Ada, the Betrayed; Or, The Murder at the Old Smithy. A Romance of PassionRymer, James Malcolm
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Ada, the Betrayed; Or, The Murder at the Old Smithy. A Romance of Passion
Rymer, James Malcolm
English fiction -- 19th century; Penny dreadfuls
“No—no, I will not weep. No, Uncle Gray, if such you be, you shall not
wring another tear from me. You have made me a lonely being; you have
been harsh, unkindly—nay, you have struck me; but you shall not see me
weep, no—no, I will not let you see a tear. You have torn me from the
young heart that in my solitude found me and loved me as an orphan boy,
supposing me such. Oh, Uncle—Uncle, you are cruel! Another day shall
not pass without an explanation with you, Uncle Gray. I—I—will have
reasons—ample reasons—full explanations from thee. And he wanted to
kill my poor dog, too, because it loved me—because I had found some
living thing that looked fondly in my face. Oh, Uncle! Uncle! you have
raised a spirit in my breast—a spirit of resistance and opposition,
that in happier circumstances would have slumbered for ever.”
For a few minutes the young girl stood in deep thought, then, with a
remarkable alteration of tone and manner, she said, suddenly,—
“Come, Joy, come; we will go to Uncle Gray, our breakfast should be
waiting.”
She opened the door which led into the larger room, and crossing that,
closely followed by the dog, passed out of it by another door that
opened upon the staircase. Slowly then, she descended the creaking,
time-worn steps and pushing open a small door at their feet, entered
the room which has already been described to the reader, and in which
we last left Jacob Gray.
Gray was in the room, and he cast a suspicious glance at the young
creature who entered the room, as if he would read from her countenance
in what mood she was in that morning.
“Oh,” he said, “you have risen early, Harry, and—and Joy, too, is with
you—poor dog!”
Joy’s only answer to this hypocritical pity was a low growl, and
getting under a chair, he exhibited a formidable mouthful of teeth as a
warning to Jacob Gray not to attempt any familiarity.
“Do not call me Harry,” cried the girl, “you know it is not a fitting
name for me, Uncle.”
Gray’s face assumed a paler shade, as he replied in a low tone,—
“Wherefore this sudden passion—eh?”
“Uncle Gray, I have been thinking—”
“Thinking of what, child?”
“Call me child no more,” replied the girl, pushing the dark ringlets
from her brow, and gazing steadily at Gray. “Call me child no more,
Uncle Gray, and to prove to you that I am something more, I tell you
now that the poor tale that frightened the child will not now do for
me.”
“W—w—what do you mean?” gasped Gray, his lips trembling with ghastly
fear.
“I mean,” continued the other, “that the time has come when I must know
all. Who am I—my name—my lineage—my friends—kindred—where, and who are
they? Why am I here an innocent victim to the crimes, perchance of
others? The reasons of this solitary confinement, its duration, the
circumstances that would rescue me from it—this—all this I want to know
fully—amply, and I must know it, Uncle Gray.”
Public-domain text, read in full here on John Shaqi.
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