The bride's fate: The sequel to "The changed brides"Southworth, Emma Dorothy Eliza Nevitte
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The bride's fate: The sequel to "The changed brides"
Southworth, Emma Dorothy Eliza Nevitte
American fiction -- 19th century
“The sooner the better,” muttered Alexander.
The night was beautiful. The waters of the Channel, often so troubled,
were calm as those of a placid lake. The heavens were of that deep
transparent purple-black that only summer skies over summer seas ever
show. Brighter than diamonds the stars shone down, creating the
darkly-brilliant light so much more beautiful than moonbeams. The night
was holy. How could thoughts of sin, feelings of revenge, purposes of
destruction live in the soul of any man gazing out upon the divine
beauty of the sky and sea?
Ah, but Alexander was morally and spiritually ill and insane. He could
scarcely be said to belong to the natural world. His spirit seemed
already steeped to the lips in that sea of blood seen by the
poet-prophet of Italy in his vision of Hell.
How shall he be cured and saved?
And yet he was not unconscious, although he was unimpressed by the
beauty of the night.
The deck was almost solitary; the passengers had gone below and turned
in, many of them suffering more or less from the effects of
sea-sickness; for the boat rolled a little, as small steamboats will
roll even on the smoothest seas. No one was left on deck except the man
at the wheel, the officers of the watch, and Alexander Lyon and Francis
Tredegar.
Francis sauntered up and down the starboard gangway, smoking his cigar,
which, at this hour and under these circumstances, was admissible, and
meditating most probably on the “coming events” that now “cast their
shadows before.”
Francis had no such deep stake in the event as had Alexander, for his
life was not to be risked, yet not the less was his spirit darkened
within him. He, too, saw the star-spangled firmament above and the
smooth sea below, reflecting it as a mirror; but he could not enjoy the
vision as once he might have. The crime, the folly of which he had been
tempted to become a participant was not yet consummated, but yet he felt
that some portion of his own soul was already dead, or paralyzed so that
he could not feel the heavenly influence of the scene around him. How
should he?
Alexander stood leaning over the bulwarks of the boat, gazing moodily
out to sea. I said he was not unconscious of the divine beauty of the
night, although he was untouched by it. He saw the glory of the
firmament, but as something afar off, which could not reach him, and
which he could not reach; but he remembered also that in happier times
his spirit was touched, drawn out, elevated, by this heavenly influence.
Why could it not affect him now? Why was the divine loveliness beaming
down upon this natural world, so silent, cold and still, for him? Why
was the living spirit of the night but a dead body for him?
Public-domain text, read in full here on John Shaqi.
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