American fiction -- 19th century; Artists -- Fiction
His disquietude soon caused him to return to the hotel, in hopes
of seeing the object of his thoughts.
He had hardly reached the piazza before Ida appeared, dressed in a
plain walking suit. She hesitated a moment in the door-way as if
undecided in her course. A party of gay young people were just
starting on a stroll to a neighboring village. With apparent
hesitancy, she said to one of the young girls:
"I have an errand to the village; may I walk with you for company?"
"Oh, certainly," replied the girl, but evidently not welcoming this
addition to their party, and Ida went away with them, but not as
one of them, isolated more, however, by her own manner than by the
bearing of her companions.
The explanation of her action was this: on opening her drawer after
returning to her room, she found, with a sense of dismay--as if a
misfortune had occurred instead of an incident that gave a chance
for better thought--that in taking the opiate the night before,
she had replaced the cork in the phial insecurely, and that nearly
all its contents had oozed away. Some might have regarded this
incident as an omen or a providential interference; but Ida was
neither superstitious nor speculative in her nature; she was positive
and willful, rather, and the current of her purposes always flowed
strongly, though it might be in narrow channels.
"There is nothing left for me to do," she muttered, "but go to the
village. I don't know whether Mr. Burleigh has laudanum, and my
asking for it might excite suspicion."
It was terrible to see her fair young face grow hard like marble
in her stern determination to carry out her awful design, and the
impress of this remorseless purpose filled Van Berg with so great
foreboding that he could not resist the impulse to follow the
desperate girl. If harm should come to her through the harshness
of others, and as he now feared, more especially his own, he would
never forgive himself.
Mrs. Mayhew and Stanton did not see her departure--they were in
anxious consultation in one of the small private parlors, and the
artist, to disarm suspicion of his design, entered the hotel, and
passed out again by a side door, from which he took a short-cut
across the field intending to watch Ida, without being himself
observed.
Having found some dense copse-wood by the road-side, and near to
the village, he sat down and waited. The gay, chattering party
soon passed, Ida walking by herself on the opposite side of the
road, with head bowed as if wholly wrapped in her own thoughts. Her
unhappy face appealed to his sympathy even more than her graceful
carriage to his sense of beauty, and he longed to join her and make
such amends as were possible.
Public-domain text, read in full here on John Shaqi.
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