She folded her arms about the little form, and clasped it to her bosom. Her face was lighted with a high resolve, the heart against which her child's was pressed was throbbing with a lofty impulse.
'It would, my darling, it would; with God's help, it shall. Here in His holy presence, I solemnly promise, if there is any strength in good resolutions, if there is any power of good left within me, if God will not utterly forsake one who has so long forsaken her better nature, never, never, from this time, henceforth and forever, to touch, taste, or look upon the accursed thing.'
That night, at the foot of the tall poplar, the flickering sunlight falling through the leaves on his head, making the brown hair golden where it fell, Harry sat watching the coming of his brother. He had not long to wait; in a little while the red, slanting rays fell on that other head of darker brown. The well-known form appeared at the gateway, and Harry went bounding down the gravel walk to meet him.
'Ma wants to see you,' panted the little brother. 'She wanted you to come up to her room as soon as ever you got home. She sent me to tell you so.'
The message was such an unusual one, he was so flushed and excited, soproudto give it, and the look of joy shining in the pale face was such a stranger to it, that the great brown eyes of the elder brother opened wide insilent wonder, and the excited Harry had caught him by both hands, and was dragging him by main force toward the house before he had recovered from his astonishment sufficiently to speak.
'I don't want to go,' cried the unwilling Charley, ruefully drawing back. 'I don'twantto go, Harry.Whydoes she want to see me? Whatmakesher want to see me? I a'n't done nothing to be whipped for!'
'Oh! it isn'tthat,' returned the little fellow eagerly. 'We a'n't going to be whipped any more, unless we're real naughty, and then not very hard; and ma is going to send Betty away, and we a'n't going to be scolded any more; and she's going to take us to walk and ride with her sometimes, as the other mothers do. Why,' cried the eager child, all glowing at the delightful prospect, 'Why, Charley, we're going to be happy now.'
'Oh, I don't believe we are,' sadly sighed the more experienced Charley, scratching his curls disconsolately, and looking at his brother in a maze of perplexity and doubt. 'I've thought we were going to be happy a great many times, but we a'n't been never, and I don't believe we ever will be. The first thing I remember was being lonesome, and I've been as lonesome as could be ever since. No, no; we shall never be happy. Ta'n't no use thinking about being happy,' and the forlorn child threw himself upon the grass in a hopeless and dejected manner. 'But theydosay, Harry,' he continued, looking up through the leaves at the blue vault above him, 'that there's a place up yonder somewhere where good people go when they die, and whereeverybodyis happy. I've thought, since I heard about it, that perhaps some people went there without dying. If theydo, Harry, and I can only find out the way, I'd leave this mean old place, and go there straight, this very minute. I'd like to have you and pa come, Harry; but ma is always scolding or whipping us for something. I don't like ma, and I don't care whether she ever gets there or not. Come to think of it,' pursued Charley, as a new thought seemed to strike him, 'I had a good deal rather she wouldn't come; for if shedidfind out the way, and come up there after a while, like as any way she'd bring a switch with her.'
'You shouldn't talk so about ma, Charley,' said his meek-eyed brother. 'She isn't crossalways. She has been kind to me to-day, so kind,' said the little fellow, stemming with his fingers two great round drops that were slowly running down his cheeks, 'that it makes the tears come to think about it. I was with her a great long while, and she didn't scold or speak cross once. Why, only think, Charley,' he proceeded, opening his eyes, as if the fact about to be communicated could never be sufficiently wondered at, 'we were all alone together for ever so long, and she might have got angry and whipped me just as well as not, and pa would never know anything about it.'
'It's a wonder she didn't,' scornfully returned his brother; 'it would have been such a nice chance. She don't get such a chance asthatevery day. There wouldn't have been any fun in it if she had, though; for I tell you what it is,' he continued, looking about on his hands for sundry marks and dents left thereon by the nails of his mother, 'I tell you what it is, Harry, when she gets hold of a feller, she digs right in. She pounds us more than half the time for just nothing at all, only because she gets mad and likes to do it. To be sure, I get mad myself sometimes, and say ugly words, and ought to be whipped; but you,younever do anything to be whipped for, andshe,' proceeded the indignant little fellow, with an emphasis of immeasurable scorn on that personal pronoun, 'sheto go to work and pound a little, pale fellow like you! Why, she ought to be ashamed of herself. I get so mad sometimes when she gets to whipping us, and pa comes to take us away, thatI think if he would pound her just as hard as she pounds us, and just long enough to let us see how good it feels, I wouldn't care a bit—I'd just like it: but he don't never; he only trembles all over and gets very white, sets her down in a chair, and takes us out of the room—buys us playthings, or tells us stories to stop our crying, and that's the end of it until next time.'
Poor Harry! the color had faded from his face, the light from his eyes. That deep shadow of inexpressible mournfulness had again crept into them. Memory of such scenes, as are never garnered up in the breasts of happy childhood, shadowed his face and heart. His short-lived happiness was over. He made no reply to his brother, but sat motionless, gazing at the sky with a searching, yearning, far-off gaze. Looking at the two young faces turned upward, it would have been hard to say which was the saddest. Young as they were, traces of the working of the curse which had blighted their lives, were plainly visible in both. Both were equally pale and thoughtful, both robbed of the brightness and gayety belonging to their years, only varying in expression as they varied in temperament. The look of meek and patient endurance on the face of the younger spoke of a nature that wrong and suffering might crush, but could never rouse to anger or resentment—of a heart that would break, if must be, but would patiently lie down and die. The scornful defiance flashing ever and anon in the face of the elder brother, the immeasurable bitterness mingling with its sadness, showed a proud and fiery temperament that could be goaded to desperation.
'But she shall never strike me many times more,' continued Charley, with suppressed indignation. After a pause, during which, with compressed lip and clouded brow, he had been resentfully dwelling upon the pain and humiliation consequent upon the blows he had received: 'Never! never! for I don't care if itiswrong, if padoestell me not to do it, I don't care if she is my mother; after I get just a little bigger, when she strikes me, I'm going to strike back again.'
These vengeful threats exciting no answering comments from his brother, Charley turned to look at him. A strange prophetic chill swept across the intuitional soul, and filled it with vague, shuddering apprehension.
'Harry, don't look that way; Harry, come back to yourself! Oh, Harry! take your eyes from the sky and look at me. You frighten me so!' cried Charley, in a voice tremulous with agitation.
The consciousness of his surroundings had dawned so slowly on the rapt soul, the patient face had turned toward his brother's so calmly, he was so meek and quiet, so undemonstrative usually, that he was totally unprepared for the wild burst of passionate weeping with which Harry threw himself upon his neck.
'Oh! Charley, Charley, I cannot find it, I cannot see the land you talk of. I know it must be there, where the sky is clear and the sun is shining; but I've been looking, and I can't see it anywhere. Oh! Charley, where is it? Where is the place up yonder where they are good and happy? Show me the way there, show me the way. I don't want to stayhere,' sobbed Harry, coming back to his own hopeless self again; 'I want to go somewhere where folks don't have to be lonesome all the time; I don't know what dying is, but if dying will do it, I want dying to take me there.'
He had drawn his brother toward him, wiped his tears away with his own little apron, and soothed him as well as his agitation would permit, striving, amid the tumult of his thoughts, to gather up such meagre scraps of information as he had gleaned upon the subject, and put it into intelligible words, when, from a window almost hidden by the leaves of the tree under which they were sitting, they heard avoice calling to them, a familiar voice, but with a new tone in it, which quickens their pulse-beat, and makes their hearts throb with a sweet joy. Dimly visible through the foliage, a familiar face is looking down upon them, loving and tender as any mother's face should be; and with that look, the strong instinctive love for her which nature had implanted in their hearts awoke in all its strength. Pride, anger, sorrow, were all alike forgotten. To her loving call there came from eager lips the ready response:
'Yes, mamma; we are coming, dear mamma.'
Those who are blessed with golden memories of a happy childhood, perchance but lightly prize Heaven's brightest, choicest gift. Those who have never felt the hungering and thirsting of a heart deprived of sympathy and kindness, the desolate pining of that state more sorrowful than orphanage, can but feebly, faintly guess how tender tones and soft caresses, loving words and looks, such common blessings as awaken in the happy thought of gratitude, were treasured up in these lonely hearts as gifts of priceless value, or measure the deep thankfulness which thrilled them as they knelt side by side at their mother's knee, and said their prayers in the deepening twilight that summer night.
They had a table spread before the open window, and had their supper in their mother's room, and, as the light sank into darkness, with an arm thrown around each little form caressingly, and a brown head resting on each shoulder, they sat beside her on the sofa, and listened as she told them, in language suited to their childish comprehension, of the coming joys in store for them, of what a happy home their future home should be, now that she had resolutely parted from the curse that had destroyed their peace, and forever turned her back against it;—listened as she drew glowing pictures of the walks and rides they would take, of the varied pleasures they would enjoy together, pleasures it should be her pleasing task to plan. They had nothing to damp their enjoyment, for she had dismissed Betty, and with her own hands undressed and bathed them, and robed them for the night; and they enjoyed it all, not with the keen zest, the careless hilarity of childhood, but with the subdued and thoughtful gravity seen in beings of maturer years, to whose lot has fallen more of the sorrows than the joys of life, and who receive happiness, when at rare intervals it comes to them, with a tremulous thankfulness, as if fearful of entertaining so strange a guest; and when at last it ended, as all happy seasons must, and both tired heads rested on one pillow, Harry whispered to his brother:
'There is nothing to be sorry fornow, Charley. She will never drink that dark stuff any more—I know she never will; she will never forget the promise she has made.'
Then the drowsy eyes, ere they closed, sought the dim night sky for that star, the brightest in the blue above him, which had revealed itself through his tears, when alone in the darkness he had first learned to pray, and, gazing on it, and on the sky beyond, where a happier home than any earthly one is proffered, murmured to himself, with a peaceful smile:
'Oh! we shall be so happy, so very, very, very happy!'
She promised. Oh, frail and sandy foundation, on which to build bright hopes of earthly happiness! Only for four brief weeks, one happy month, that solemn promise was faithfully remembered. Of the effort that even this short period of abstinence had cost her, of the burning thirst which tortured her by day and night, the fierce desire that battled with and almost overcame her feeble resolution when the enthusiasm that had at first upheld her died away, of the suffering of those wearyweeks of conflict, only those can tell who, heroes every one, like her, have battled with this fierce spiritual Apollyon, and who, unlike her, have overcome. Hour by hour the maddening desire of gratification wasted little by little her moral strength. The thirst grew stronger, the will weaker.
The thought of the home she had brightened by her self-denial, the heart she had gladdened, the little ones who had drawn their life from hers, whose trust in her was growing stronger day by day, as evening came and showed the valued promise still remembered, and morning dawned and found her faithful, held her back at first; but gradually this also lost its power. Then that torturing, burning, maddening thirst swept over the doomed soul like a fierce simoom, drying up the fountains of maternal tenderness, bearing away all sense of duty, all tenderness and sympathy, the blessed hope of heaven itself, in its desolating track. One wretched day, when this thirst was so strong upon her that her priceless soul grew worthless in her eyes, and she would smilingly have bartered it but for a single draught; one well-remembered, miserable day, when the little faces were raised to hers, and found upon it no trace of motherly affection, only that dark foreboding look, and grew pale with fright when desire had reached that relentless climax which leaves the victim no choice but of madness or gratification, she had fiercely summoned her usual messenger, sent for her usual drink, and sat grimly waiting for it. In vain that trusty messenger, to whose care the wretched father had confided that pitiful remnant of family honor, the shame of public exposure, boldly setting fear of her aside, earnestly besought her to wrestle with the demon yet a little longer, were it but a single day; and implored her with tears to remember the little ones on whom this blow would fall so heavily. There was no tone of motherly affection within that raging breast to respond to that appeal. With parched, cracked lips, and burning eyes and bloated face fierce with desire, she had driven her from her presence. Fear lest the lack of this great need would drive her to distraction quite, and some worse evil yet befall them, she had gone her way, weeping as she went. She came back presently. There was enough of that terrible poison in the bottle she brought to make her mistress drunk a score of times. She may get drunknow, dead drunk; in a little while she may lie upon the floor a senseless, idiotic, disgusting creature. She almost prays it may be so, as she hands her the glass which she angrily calls for, for there is yet a greater evil to be dreaded. The liquor so long untasted, acting upon her naturally high temper, may arouse within her a wild tempest of passion; in her frenzy she may fall upon those little ones, beat, bruise, maim, murder them perhaps. It is not the first time their lives have been endangered by her violence. To get them from the room without exciting her opposition, so quietly and naturally that it shall hardly attract her observation, is her first care; hence, under pretence of arranging the window curtain, she says to Charley, who is standing near it:
'Charley, say you want some cakes—a drink of water—anything that's down stairs, and follow me out of this room.'
'I can't go, Maggie,' returned the child, in the same cautious whisper, glancing toward his mother with his large dark eyes wildly dilated, and his small face bleached with fright. 'Harry won't go, and I can't leave Harry.'
'Harry shall go,' energetically repeated the resolute Maggie, putting her head out of the window to say her say. 'He is not going to stay here to be mauled! Harry,' she continued, in the most insinuating tone imaginable, 'come down stairs with Maggie. There's a darling.'
He was leaning out of the window, apparently looking at something in the street below, and did not move as she addressed him.
'Harry, Harry,' she called again, in an excited whisper, 'do you hear me? quick, child, quick!'
He turned toward her his face covered with tears.
'Don't cry, for heaven's sake, child; don't cryhere,' returned Maggie, with a suppressed groan, 'or that mother of yours will pounce upon you in spite of me.'
At the mention of that word, what little self-possession he retained gave way, and he sobbed outright. It was a sob so passionate and long suppressed, and it burst forth in spite of him with such vehemence, that it shook the little form from head to foot, and sounded through the still room so miserably hopeless, so heart-broken, that it even aroused the stupefied being nodding in her chair, whom he had the misery to call by the name of mother. It awakened within her some vague thought of motherly sympathy; and, stupidly striving to comprehend what it meant, and idly muttering to her miserable self, she poured out a third glass, held it in her hand as well as she was able, and came tottering forward, swaying to and fro in maudlin efforts to keep her feet. She took up her position directly behind Harry, and looked vacantly out. She was trying to ask what was the matter, with a tongue whose palsied utterance made language incomprehensible, when Harry's friend, whom he had been watching, and whose figure he had, with love's delicate discrimination, picked out from a score of similar figures, and known to be hers, when it was but a mere speck in the distance, passed directly under the open window, and, startled by that sob and by that drunken voice in answer, looked wonderingly up. Oh, heavens! she read that fearful secret in one blank, horrified glance. She read it in the despairing hopelessness of the little face turned toward hers—that look so terrible in a face so young. She read it still more clearly in that fiery, bloated, senseless visage looking down upon her with a dull stare, in the swaying form feebly holding the tell-tale glass. She knew now why that delicate child, nursed in the lap of affluence, having all that wealth could purchase, had come so timidly to her lowly dwelling, and earnestly besought her for a single kiss; what had made the little face sorrowful and wan, and set that seal of suffering upon it. She saw it all, and, under the sudden weight of that astounding revelation, she literally staggered as under the weight of a blow. Looking down through his tear-dimmed eyes at the face he loved so well, Harry saw upon it no look of sympathy or recognition for him—only that blank, amazed, horror-stricken look at that something behind him, a look which embraced every item of the shameful scene, and showed all too clearly how plainly it did so. Then, without a word or glance of kindness, she gathered her veil closely about her pallid visage, and quickly hurried away. Alas for Harry! he feels that the truth has turned her heart from his, and she has gone forever. The anguish of that thought was too great for suppression, and he stretched forth his hands toward the retreating figure with a forlorn wail of supplication. That look of horror, that low, plaintive, heart-broken cry, like a child forsaken of its mother, had sobered her a little. She had been a proud woman once, and a remnant of the nobler pride which had once uplifted her was still left within her soul. To have eyes from which shone forth the pure, unsullied spirit of womanhood, discover her secret, and look upon her in her shame; to behold in a rival, whom unseen she hated, womanhood enthroned in excellence; to see its image in herself fallen and defaced, sunken in degradation; to know that a few kind and well-bestowed caresseshad won her child's love from her, that on that strange maternal bosom the little head rested more tranquilly and peacefully than on her own; to owe her a double grudge as discoverer and supplanter—this aroused the smouldering and now perverted pride yet alive within her bosom, and fanned it to a flame. She clinched her hands convulsively, her teeth shut together with a dull, grating sound, the unsteady form swayed to and fro, like a lithe tree shaken in the wind of a coming tempest, and the bloated face, dark with wrath, was terrible to look upon. It was a fearful thing to be alone with that half-drunken creature, and see wave after wave of passion rolling over her tempest-tossed soul, lashing it into fury. Maggie felt it to be sonow. As a trusty confidant and able protector, one who, by some strange means, had gained an ascendency over her mistress that no other possessed, and wisely exercised this controlling power, she had been with these poor children through many similar scenes, sheltering them under the broad wing of her protection, but she had never beheld the gathering of so dark a storm, never felt the vague, shuddering dread, the chill apprehension which seized on her now. One glance at that terrible being showed her power lost, her protection insufficient, impotent. To stay with them and endeavor to breast the coming storm would be madness—to try to get the children from the room now would be both impolitic and dangerous; at the least demonstration of the kind that storm would be sure to burst upon them in all its resistless fury, and before its raging power she felt her strength would be utter weakness. She must fly for aid. Perhaps even now some invisible being, conscious of their danger, might be impelling their father to the rescue.
'Harry,' said Maggie, turning very pale, as she glanced at the dreadful figure rocking to and fro in fearful communing with itself, and bending down to whisper a parting injunction as she tied on her bonnet, 'don't speak to her, don't look toward her. Don't cross her in any way. She's the devil's own, now.'
A word, a look, a gesture of entreaty to Charley, placing in dumb show his brother in his charge, and she passed from the room hastily and noiselessly, but not unperceived. As she vanished, an evil smile of triumph at thus being so easily rid of an able antagonist, flashed across the terrible face, giving it almost the look of a demon. In passing out, Maggie has left the door ajar, which perceiving, the wretched woman totters across the room, shuts the door, locks it, throws the key upon the floor, and, tottering back to her seat, again takes a long, deep draught from the glass upon the table. Fixing her fiery eyes full on Harry, she calls out imperiously:
'Come here, sir!'
The tone in which the command is given is cruel, stern, and cold, unsoftened by maternal tenderness, untouched by womanly gentleness, and the bloated face has the same evil look upon it. Harry shrinks back affrighted.
'Are you deaf, you adder? Come here, I say, come here.'
There is a fierceness in the tone now which shows a longer delay will be dangerous; and so Charley, pale and trembling, comes forth from the corner in which he has been crouching, and, taking his smaller brother by the hand, they come forward together.
'What made you bawl after that woman—that woman in the street?' she says, viciously grasping the little shoulder, and giving it a shake. 'Answer me this minute. Speak, sir, speak!'
'I—I can't help loving her, ma,' falters the poor child deprecatingly, while the blue eyes fill, and the tears fall slowly down his face.
'There, none of your snivelling,' she cries fiercely, giving him another shake. 'Come up here; come closer. Here!Stand back, you,' pushing Charley from her with a force that makes him stagger. 'Now then,' she furiously demands, 'did you ever cry aftermewhenIwent away and left you?'
He is so faint with fright that he can hardly find his voice to answer, and the words are almost inarticulate as he falters forth:
'Sometimes, ma; sometimes, when you are kind to me.'
'You never did; you know you never did, you little liar,' shrieks the crazed creature, savagely dealing him a heavy blow which sends him reeling from her.
'Oh, ma! Oh, ma!' gasps the poor child, crouching down in the extremity of terror as the terrible figure comes flying toward him. 'Don'tkill me, oh, don't killme; I'm such a little boy!'
She pounces upon him like a tigress, lifting the fragile form high in the air, and dashing it down to the floor again with all her cruel force. She shakes, she bites him, she rains blows upon the poor, defenceless child, leaving prints of her vicious fingers all over the poor little body wherever she touches the tender skin, marks of her cruel nails on the delicate arms and hands, long, deep scratches from which the blood exudes slowly. One last cruel blow hushes the suppressed cries of pain and terror, the low moans for mercy, and lays the bruised and quivering form senseless at her feet. Then the mad creature, crazed with drink and passion, goes careering up and down the room, snatching from table and bureau the costly trinkets with which they are adorned, and wildly trampling them beneath her feet as she hurries to and fro. She is so terrible to look upon, with that scarlet, bloated face, distorted by passion, and the long, thick hair unbound hanging wildly about it, and that baleful light in her bloodshot eyes, so terrible in the frenzied excitement of look and motion, that Charley, who has crept to the side of his prostrate brother, and is tenderly holding the unconscious head, has no power to cry or move, but sits half frozen with horror, with his great brown eyes wildly dilated, fixed in a species of fascination upon the strange motions of that dreadful figure, and merely in obedience to the instinct of self-preservation endeavors to shield himself and his insensible charge from the heavy blows aimed at them as she comes flying past. A few brief moments pass in this way, moments which to that poor child, alone with that wild being, seem dreadful hours of torturing length. Then the blessed sounds of coming relief fall on his ear, footsteps are approaching, a man's firm, hurried tread and woman's lighter but no less rapid step are heard through the hall below, up the staircase—on, on they come, crossing the long upper hall, pausing at the threshold. Then they try the door; swift, crushing blows are rained upon it, the door is burst open, and they come rushing distractedly in.
'Oh, pa! pa!' The tongue is loosed whose utterance fear has palsied, and Charley stretches forth his hands to the strong arm of his earthly saviour. One hasty glance around the room strewn with fragments of costly toys, one look at the maniacal form in the centre with wildly dishevelled hair, and leering, vacant face, then the anguished eyes fall onthatfor which they are searching, see the outstretched arms of the little figure cowering in a corner half hid by the window curtain, see that other figure lying at its feet, so livid and motionless, so breathless, with the deathly face upturned, and the long brown lashes, still wet with tears, resting on the marble cheeks.
'O God! too late! too late!' The strong agony of that father's heart bursts forth from his bleached lips in that wild, irrepressible cry. He seizes the tottering form. He shakes it fiercely: 'Woman! fiend! blot on the name of mother! you havekilledmy boy!'
That momentary burst of passion past, he leaves the hapless creature toher witless mumbling, and, with great waves of anguish rolling over his soul, the broken-hearted father kneels beside his boy.
'Not dead! oh, thank God! not dead.'
There is a slight throbbing motion of the heart, a faint, scarcely perceptible pulsation at the wrist. They raise the senseless form from off the floor. Up to his room they bear him; softly on his little bed they lay him—that little bed from which he is never more to rise. Gentle footsteps glide noiselessly about the room, loving eyes are bent above him, and tears fall upon the upturned face. Long days go and come, fragrant sunny days, bright with the bloom of summer, each day one less of earth, one nearer heaven. The loving watchers know it, and ever and anon there are sounds of smothered weeping there. But there are no answering tears from eyes soon to look on immortal things, for on the passing soul dawns a vision of a home beyond the shadow and the blight, where, in meadows fragrant with immortal flowers, theGreat Shepherd feedeth His sheep, and, as He tenderly leads them beside the still waters, gathers thelambsto His bosom. In that clime glows the glory of unfading light, the bloom of undying beauty. Henceforth the beauty and the light of this transitory sphere seem wan and cold, and the fading things of earth grow worthless in the dying eyes, and the tranced soul longs to be gone, yet bides its time with patient sweetness. Patient amid all his pain, no groan escapes the parched lips, no complaining murmur. Bearing all his sufferings with meek endurance, quiet and very thoughtful he lies upon his little bed, smiling placidly upon those about him—grateful, very grateful for their love and care; watching with musing eyes the long hours through the changes of the day on the sky as seen from his window—gray dawn melting into morning, morning into mellow day, day, with its varied changes, sinking into night. The heaven beyond on which he muses as he gazes, the home for which he longs, baptizes him with its light beforetime. On the sinless brow the seal of a perfect peace is set, and the air about the child grows holy. A hush falls on the room mysterious and solemn, and they know that white-robed immortals are treading earthly courts, mingling in earthly company; for he murmurs in his dreams of radiant faces that bend above him; and the wan face, as they watch it in its slumbers, grows bright with the look of heaven. A few more hours of earth, a little longer tarrying of the immortal with the mortal part where it has lived and loved, suffered and rejoiced; a few more moans of pain, and the blue eyes open and look upon the day whose silent light will dawn upon us all. They had not thought the end so near at hand; and, worn out with grief and watching, the father and his faithful nurses had one by one retired to rest, leaving Charley, at his earnest solicitation, to sit beside the bed and watch his brother's fitful slumbers. Since that fatal day, a dread and horror of his mother had seized upon the child. Though surrounded by those he loved, her near approach would cause strong nervous chills, and her kiss or touch would throw him into frightful spasms, from which they could with difficulty recover him; hence, by the doctor's orders, she was forbidden the room, and it was only when utter exhaustion had steeped his refined spiritual sense into perfect oblivion of surrounding objects, that she was permitted to enter there and gaze for a little on the wan features of her sleeping child. That day, knowing his time on earth was short, and possessed by a restless and uncontrollable desire to be near him, even though she could not look upon his face, into the room of her dying boy she had stolen like a culprit, and noiselessly shrank into the farthest corner of the room, screened from hisobservation by the heavy window-curtain and the high head-board of the bed. They had discovered her there after a time, but she, in terms which would have moved the coldest heart to pity, implored them with tears to allow her to remain; and they, seeing that the demon had departed from her for a season, and compassionating the forlorn being, had gone away and left her there. She sits motionless in the silent room, her despairing eyes fixed on the serene heaven to which her darling will soon be gone, and from which the stern justice of an accusing conscience tells her she may be forever excluded.
And oh! if this be truth, if in the world beyond there is no hope for sinful souls that have gone astray in this, and this partingiseternal, then, oh then, through the long, dark ages of suffering which may be her future portion, never to look upon her darling more, never more to kiss the sweet lips that have called her mother, never more to look upon him here till the silken lashes droop toward the marble cheek and the half-veiled eyes have lost their lustre, and they lead her in for a last look ere the little face is shut out from mortal gaze forever!—oh! the unutterable anguish of that thought, and the remorse which mingles with it! Not for that last dreadful act, for she never knew that she had killed him. No clear remembrance of that day lives within to curse her memory, but she knows that a strange and unaccountable dread of her has seized upon the child, that she is banished from his dying presence; and an undefined and vague remembrance, a misty horror, has fallen on her life, rests on her like an incubus, pursues her in a thousand phantom shapes through the long, dark watches of the terror-laden night, and through burdened days of ceaseless suffering. She knows, for they have told her, that when his consciousness returned, his first cry had been for the mother of his heart; that she had left everything and come to him; that she had taken her place beside his bed, a dearer place than she had ever occupied in his heart; that no hands like those chill, magnetic ones could soothe him in his pain, or charm him to his fitful slumbers; that on no bosom could the throbbing head rest so tranquilly as on her own. What the mother's heart suffered in that knowledge when her better nature prevailed, only the Being knows Who framed it. The hours of the long day wore heavily on. The sun, that had paused awhile in mid-heaven, was now sinking slowly toward the west. Yet, unmindful of food or rest, seated in the same corner into which she had shrunk on entering the room, ever and anon rocking herself to and fro, or wringing her hands in silent agony, there sits the wretched mother, hidden watcher by the bedside of her dying boy. The room has been chosen for its retired situation, and is removed from the noise of household occupations; and the bustle of the crowded street, even in its busiest hours, falls on the ear in a distant hum. It is quiet now, very quiet. Harry has awakened once from his slumbers, asked to be moved nearer the front of the bed, that they may be very near each other while he sleeps again, and, when that was done, has smiled lovingly upon the little, sorrowful watcher, and, with his wasted hand tightly clasped in his, has fallen into sounder slumbers. In the deathlike stillness which has fallen on the room, she can hear his breathing, and has ventured twice or thrice, while he slept thus, to steal softly to the bedside and look upon his face; but as at each successive attempt he has seemed almost immediately to feel the dreaded atmosphere, and his slumbers have become broken and uneasy, with a heavy heart she has crept silently back again. Charley has waited until the thin hand of the sick child has relaxed its clasp on his own, then, moved by a loving impulse, noiselessly busies himself in removing a littered mass ofvials, cups, and glasses, which have accumulated on the stand near the bed, to a table just at hand, and taxes his childish ingenuity in arranging thereon, in the prettiest possible form, a multitude of toys and trinkets, gifts sent by the servants of the house to his brother, putting the new ones in front, so that his eye may fall on them first when he wakes again. This done, he creeps back to his seat by the bedside, and silently watches his slumbers as before.
A ray of sunlight, bright and warm, creeps through the lattice and falls on the veined lids; the eyes open, and instinctively moving from the too dazzling light, rest placidly on a fragment of blue sky just visible through the half-closed window. With eyes fixed intently on that hazy distance, moment after moment, silent and motionless he lies, and the blue orbs grow lustrous as he gazes with the mystic beauty of eyes whose inner vision rests on unutterable things, and gradually there comes upon the little face the look that never comes on any face but once. Oh, mystic change! Oh, strange solemnity of death! The little watcher by the bedside, face to face with its mysterious presence for the first time, ignorant of its processes, feels a dread, half-defined idea of what it may be, and, with a piteous effort to recall his dying brother back to his old look and seeming, tremulously falters:
'See all the nice things they've sent you, Harry, all the pretty toys you've got! Here they are, spread out upon the table. Look, brother, look!'
The eyes are bright and clear, the shadow of death has not yet dimmed their light. They turn slowly, very slowly, and, just glancing at the toy-strewn table, rest upon his brother's face. Oh! what is that look within them that chills the warm life-current, and makes him cold and shivering in the heat of that summer day, as the sick child feebly says:
'You may have them all,all, Charley; I sha'n't never want them any more.'
'You've hardly looked at them at all, Harry,' quavers the young voice in reply, bravely trying to continue the subject. 'You don't know how handsome they are. The nicest ones, the very nicest ones Betty bought you! Poor Betty! she has done nothing but cry since you've been sick—cry, and buy you presents. She says when you get well, Harry—' and here the brave little voice, that has been tremulous and tear-laden all along, breaks down entirely, and he puts up his hand to check the tears that are running down his face. There are no tears in those other eyes looking into his; the mists of death are gathering within them. He cannot see the tear-wet face so plainly now, but he feebly strokes the hand that lies against his own, and says, in a weaker voice, pausing now and then for breath:
'Poor brother, dear brother! Don't cry, Charley, don't cry! You must tell Betty not to cry. Poor Betty! I haven't seen her once since I've been sick. And poor mamma'—the faint voice, forgetful of its weakness, grows stronger for a moment, and dwells on that name with measureless compassion—'poor, poor,poormamma! I don't feel afraid of ma any more, and I want to see her. IDOsomuchwant to see her! Whereisma, Charley?'
There is a movement in the lower part of the room, and a bent form comes tottering forward, with hair hanging wildly about a haggard, despairing, woeworn face. Her hands are outstretched in piteous supplication.
'Here I am,' a voice choked with sobs makes answer, 'Here's your poor, miserable, guilty mother, Harry. O Harry! my sins have barred me out from the heaven you are entering; say you forgive me before we part forever. Oh! my darling, it is the last time I shall ever ask it; give me one kiss before you go!' He smiled as only the dyingcansmile, and stretched out his feeble arms. 'He smiles upon me, he forgives!' shrieked the half-demented creature. 'O God! most merciful!Thou hast not quite forsaken me!' and with a step forward, and a gesture of embrace, the hapless being falls heavily upon the floor.
'Raise me up, raise me up,' pleads the sick child, after partially recovering from the shock the fall had given him; and, as he gazes upon the prostrate form, the white, haggard, insensible features, an angel's pity and compassion shine in the dying face. 'Oh, I can't kissher, Charley. Tell poor mamma Icouldn'tkiss her,' he faintly moans. Then the fitful strength gives way again, and the tired head droops wearily on his brother's shoulder. The chilled form creeps closer to a warm embrace. A little while they hold each other thus—these little ones, brothers by the ties of blood, bound nearer to each other than any tie of blood can bind, by the sacred bond of suffering! Then the arm around poor Charley's neck relaxes its hold, and falls with a dull, lifeless sound back upon the pillow. The little form grows colder, colder yet. He has no power to lay it down, no power to cry for help, but sits holding it, half paralyzed, as he hears them rushing up the stairs, urged wildly on by the dreadful fear that they have come too late.
There is a piteous supplication in the large, dilated eyes, a mute prayer for help in the white face he turns upon them as they enter. To the hurried questions which come pouring forth, the bleached, white lips make answer:
'He got cold, and went to sleep again; and he has been getting colder ever since.'
Then the father, stooping, looks into the little face lying on Charley's shoulder, and, staggering back as if a blow had struck him, cries out: 'Dead!' and the friend that Harry had loved so well raises the curly head and lays it back upon the pillow. There are no tears in her gentle eyes for him, for she knows the little, weary heart is resting now on the great heart of Infinite Love—that he is gone to One who, with outstretched arms, stood ready to receive him—Onewho said long ago: 'Suffer little children to come unto Me!'
Great is the variety in the different classes of men to be found in picture galleries. First in importance stand the artists, oftentimes oracular personages, dangerous of approach by outsiders having opinions (suchmust generally expect a direct snubbing, polite indifference, or silent scorn), knowing much but not everything, no single one infallible, highly honorable as members of a guild, secretive as doctors or lawyers, chary of talking shop to the uninitiated, hardworking, conscientious, half luring, half scoffing at the glorious visions of the creative imagination granted them chiefly of all men, wonder workers, world reformers, recorders of the past and prophets of the future, comforters of prose-ridden humanity, stewards of some of God's best gifts, openers of the gates of the beautiful, and hence ushers into the vestibule of the glorious 'Land of the Hereafter.' May theyallremember their lofty calling, and never diminish their usefulness by unworthy contests amongthemselves, or by sacrificing their own better judgment to the exigencies of popular requirement!
Next in order come the connoisseurs. Unmistakably one is that young man with near-sighted eyeglass, with Dundreary whiskers and jaunty air, who talks of breadth, handling, foreshortening, perspective, etc.; who perhaps quotes Ruskin, has seen galleries abroad, is devoted togenrepictures, and, after rattling through an exhibition for a half hour, pronounces definitely upon the merits of the entire collection, singly anden masse.
Equally recognizable is the older picture-fancier. He talks, if possible, even more learnedly, discoursing of balance, tone, chiaroscuro; he despises innovations, judges in accordance withnames; is of course convinced the present can bear no comparison with the past; will look through a whole gallery, and finally be captivated by some well-executed conceit—a sun shining through a hole—three different sorts of light, of fire, candle, and moon, mixed in with monstrous shadows and commonplace figures—some meaningless countenance surmounting a satin whose every shining thread is distinguishable, and the pattern of whose lace trimming could be copied for a fashion plate; he is, in short, a fussy, loud individual, with money to buy and some out-of-the-way place to hang pictures.
Then there is the man who knows but one, or at most two or three artists, and will look at the works of none other; who sees, as travellers generally do, not that whichis, but that which he had made up his mind to see before he left his own threshold. There are those attracted by nothing except brilliant color, and others who have heard so much of the vulgarity of 'high lights' and gaudy hues, that they will tolerate nothing but brown trees, russet grass, gray skies, slate rocks, drab gowns, copper skins, and shadows so deep that the discovery of the objects represented becomes a real game of 'hide and go seek.' There are also the timidly modest, who, although aware of their own preferences, are yet afraid to admire any new name until some recognized authority has given permission. Another division of this class consists of those who, knowing their own inability to draw or to color the simplest object, hesitate to refuse admiration to any art production that is even barely tolerable. Let us concede to this class our respect, as humility is the only solid basis for any human acquirement.
We also find the pretty young lady, who says 'lovely,' 'charming,' or 'horrid,' 'abominable,' in a very attractive, but most indiscriminating manner;—the individual who cares only for the design (to whom real depth or pathos and affected prettiness are too often one and the same), and the other, who looks only at the technical execution. Rare, indeed, are the imaginative analysts who, while considering the design, can comprehend its philosophy, tell why it pleases or displeases, why they like or dislike; and still rarer are they who add to impartiality, observation, common sense, imaginative perception, and analytic power, a sufficiency of technical knowledge to render their criticism useful, not only to outsiders, but even to artists themselves. Such a guide would indeed be an invaluable companion in any gallery of art. In default of him, let us do the best we can, and come to a consideration of some of the works offered us in this, the thirty-ninth annual exhibition of the National Academy of Design.
Before we begin, however, let us make a passing remark upon a custom that seems lately to have come in vogue, namely, to publish in the daily papers damaging criticisms upon pictures offered for sale at auction, such criticisms generally appearing one, or at most two days before the sale. The want of good taste, or even of abstract justice, in such a proceeding, must be apparent to every one who will pausea moment to consider. To compare small things with great, for the sake of illustration, if our neighbor has made his purchase of spring drygoods, and spreads them upon the counter of his store, we may or may not admire his taste in the selection of patterns, but we surely should not think ourselves called upon to rush to the newspapers and blazon forth an opinion to his detriment, especially if our assertions were mere guesses, perhaps even untrue, or if we were ourselves concerned in the selling of similar wares. Among the public are many tastes to be gratified, and each man can judge for himself of that which pleases him. A case of impudent pretension or actual imposition will of course require honest people to give in their testimony, but the facts adduced in such a case must be susceptible of proof, and not mere matters of individual taste or opinion; neither must they be advanced at so late an hour as to render their refutation difficult, or indeed impossible. A regular exhibition, such as that of the Academy, offers fair ground for discussion, as all sides have a chance of obtaining a hearing; but even there, the scales of justice should be nicely poised, and great care taken that neither rashness, flippancy, nor prejudice be permitted any share in their adjustment, and 'good will toward men' be the only extra weight ever added to either side.
To begin with the landscapes, one of the most remarkable, and, to our individual taste, the most attractive in the whole collection, is No. 147, 'The Woods and Fields in Autumn,' by Jervis McEntee, N. A. The fine tree-drawing and the exquisite harmony of color in this poetic representation of autumn scenery are worthy ofall praise. The clouds are gathering for dark winter days, a few pleasant hours are yet left to the dying year, the atmosphere is saturated with moist exhalations, with tender mists softening but not obscuring the beautiful forms of the leafless trees and shrubs. The springs are filling, the low grounds marshy, the leaves on the woodpaths crisp and of a golden brown. Far away in the west is a band of gray light, that tells of clearer skies and brighter seasons one day to come, of new hopes to dawn, when the earth, and the soul, shall have been purified by adverse blasts, by the baring of their nakedness to the unimpeded, searching light of heaven. No. 124, 'The Wanderer,' is a picture of similar character by the same skilful hand. Thoughtful, refined, and discriminating lovers of art cannot fail to find instruction and delight in these noble conceptions, and indeed it is chiefly in the possession of such persons that we find the truthful, conscientious, tenderly conceived, and poetical pictures of Jervis McEntee.
S. R. Gifford, N. A., exhibits two works, differing widely from each other, but both worthy of his reputation. Let the names now longer and more widely established in the estimation of the general public look to their laurels, for here is one who is destined successfully to enter an honorable contest for the possession of the very highest honors. Unity of design, and warmth as well as vividness of light, positive atmosphere, characterize the works of this artist, and render each one a satisfactorily completed poem. No. 226, 'South Mountain, Catskills,' presents a view doubtless well known to many of our readers. The far-away horizon, the winding Hudson with its tiny sails, the square dent where lies the lake in the Shawangunk range, the serrated ridges of the lower hills, the smoke from the lowlands outside the Clove, the shadowed, ridgy sides of the Round Top Mountain, the stunted pines of the South Mountain, so characteristically represented, the great rock overhanging the cliffs, and the whortleberry bushes and other low growth clustering about its base—all speak to us unmistakably of that very spot, and tell the story of the place as we scarcely thought it could have been told, yet sosimply, so naturally, that the art of the artist is almost forgotten in actual enjoyment of the scene portrayed. No. 250, 'A Twilight in the Adirondacs,' glows with an intensity of light suggestive of some secret art, and not of ordinary paint and canvas. A few brilliant cloud-specks float in a golden sky, which is reflected from the surface of a placid lake, high up among the hills, whose haze-flooded and light-crowned tops fade away into the far distance. To many this picture will prove more attractive than the view from the South Mountain: perhaps it is our familiarity with and love for the original of the last-mentioned view, which induce us to give to it our personal preference.
No. 158, 'The Old Hunting Grounds,' is by W. Whittredge, N. A. It gives a charming insight into the mysteries of the woods. The characteristic white birches, with their reflection in the quiet pool, the dark trunk and spreading branches of the great tree in the foreground, the tender foliage, and soft, hazy gleams into the depths of the forest, afford the materials for a delightful picture, the more precious in our sight that it is so truly a representation of our native land, so thoroughly American. The broken birch canoe adds to the beauty of nature a most effective and pathetic touch, by briefly figuring the melancholy history of a fast-departing race. Gone forever are the moccasoned feet that pressedthatmossy soil, and the dusky forms that flitted to and fro among the white trunks that catch and hold the light so lovingly. That broken canoe has a stranger tale to tell than any ruined arch or fallen column of the Old World: the one speaks of some empire passed away, the other of the gradual extinction of an entire type of human beings, a race of men who seem to have accomplished the work assigned them, and who die rather than abandon their native instincts and habits of thought and life. The fortunate possessor of the 'Old Hunting Grounds,' when shut up within the confined streets and dreary walls of a city, need only lift his eyes to the picture to dream dreams of the freshness and freedom of the wild woods, of the scented breeze snuffed by the browsing deer, of the rocking branches glimmering gold and green against the clear summer sky. Mr. Whittredge's picture is suggestive and harmonious as nature itself, and one could never weary of it, as one infallibly must of weaker and more conventional productions, often highly prized by frequenters of galleries.
No. 153, 'The Iron-Bound Coast of Maine,' by W. S. Haseltine, N. A., has the freshness, brightness, and mistiness of such a shore. We have heard Mr. Haseltine's rocks complained of as too yellow; but, in the absence of knowledge, are content to presume he painted them as he saw them. The action of the dashing surf in washing away the lower strata, and strewing the beach with fragments, is one token, among many, of an actual observation of facts.
No. 236, 'An Artist's Studio,' and No. 131, 'Christmas Eve,' are by J. F. Weir. Both are well conceived and executed, the latter being especially interesting. The old wall, the great bell, the moonlight, and the elves set the fancy musing over many things in heaven and earth rarely dreamed of in our philosophy.
No. 12, 'The Argument,' is one of W. H. Beard's excellent fables. The attitudes of the two bears in discussion, of the sober-minded listener leaning with crossed paws upon the tree, and of the self-sufficient old fellow with his paw upon his breast, may read to many a good lesson, especially during the coming Presidential struggle, when the charities andbienséancesof life will doubtless be but too often outraged. We have been surprised and pained to see attacks upon the works of this gentleman, coming from opposite quarters, said strictures being, in our opinion, unjust and uncalled for. If behind theanimal form we see proof of more than animal intellect, let us not quarrel with the addition. It is an evil mind that will go out of its way to fasten evil intentions upon the work of a man of genius. If human faults and follies so ill beseem the brute creation, should not such representation render us heartily ashamed of their existence among ourselves. Love and pity for the animal world, and a proper holding up to ridicule and scorn of the brutish propensities, too prominent, alas! in the composition of the human race, have been the lessons taught us by all the works of this artist we have thus far seen.
No. 204, 'Out All Night,' by J. H. Beard, is an excellent warning to naughty puppies to keep good hours and shun bad company.
No. 114, 'A Buckwheat Field on Thomas Cole's Farm,' and No. 143, 'The Catskills from the Village,' are by Thomas C. Farrer, a representative of a school which professes to paint precisely what it sees. To represent nature is the aim of all our best modern landscapists. Of course, no painting can give all that is in any scene, but every painter must select the means best adapted to convey the idea he has himself received. Now, in the ultra ideal school (to use a slang word which we detest) we recognize but little known to us in nature; and in the ultra matter-of-fact (pre-Raphaelite) school of this country, we find the same absence of abstract truth, together with a painful stiffness, and the want of a sense for beauty. We are not sufficiently practical artists to fathom the difficulty, but it seems to us to arise from the absence of one of the most prominent elements of beauty and interest to be found in the universe, namely, mystery. If, in the metaphysical world, with our limited means, we attempt anexhaustiveexplanation of any of the attributes of the Infinite Being, the result must be unsatisfactory; we will always feel that there is something beyond, which we have failed to grasp, a something which makes our best effort appear shallow and crude. Now, the material mystery of actual landscape arises from the presence of an appreciable atmosphere, softening forms, etherealizing distances, modifying color, and lending the glow of variously refracted light to every object falling under its influence. In these pictures of Mr. Farrer we fail to find any trace of atmosphere, and hence they strike us as bald, hard, cold, and unnatural.
No. 213, 'The Awe and Mystery of Death,' by Eugene Benson, is an able treatment of a repulsive subject. As we gaze, we cannot but admire the genius that has so far overcome the intrinsic difficulties of the situation; and, while congratulating the artist upon his success, must add that the Victor Hugo style of morbid horrors, however popular in some species of literature, can never, we hope, become so in the purer domain of visible fine art.
No. 246, 'Portrait,' William O. Stone, N. A., is a charming portrayal of a charming subject.
No. 283, 'A Child,' by George A. Baker, N. A., has lovely brown eyes, and a beautiful, thoughtful expression.
No. 253, 'A Portrait,' by W. H. Furness, jr., strikes us as a picture carefully disfigured. Thepartin the hair is singularly continued in the part between the wings of the golden butterfly ornamenting the head, the eyes are just sufficiently turned aside to give them the appearance of avoiding a direct gaze, and the tight-fitting gown is of whitemoiré, a material of stiff texture and chaotic pattern. The shimmer of waves in sun or moonlight is beautiful because restless, but the watering of a silk is a rude attempt to fix the ever variable in form, light, and color, and hence is always unsatisfactory.
We are glad to see that the women in our community are beginning to make some serious efforts in the way of good painting. They are by nature subtile colorists, and there is surely noreason why they should not conquer form, attain to technical excellence, and be inspired by noble ideas. They must remember that excellence is attainable solely through hard study and patient assiduity, and small things must be well accomplished before great ones can be expected to succeed. With the general development of what we may call 'out-door' faculties, a taste for mere sentimental prettiness will vanish, and a healthy vigor, united to refined and acute perception, will, we hope, characterize the labors of the rising aspirants to artistic honors.
No. 91, 'The Sword and the Wreath,' by Miss A. E. Rose, is a poetical conception, beautifully elaborated. The flowers have no appearance of having been copied from wax or colored stucco, but are faithful representations of the actual, fragile, delicate texture of the lovely children of the garden. The method of presentation suggests a memory of La Farge, but Miss Rose is too talented and original ever to fall into servile imitation.
No. 132, 'On the Kaaterskill Creek,' and No. 64, 'Head of the Catskill Clove from the South Mountain,' are by Miss Edith W. Cook. The first offers some fine delineations of foliage, intermingled hemlock, and deciduous trees, and the latter is a spirited and truthful representation of a beautiful bit of Catskill scenery. The Hunter and Plattekill Mountains, Haines's Fall, the Clove Road and intervening ravines, the winding woodpath, and burnt trees, are close records of fact, set in a far-away sky and a real atmosphere.
Miss Virginia Granbery's 'Basket of Cherries' (No. 81) and 'Strawberries' (No. 73) are tempting specimens of fruit.
No. 202, 'The Seamstress,' by Miss C. W. Conant, gives proof of future excellence in the truthful pathos of its conception and the energetic rendering of the idea.
But our hour has come to an end, and we have only space left to mention the names of Bierstadt, Constant Mayer, Hennessy, May, Durand, Griswold, Suydam, Bradford, Brevoort, Cropsey, Colman, Cranch, De Haas, Hart, Homer, Hubbard, Huntington, Vedder, and White, who are all characteristically represented, and to counsel such of our readers as are fortunate enough to have the opportunity, to go and see for themselves. Americans are beginning to comprehend the full value of the arts, and to appreciate their own artists accordingly.
With us it may not be the actual suffering of death, as it was with our Lord; but that we may truly follow Him, and do what we can for the good of others, we must hold life, with all its endearments, subject to any call for sacrifice that may be made on us; and actually give up, from day to day, just as much of the present life, its pleasures or interests, as may be necessary, that we may render the best possible service in the kingdom of Christ. We have the privilege of daily martyrdom, to be followed by its honors and blessedness, in whatsoever circumstances we may be placed: how much of the sufferings that sometimes accompany the spirit and the act, we need not concern ourselves to inquire.