Ada, the Betrayed; Or, The Murder at the Old Smithy. A Romance of PassionRymer, James Malcolm
General
Ada, the Betrayed; Or, The Murder at the Old Smithy. A Romance of Passion
Rymer, James Malcolm
English fiction -- 19th century; Penny dreadfuls
Once or twice he looked back; but his pursuer was on the other side of
the way, and quite well backed by the black paling which, when he
stooped a very little, was above his head.
This was the state of things, when suddenly a wild plaintive voice
broke the stillness of the night air; and, with a mockery of gaiety,
that had in it the very soul of pathos, sang or rather chaunted the
words of a song of joy, hope, and mirth, which was then popular in the
metropolis, and was the composition of one of the most distinguished
wits of the day.
There was a wild abandonment of manner about the singer, that would
have commanded the attention of Sir Frederick at any time; but now that
he saw the smith suddenly pause, he paused likewise, and the strains
with all their melancholy pathos came full upon his ear.
To the Bride! To the Bride!
“To the Bride! To the Bride,
I sing,
And away to the winds the strain
I fling.
There’s a tear in her gentle eye,
I trow—
She weeps, and her heart is sad,
I vow;
Her hand like a leaflet shakes
I see,—
That hand which never more
Is free.
She leaves her happy home
Of light,
Where her happiest days were past
So bright:
She has trusted all to one,
The bride.
Shall her young heart’s joy e’er know
A tide—
Shall her bliss flow on for aye
Or not?
When distant far, shall ever
The spot,
Where she lived and loved so long,
Be forgot?
To the Bride! To the Bride,
I sing,
And away to the winds my strain
I fling!”
The voice ceased. A solemn stillness reigned for a few brief seconds,
and then Sir Frederick saw the shadowy form of the smith glide
forwards—the gruff voice of the savage drunkard came to his ears as he
stooped and exclaimed,—
“So Maud—we have met again. D—n you, we are alone now!”
A half-stifled scream followed that speech, and the magistrate bounded
across the road. He paused, however, when he was within a few paces of
Britton, for he heard the poor mad creature speak, and the thought
crossed his mind that her cry had proceeded from sudden surprise, and
not from any injury inflicted by the smith, and knowing his power to
save her he thought that if Britton wished to procure any information
from Mad Maud previous to offering her any violence, he might as well
hear it, as in all probability it would be important and correct.
Acting on this supposition, he crouched down close by the wall for some
few seconds—then suddenly recollecting the parapet on the other side,
and the facilities it afforded as sufficiently close to aid poor Maud
in case of the most sudden emergency, he crept softly twenty yards or
more away, and then clambered over the wall in a moment, on to the
parapet. To draw himself along this noiselessly until he actually faced
Britton, was the work but of another minute, and laying flat down was
quite secure from observation, while he was ready for action, and must
hear the slightest murmured word that passed.
CHAPTER XXXVIII.
Public-domain text, read in full here on John Shaqi.
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