Blackwood's Edinburgh Magazine, Vol. 63, No. 388, February 1848Various
History
Blackwood's Edinburgh Magazine, Vol. 63, No. 388, February 1848
Various
England -- Periodicals; Scotland -- Periodicals
“Ayliffe lifted the child with trembling arms, and pressed its
cheeks to his lips. The little creature did not cry, nor appear
likely to do so, but seemed the image of mute apprehension. The
whole scene was so painful, that Mr Hylton was not sorry when the
Governor of the gaol approached, to intimate that the interview must
cease. The prisoner, exhausted with violent excitement, quietly
surrendered his child to his attendant, and then silently grasped
the hand of Mr Hylton, who thereupon quitted the cell; the door of
which was immediately locked upon its miserable occupant: who was
once again _alone_!”
From the prison let us to the great Earl’s house. His lordship has
become morose and almost vindictive against the supposed murderer of his
son, from the very efforts that have been made to save him from the
gallows. Had Adam Ayliffe been suffered to die the unpitied death of any
other heinous criminal, no one, perhaps, would have more pitied the
wretched malefactor than the Earl of Milverstoke himself. The interest
taken in the convict, not only by the minister, but by his own daughter,
and, as he suspected, by the very widow of the murdered lord, his
daughter-in-law, seemed cruel forgetfulness of the dead, and wanton
injury to the living. He upbraided the minister who preached the virtues
of mercy and forgiveness; he looked with anger and violent impatience
when others dared to take up the thread of the clergyman’s unauthorised
discourse. During an interview with Lady Alkmond, the Earl had heard the
syllables _forgive!_ dropping from the widow’s mouth; he made no answer,
but repaired to his library, in which he walked to and fro for some
time, meditating with sternness and displacency upon the word. Let us
open the door gently and carefully, and, using our lawful privilege,
look in.
Public-domain text, read in full here on John Shaqi.
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