s fears. One night at supper, the terror she felt had thrown her into convulsions, for she fancied she saw the picture move its lips; and the physician enjoined her father in future to remove from her view all similar causes of fear. In consequence, the terrifying portrait was removed from the gallery, and it was placed over the door of an uninhabited room in the attic story.

 

“Juliana, after this removal, passed two years without experiencing any alarms. Her complexion resumed its brilliancy, which surprised everyone; for her continual fears had rendered her pale and wan: but the portrait and the fears it produced had alike disappeared, and Juliana—”

 

“Well,” cried the mistress of the house, smiling, when she perceived that the narrator appeared to hesitate, “confess it, my dear child; Juliana found an admirer of her beauty;—was it not so?”

 

“‘Tis even so,” resumed the young lady, blushing deeply; “she was affianced: and her intended husband coming to see her the day previous to that fixed on for her marriage, she conducted him over the château, and from the attic rooms was shewing him the beautiful prospect which extended to the distant mountains. On a sudden she found herself, without being aware of it, in the room where the unfortunate portrait was placed. And it was natural that a stranger, surprised at seeing it there alone, should ask who it represented. To look at it, recognise it, utter a piercing shriek, and run towards the door, were but the work of an instant with poor Juliana. But whether in effect owing to the violence with which she opened the door the picture was shaken, or whether the moment was arrived in which its baneful influence was to be exercised over Juliana, I know not; but at the moment this unfortunate girl was striving to get out of the room and avoid her destiny, the portrait fell; and Juliana, thrown down by her fears, and overpowered by the heavy weight of the picture, never rose more.”—

 

A long silence followed this recital, which was only interrupted by the exclamations of surprise and interest excited for the unfortunate Juliana. Ferdinand alone appeared untouched by the general emotions. At length, one of the ladies sitting near him broke the silence by saying, “This story is literally true; I knew the family where the fatal portrait caused the death of a charming young girl: I have also seen the picture; it has, as the young lady truly observed, an indescribable air of goodness which penetrates the heart, so that I could not bear to look on it long; and yet, as you say, its look is so full of tender melancholy, and has such infinite attractions, that it appears that the eyes move and have life.”

 

“In general,” resumed the mistress of the house, at the same time shuddering, “I don’t like portraits, and I would not have any in the rooms I occupy. They say that they become pale when the original expires; and the more faithful the likeness, the more they remind me of those waxen figures I cannot look at without aversion.”

 

“That is the reason,” replied the young person who had related the history, “that I prefer those portraits where the individual is represented occupied in some employment, as then the figure is entirely independent of those who look at it; whereas in a simple portrait the eyes are inanimately fixed on everything that passes. Such portraits appear to me as contrary to the laws of illusion as painted statues.”

 

“I participate in your opinion,” replied Ferdinand; “for the remembrance of a terrible impression produced on my mind when young, by a portrait of that sort, will never be effaced.”

 

“O! pray relate it to us,” said the young lady with flaxen hair, who had not as yet quitted the low chair; “you are obliged according to promise to take my place.” She instantly arose, and jokingly forced Ferdinand to change seats with her.

 

“This history,” said he, “will resemble a little too much the one you have just related; permit me therefore—”

 

“That does not signify,” resumed the mistress of the house, “one is never weary with recitals of this kind; and the greater repugnance I feel in looking at these horrible portraits, the greater is the pleasure I take in listening to histories of their eyes or feet being seen to move.”

 

“But seriously,” replied Ferdinand, who would fain have retracted his promise, “my history is too horrible for so fine an evening. I confess to you that I cannot think of it without shuddering, although several years have elapsed since it happened.”

 

“So much the better, so much the better!” cried nearly all present; “how you excite our curiosity! and its having happened to yourself will afford double pleasure, as we cannot entertain any doubt of the fact.”

 

“It did not happen personally to me,” answered Ferdinand, who reflected that he had gone too far, “but to one of my friends, on whose word I have as firm a reliance as if I had been myself a witness to it.”

 

They reiterated their entreaties; and Ferdinand began in these words:— “One day, when I was arguing with the friend of whom I am about to make mention, on apparitions and omens, he told me the following story:—

 

“I had been invited,’ said he, ‘by one of my college companions, to pass my vacations with him at an estate of his father’s. The spring was that year unusually late, owing to a long and severe winter, and appeared in consequence more gay and agreeable, which gave additional charms to our projected pleasures. We arrived at his father’s in the pleasant month of April, animated by all the gaiety the season inspired.

 

“As my companion and I were accustomed to live together at the university, he had recommended to his family, in his letters, so to arrange matters that we might live together at his father’s also: we in consequence occupied two adjoining rooms, from whence we enjoyed a view of the garden and a fine country, bounded in the distance by forests and vineyards. In a few days I found myself so completely at home in the house, and so familiarised with its inhabitants, that nobody, whether of the family or among the domesticks, made any difference between my friend and myself. His younger brothers, who were absent from me in the day, often passed the night in my room, or in that of their elder brother. Their sister, a charming girl about twelve years of age, lovely and blooming as a newly blown rose, gave me the appellation of brother, and fancied that under this title she was privileged to shew me all her favourite haunts in the garden, to gratify my wishes at table, and to furnish my apartment with all that was requisite. Her cares and attention will never be effaced from my recollection; they will long outlive the scenes of horror that château never ceases to recall to my recollection. From the first of my arrival, I had remarked a huge portrait affixed to the wall of an antechamber through which I was obliged to pass to go to my room; but, too much occupied by the new objects which on all sides attracted my attention, I had not particularly examined it. Meanwhile I could not avoid observing that, though the two younger brothers of my friend were so much attached to me, that they would never permit me to go at night into my room without them, yet they always evinced an unaccountable dread in crossing the hall where this picture hung. They clung to me, and embraced me that I might take them in my arms; and whichever I was compelled to take by the hand, invariably covered his face, in order that he might not see the least trace of the portrait.

 

“Being aware that the generality of children are afraid of colossal figures, or even of those of a natural height, I endeavoured to give my two young friends courage. However, on more attentively considering the portrait which caused them so much dread, I could not avoid feeling a degree of fear myself. The picture represented a knight in the costume of a very remote period; a full grey mantle descended from his shoulders to his knees; one of his feet placed in the foreground, appeared as if it was starting from the canvass; his countenance had an expression which petrified me with fear. I had never before seen anything at all like it in nature. It was a frightful mixture of the stillness of death, with the remains of a violent and baneful passion, which not even death itself was able to overcome. One would have thought the artist had copied the terrible features of one risen from the grave, in order to paint this terrific portrait. I was seized with a terror little less than the children, whenever I wished to contemplate this picture. Its aspect was disagreeable to my friend, but did not cause him any terror: his sister was the only one who could look at this hideous figure with a smiling countenance; and said to me with a compassionate air, when I discovered my aversion to it, ‘That man is not wicked, but he is certainly very unhappy.’ My friend told me that the picture represented the founder of his race, and that his father attached uncommon value to it; it had, in all probability, hung there from time immemorial, and it would not be possible to remove it from this chamber without destroying the regularity of its appearance.

 

“Meanwhile, the term of our vacation was speedily drawing to its close, and time insensibly wore away in the pleasures of the country. The old count, who remarked our reluctance to quit him, his amiable family, his château, and the fine country that surrounded it, applied himself with kind and unremitting care, to make the day preceding our departure a continual succession of rustic diversions: each succeeded the other without the slightest appearance of art; they seemed of necessity to follow each other. The delight that illumined the eyes of my friend’s sister when she perceived her father’s satisfaction; the joy that was painted in Emily’s countenance (which was the name of this charming girl) when she surprised even her father by her arrangements, which outstripped his projects, led me to discover the entire confidence that existed between the father and daughter, and the active part Emily had taken in directing the order which reigned in that day’s festivities.

 

“Night arrived; the company in the gardens dispersed; but my amiable companions never quitted my side. The two young boys skipped gaily before us, chasing the may-bug, and shaking the shrubs to make them come out. The dew arose, and aided by the light of the moon formed silver spangles on the flowers and grass. Emily hung on my arm; and an affectionate sister conducted me, as if to take leave, to all the groves and places I had been accustomed to visit with her, or with the family. On arriving at the door of the château, I was obliged to repeat the promise I had made to her father, of passing some weeks in the autumn with him. ‘That season,’ said she, ‘is equally beautiful with the spring!’ With what pleasure did I promise to decline all other engagements for this. Emily retired to her apartment, and, according to custom, I went up to mine, accompanied by my two little boys: they ran gaily up the stairs; and in crossing the range of apartments but faintly lighted, to my no small surprise their boisterous mirth was not interrupted by the terrible portrait.

 

 

“For my own part, my head and heart were full of the intended journey, and of the agreeable manner in which my time had passed at the count’s château. The images of those happy days crowded on my recollection; my imagination, at that time possessing all the vivacity of youth, was so much agitated, that I could not enjoy the sleep which already overpowered my friend. Emily’s image, so interesting by her sprightly grace, by her pure affection for me, was present to my mind like an amiable phantom shining in beauty. I placed myself at the window, to take another look at the country I had so frequently ranged with her, and traced our steps again probably for the last time. I remembered each spot illumined by the pale light the moon afforded. The nightingale was singing in the groves where we had delighted to repose; the little river on which while gaily singing we often sailed, rolled murmuringly her silver waves.

 

“Absorbed in a profound reverie, I mentally exclaimed: With the flowers of spring, this soft pure peaceful affection will probably fade; and as frequently the after seasons blight the blossoms and destroy the promised fruit, so possibly may the approaching autumn envelop in cold reserve that heart which, at the present moment, appears only to expand with mine!

 

“Saddened by these reflections, I withdrew from the window, and overcome by a painful agitation I traversed the adjoining rooms; and on a sudden found myself before the portrait of my friend’s ancestor. The moon’s beams darted on it in the most singular manner possible, insomuch as to give the appearance of a horrible moving spectre; and the reflexion of the light gave to it the appearance of a real substance about to quit the darkness by which it was surrounded. The inanimation of its features appeared to give place to the most profound melancholy; the sad and glazed look of the eyes appeared the only hindrance to its uttering its grief.

 

“My knees tremblingly knocked against each other, and with an unsteady step I regained my chamber: the window still remained open; I reseated myself at it, in order that the freshness of the night air, and the aspect of the beautiful surrounding country, might dissipate the terror I had experienced. My wandering eyes fixed on a long vista of ancient linden trees, which extended from my window to the ruins of an old tower, which had often been the scene of our pleasures and rural fêtes. The remembrance of the hideous portrait had vanished; when on a sudden there appeared to me a thick fog issuing from the ruined tower, which advancing through the vista of lindens came towards me.

 

“I regarded this cloud with an anxious curiosity: it approached; but again it was concealed by the thickly-spreading branches of the trees.

 

“On a sudden I perceived, in a spot of the avenue less dark than the rest, the same figure represented in the formidable picture, enveloped in the grey mantle I so well knew. It advanced towards the château, as if hesitating: no noise was heard of its footsteps on the pavement; it passed before my window without looking up, and gained a back door which led to the apartments in the colonnade of the château.

 

“Seized with trembling apprehension, I darted towards my bed, and saw with pleasure that the two children were fast asleep on either side. The noise I made awoke them; they started, but in an instant were asleep again. The agitation I had endured took from me the power of sleep, and I turned to awake one of the children to talk with me: but no powers can depict the horrors I endured when I saw the frightful figure at the side of the child’s bed.

 

“I was petrified with horror, and dared neither move nor shut my eyes. I beheld the spectre stoop towards the child and softly kiss his forehead: he then went round the bed, and kissed the forehead of the other boy.

 

“I lost all recollection at that moment; and the following morning, when the children awoke me with their caresses, I was willing to consider the whole as a dream.

 

“Meanwhile, the moment for our departure was at hand. We once again breakfasted all together in a grove of lilacs and flowers. ‘I advise you to take a little more care of yourself,’ said the old count in the midst of other conversation; ‘for I last night saw you walking rather late in the garden, in a dress ill-suited to the damp air; and I was fearful such imprudence would expose you to cold and fever. Young people are apt to fancy they are invulnerable; but I repeat to you, Take advice from a friend.’

 

“‘In truth,’ I answered, ‘I believe readily that I have been attacked by a violent fever, for never before was I so harassed by terrifying visions: I can now conceive how dreams afford to a heated imagination subjects for the most extraordinary stories of apparitions.’

 

“‘What would you tell me?’ demanded the count in a manner not wholly devoid of agitation. I related to him all that I had seen the preceding night; and to my great surprise he appeared to me in no way astonished, but extremely affected.

 

“‘You say,’ added he in a trembling voice, ‘that the phantom kissed the two children’s foreheads?’ I answered him, that it was even so. He then exclaimed, in accents of the deepest despair, ‘Oh heavens! they must then both die!’”—

 

Till now the company had listened without the slightest noise or interruption to Ferdinand: but as he pronounced the last words, the greater part of his audience trembled; and the young lady who had previously occupied the chair on which he sat, uttered a piercing shriek.

 

“Imagine,” continued Ferdinand, “how astonished my friend must have been at this unexpected exclamation. The vision of the night had caused him excess of agitation; but the melancholy voice of the count pierced his heart, and seemed to annihilate his being, by the terrifying conviction of the existence of the spiritual world, and the secret horrors with which this idea was accompanied. It was not then a dream, a chimera, the fruit of an over-heated imagination! but a mysterious and infallible messenger, which, dispatched from the world of spirits, had passed close to him, had placed itself by his couch, and by its fatal kiss had dropped the germ of death in the bosom of the two children.

 

“He vainly entreated the count to explain this extraordinary event. Equally fruitless were his son’s endeavours to obtain from the count the development of this mystery, which apparently concerned the whole family. ‘You are as yet too young,’ replied the count: ‘too soon, alas! for your peace of mind, will you be informed of these terrible circumstances which you now think mysterious.’

 

“Just as they came to announce to my friend that all was ready, he recollected that during the recital the count had sent away Emily and her two younger brothers. Deeply agitated, he took leave of the count and the two young children who came towards him, and who would scarcely permit themselves to be separated from him. Emily, who had placed herself at a window, made a sign of adieu. Three days afterwards the young count received news of the death of his two younger brothers. They were both taken off in the same night.

 

“You see,” continued Ferdinand, in a gayer tone, in order to counteract the impression of sadness and melancholy his story had produced on the company; “You see my history is very far from affording any natural explication of the wonders it contains; explanations which only tend to shock one’s reason: it does not even make you entirely acquainted with the mysterious person, which one has a right to expect in all marvellous recitals. But I could learn nothing more; and the old count dying without revealing the mystery to his son, I see no other means of terminating the history of the portrait, which is undoubtedly by no means devoid of interest, than by inventing according to one’s fancy a dénouement which shall explain all.”

 

“That does not appear at all necessary to me,” said a young man: “this history, like the one that preceded it, is in reality finished, and gives all the satisfaction one has any right to expect from recitals of this species.”

 

“I should not agree with you,” replied Ferdinand, “if I was capable of explaining the mysterious connection between the portrait and the death of the two children in the same night, or the terror of Juliana at sight of the other portrait, and her death, consequently caused by it. I am, however, not the less obliged to you for the entire satisfaction you evince.”

 

“But,” resumed the young man, “what benefit would your imagination receive, if the connections of which you speak were known to you?”

 

“Very great benefit, without doubt,” replied Ferdinand; “for imagination requires the completion of the objects it represents, as much as the judgment requires correctness and accuracy in its ideas.”

 

The mistress of the house, not being partial to these metaphysical disputes, took part with Ferdinand: “We ladies,” said she, “are always curious; therefore don’t wonder that we complain when a story has no termination. It appears to me like seeing the last scene of Mozart’s Don Juan without having witnessed the preceding ones; and I am sure no one would be the better satisfied, although the last scene should possess infinite merit.”

 

The young man remained silent, perhaps less through conviction than politeness. Several persons were preparing to retire; and Ferdinand, who had vainly searched with all his eyes for the young lady with flaxen hair, was already at the door, when an elderly gentleman, whom he remembered to have seen in the music-room, asked him whether the friend concerning whom he had related the story was not called Count Meltheim?

 

“That is his name,” answered Ferdinand a little drily; “how did you guess it?—are you acquainted with his family?”

 

“You have advanced nothing but the simple truth,” resumed the unknown. “Where is the count at this moment?”

 

“He is on his travels,” replied Ferdinand. “But I am astonished—”

 

“Do you correspond with him?” demanded the unknown.

 

“I do,” answered Ferdinand. “But I don’t understand—”

 

“Well then,” continued the old man, “tell him that Emily still continues to think of him, and that he must return as speedily as possible, if he takes any interest in a secret that very particularly concerns her family.”

 

On this the old man stepped into his carriage, and had vanished from Ferdinand’s sight ere he had recovered from his surprise. He looked around him in vain for someone who might inform him of the name of the unknown: everyone was gone; and he was on the point of risking being considered indiscreet, by asking for information of the pastor who had so courteously treated him, when they fastened the door of the house, and he was compelled to return in sadness to his inn, and leave his researches till the morning.

 

The frightful scenes of the night preceding Ferdinand’s departure from the château of his friend’s father, had tended to weaken the remembrance of Emily; and the distraction which his journey so immediately after had produced, had not contributed to recall it with any force: but all at once the recollection of Emily darted across his mind with fresh vigour, aided by the recital of the previous evening and the old man’s conversation: it presented itself even with greater vivacity and strength than at the period of its birth. Ferdinand now fancied that he could trace Emily in the pretty girl with flaxen hair. The more he reflected on her figure, her eyes, the sound of her voice, the grace with which she moved; the more striking the resemblance appeared to him. The piercing shriek that had escaped her, when he mentioned the old count’s explication of the phantom’s appearance; her sudden disappearance at the termination of the recital; her connection with Ferdinand’s family, (for the young lady, in her history of Juliana, had recounted the fatal accident which actually befell Ferdinand’s sister,) all gave a degree of certainty to his suppositions.

 

He passed the night in forming projects and plans, in resolving doubts and difficulties; and Ferdinand impatiently waited for the day which was to enlighten him. He went to the pastor’s, whom he found in the midst of his quires of music; and by giving a natural turn to the conversation, he seized the opportunity of enquiring concerning the persons with whom he had passed the preceding evening.

 

He unfortunately, however, could not get satisfactory answers to his questions concerning the young lady with flaxen hair, and the mysterious old gentleman; for the pastor had been so absorbed in his music, that he had not paid attention to many persons who had visited him: and though Ferdinand in the most minute manner possible described their dress and other particulars, it was impossible to make the pastor comprehend the individuals whose names he was so anxious to learn. “It is unfortunate,” said the pastor, “that my wife should be out; she would have given you all the information you desire. But according to your description, it strikes me the young person with flaxen hair must be Mademoiselle de Hainthal;—but—”

 

“Mademoiselle de Hainthal!” reiterated Ferdinand, somewhat abruptly.

 

“I think so,” replied the clergyman. “Are you acquainted with the young lady?”

 

“I know her family,” answered Ferdinand; “but from her features bearing so strong a resemblance to the family, I thought it might have been the young countess of Wartburg, who was so much like her brother.”

 

“That is very possible,” said the pastor. “You knew then the unfortunate count Wartburg?”

 

“Unfortunate!” exclaimed Ferdinand, greatly surprised.

 

“You don’t then know anything,” continued the pastor, “of the deplorable event that has recently taken place at the château of Wartburg. The young count, who had probably in his travels seen some beautifully laid-out gardens, was anxious to embellish the lovely country which surrounds his château; and as the ruins of an old tower seemed to be an obstacle to his plans, he ordered them to be pulled down. His gardener in vain represented to him, that seen from one of the wings of the château they presented, at the termination of a majestic and ancient avenue of linden trees, a magnificent coup d’œil, and that they would also give a more romantic appearance to the new parts they were about to form. An old servant, grown grey in the service of his forefathers, supplicated him with tears in his eyes to spare the venerable remains of past ages. They even told him of an ancient tradition, preserved in the neighbourhood, which declared, that the existence of the house of Wartburg was by supernatural means linked with the preservation of that tower.

 

“The count, who was a well-informed man, paid no attention to these sayings; indeed they possibly made him the more firmly adhere to his resolution. The workmen were put to their task: the walls, which were constructed of huge masses of rock, for a long while resisted the united efforts of tools and gunpowder; the architect of this place appeared to have built it for eternity.

 

“At length perseverance and labour brought it down. A piece of the rock separating from the rest, precipitated itself into an opening which had been concealed for ages by rubbish and loose sticks, and fell into a deep cavern. An immense subterranean vault was discovered by the rays of the setting sun, supported by enormous pillars:—but ere they proceeded in their researches, they went to inform the young count of the discovery they had made.

 

“He came; and being curious to see this dark abode, descended into it with two servants. The first thing they discovered were chains covered with rust, which being fixed in the rock, plainly shewed the use formerly made of the cavern. On another side was a corpse, dressed in female attire of centuries past, which had surprisingly resisted the ravages of time: close to it was extended a human skeleton almost destroyed.

 

“The two servants related that the young count, on seeing the body, cried in an accent of extreme horror, ‘Great God! it is she then whose portrait killed my intended wife.’ Saying which, he fell senseless by the body. The shake which his fall occasioned reduced the skeleton to dust.

 

“They bore the count to his château, where the care of the physicians restored him to life; but he did not recover his senses. It is probable that this tragical event was caused by the confined and unwholesome air of the cavern. A very few days after, the count died in a state of total derangement.

 

“It is singular enough, that the termination of his life should coincide with the destruction of the ruined tower, and there no longer exists any male branch of that family. The deeds relative to the succession, ratified and sealed by the emperor Otho, are still amongst the archives of his house. Their contents have as yet only been transmitted verbally from father to son, as an hereditary secret, which will now, however, be made known. It is also true, that the affianced bride of the count was killed by the portrait’s falling on her.”

 

“I yesterday heard that fatal history recited by the lady with flaxen hair,” replied Ferdinand.

 

“It is very possible that young person is the countess Emily,” replied the pastor; “for she was the bosom-friend of the unfortunate bride.”

 

“Does not then the countess Emily live at the castle of Wartburg?” asked Ferdinand.

 

“Since her brother’s death,” answered the clergyman, “she has lived with a relation of her mother’s at the château of Libinfelt, a short distance from hence. For as they yet know not with certainty to whom the castle of Wartburg will belong, she prudently lives retired.”

 

Ferdinand had learnt sufficient to make him abandon the projected journey to the capital. He thanked the pastor for the instructions he had given him, and was conducted to the château where Emily now resided.

 

It was still broad day when he arrived. The whole journey he was thinking of the amiable figure which he had recognised too late the preceding evening. He recalled to his idea her every word, the sound of her voice, her actions; and what his memory failed to represent, his imagination depicted with all the vivacity of youth, and all the fire of rekindled affection. He already addressed secret reproaches to Emily for not recognising him; as if he had himself remembered her; and in order to ascertain whether his features were entirely effaced from the recollection of her whom he adored, he caused himself to be announced as a stranger, who was anxious to see her on family matters.

 

While waiting impatiently in the room into which they had conducted him, he discovered among the portraits with which it was decorated, that of the young lady whose features had the over-night charmed him anew: he was contemplating it with rapture when the door opened and Emily entered. She instantly recognised Ferdinand; and in the sweetest accents accosted him as the friend of her youth.

 

Surprise rendered Ferdinand incapable of answering suitably to so gracious a reception: it was not the charming person with flaxen hair; it was not a figure corresponding with his imagination, which at this moment presented itself to his view. But it was Emily, shining in every possible beauty, far beyond what Ferdinand had expected: he recollected notwithstanding each feature which had already charmed him, but now clothed in every perfection which nature bestows on her most favoured objects. Ferdinand was lost in thought for some moments: he dared not make mention of his love, and still less did he dare speak of the portrait, and the other wonders of the castle of Wartburg. Emily spoke only of the happiness she had experienced in her earlier days, and slightly mentioned her brother’s death.

 

As the evening advanced, the young female with flaxen hair came in with the old stranger. Emily presented them both to Ferdinand, as the baron of Hainthal and his daughter Clotilde. They remembered instantly the stranger whom they had seen the preceding evening. Clotilde rallied him on his wish to be incognito; and he found himself on a sudden, by a short train of natural events, in the company of the person whom his mother intended for his wife; the object of his affection whom he had just discovered; and the interesting stranger who had promised him an explanation relative to the mysterious portraits.
 

 CONCLUDES NEXT WEEK
 

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