Cecil Castlemaine's Gage, Lady Marabout's Troubles, and Other StoriesOuida
General
Cecil Castlemaine's Gage, Lady Marabout's Troubles, and Other Stories
Ouida
Great Britain -- Social life and customs -- 19th century -- Fiction
Even Deadly Dash, coolest, most hardened, most devil-may-care of
soldiers and of sinners, sat with his gaze fastened on the slowly
sinking light in the west with the shadow of a great pain upon his face,
while every now and then his glance wandered to Stuart Lane, and a
quick, irrepressible shudder shook him whenever it did so. The Virginian
never moved; no sign of any sort escaped him; but the passionate misery
that looked out of his eyes I never saw equalled, except, perhaps, in
the eyes of a stag that I once shot in Wallachia, and that looked up
with just such a look before it died. He was thinking, no doubt, of the
woman he loved--wooed amidst danger, won amidst calamity, scarcely
possessed ere lost for ever;--thinking of her proud beauty, of her
bridal caress, that would never again touch his lips, of her fair life
that would perish with the destruction of his.
Exhaustion from the loss of blood made everything pass dreamily, and yet
with extraordinary clearness, before me, I felt in a wakening dream, and
had no sense whatever of actual existence, and yet the whole scene was
so intensely vital and vivid to me, that it seemed burned into my very
brain itself. It was like the phantasmagoria of delirium, utterly
impalpable, but yet intensely real. I had no power to act or resist, but
I seemed to have ten times redoubled power to see and hear and feel; I
was aware of all that passed, with a hundredfold more susceptibility to
it than I ever felt in health. I remember a total impossibility that
came on me to decide whether I was dreaming or was actually awake.
Twilight fell, night came; there was a change of sentries, and a light,
set up in a bottle, shed a flickering, feeble, yellow gleam over the
interior of the shed, on the dark Rembrandt faces of the Southerners and
on the steel of the guards' bayonets. And I recollect that the Killer,
who sat by the tossed straw on which they had flung me, laughed the old,
low, sweet, half-insolent laugh that I had known so well in early days.
"_Il faut souffrir pour être beau!_ We are picturesque, at any rate,
quite Salvatoresque! Little Dickey would make a good thing of us if he
could paint us now. He is alive, I suppose?"
I answered him I believe in the affirmative; but the name of that little
Bohemian of the Brush, who had used to be our butt and _protégé_ in
England, added a haze the more to my senses. By this time I had
difficulty to hold together the thread of how, and when, and why I had
thus met again the face that looked out on me so strangely familiarly in
the dull, sickly trembling of the feeble light of this black, noisome
shed in the heart of Federal Divisions.
Public-domain text, read in full here on John Shaqi.
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