Tales and Stories: Now First CollectedShelley, Mary Wollstonecraft
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Tales and Stories: Now First Collected
Shelley, Mary Wollstonecraft
English fiction -- 19th century; Short stories, English
Incoherently I at first talked of the dwarf and his crimes, and
reproached Juliet for her too easy admission of his love. She thought me
raving, as well she might; and yet it was some time before I could
prevail on myself to admit that the Guido whose penitence had won her
back for me was myself; and while I cursed bitterly the monstrous dwarf,
and blest the well-directed blow that had deprived him of life, I
suddenly checked myself when I heard her say, Amen! knowing that him
whom she reviled was my very self. A little reflection taught me
silence—a little practice enabled me to speak of that frightful night
without any very excessive blunder. The wound I had given myself was no
mockery of one—it was long before I recovered—and as the benevolent and
generous Torella sat beside me, talking such wisdom as might win friends
to repentance, and mine own dear Juliet hovered near me, administering
to my wants, and cheering me by her smiles, the work of my bodily cure
and mental reform went on together. I have never, indeed, wholly
recovered my strength—my cheek is paler since—my person a little bent.
Juliet sometimes ventures to allude bitterly to the malice that caused
this change, but I kiss her on the moment, and tell her all is for the
best. I am a fonder and more faithful husband, and true is this—but for
that wound, never had I called her mine.
I did not revisit the sea-shore, nor seek for the fiend’s treasure; yet,
while I ponder on the past, I often think, and my confessor was not
backward in favouring the idea, that it might be a good rather than an
evil spirit, sent by my guardian angel, to show me the folly and misery
of pride. So well at least did I learn this lesson, roughly taught as I
was, that I am known now by all my friends and fellow-citizens by the
name of Guido il Cortese.
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X.
_THE SWISS PEASANT._
WHY is the mind of man so apt to be swayed by contraries? why does the
imagination for ever paint the impossible in glittering tints, and the
hearts of wayward mortals cling, with the greatest tenacity, to what,
eel-like, is bent on escaping from their grasp? Why—to bring the matter
home—is solitude abhorrent to me, now that I enjoy it in perfection? I
have apostrophized the coy nymph in ball-rooms, when the bright lamps of
heaven were shamed by brighter earth-stars, and lamented her absence at
a picnic party, where the nightingale was silenced by the fiddle.
Public-domain text, read in full here on John Shaqi.
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