Graham's Magazine, Vol. XXXVI, No. 2, February 1850Various
General
Graham's Magazine, Vol. XXXVI, No. 2, February 1850
Various
Literature -- Periodicals; Literature, Modern -- 19th century -- Periodicals
The woman had held her breath to listen to his words, and as his voice
ceased, the long-suppressed emotion burst forth, and she passionately
cried—
“Do not, do not refuse me—think of your own heart, should all that it
worshiped on earth be torn from it: think of your own mother, and for
the love of her and heaven, hear me! What is the fame you tell of? Will
it not come for other things than this—will it be sweet if you trample
over one bruised heart to reach it—will praise be precious, bought at
the price of a mother’s agonized tears? Oh, pity my wretchedness, and
heaven will smile upon you—all the fame you covet will one day be
yours!”
As she finished, the artist quietly resumed his brush, saying in his
calm voice—
“My time is greatly occupied this morning, Mrs. Revere, and you will
excuse me, if I decline all further conversation on a subject,
concerning which I have already given you my intentions. I am momently
expecting a sitter, and must beg your pardon for requesting you to allow
me to attend to my preparations for her reception, undisturbed.”
A convulsive cry escaped from the woman’s lips as he turned away, and
gathering her coarse veil about the face which was now deathly pale, she
turned to leave the room. The cold heartlessness of those words had
frozen the last channel of Hope, and daring not a glance at the face of
her child, she feebly passed over the broad staircase, and into the
noise and bustle of the crowded street.
She had been gone but a few moments, and the artist had had just time to
brush with careless elegance the magnificent hair from his white
forehead, and to fling a drapery over the portrait of Elise Revere, when
steps were heard approaching, and with eye all light and lip all smiles,
he hastened to the door to welcome his young sitter.
“Good morning Emil—Miss Hastings; I have been impatiently looking for
you,” and with deferential tenderness he ushered her into the studio,
and offered the luxurious chair which seemed to be her accustomed seat.
His voice was deep and musical, and his eyes eloquent of admiration, as
he stood conversing while she laid aside her hat and shawl, and drew off
her delicate gloves.
Well might Edgar Loring gaze admiringly upon her, for she was “beautiful
exceedingly,” and yet a greater contrast could not perhaps have been
found, than she presented to the picture we have just noticed.
Public-domain text, read in full here on John Shaqi.
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