Under Lock and Key: A Story. Volume 1 (of 3)Speight, T. W. (Thomas Wilkinson)
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Under Lock and Key: A Story. Volume 1 (of 3)
Speight, T. W. (Thomas Wilkinson)
Detective and mystery stories; English fiction -- 19th century
Her tone was cold and constrained. I looked up earnestly into her
face. Her lips began to quiver painfully. Suddenly she stooped and
kissed me. "Child! child! you must not look at me in that way," she
cried.
Instinct whispered something in my ear. "You are the lady who came and
kissed me when I was asleep!" I exclaimed.
Her brow contracted for a moment as if she were in pain. A hectic spot
came out suddenly on either cheek, and vanished almost as swiftly.
"Yes, it was I who came to your room last night," she said. "You are
not vexed with me for doing so?"
"On the contrary, I love you for it."
Her smile, the sweetest I ever saw, beamed out at this. Gently she
stroked my hair. "You looked so forlorn and weary last night," she
said, "that after I got to bed I could not help thinking about you. I
was afraid you would not be able to sleep in a strange place, so I
could not rest till I had visited you: but I never intended to awake
you."
"I do not mind how often I am awakened the same way," I said. "No one
has ever seemed to love me but you, and I cannot help loving you
back."
"Ma pauvre petite!" was all she said. We had sat down by this time
close to the window, and Sister Agnes was holding one of my hands in
hers and caressing it gently as she gazed dreamily across the park. My
eyes, childlike, wandered from her to the room and then back again.
The picture still lives in my memory as fresh as though it had been
limned but yesterday.
A square whitewashed room, fitted up with furniture of unpolished oak.
On the walls a few proof engravings of subjects taken from Sacred
History. A small bookcase in one corner, and a _prie-dieu_ in another.
The floor uncarpeted, but polished after the French fashion. A
writing-table; a large workbox; a heap of clothing for the poor; and
lastly, a stand for flowers.
The features of Sister Agnes were as delicate and clearly cut as those
of some antique statue, but their habitual expression was one of
intense melancholy. Her voice was low and gracious: the voice of a
refined and educated gentlewoman. Her hair was black, with here and
there a faint silver streak; but the peculiar head-dress of white
linen which she wore left very little of it visible. Disfiguring as
this head-dress might have been to many people, in her case it served
merely to enhance the marble whiteness and transparent purity of her
complexion. Her eyebrows were black and well-defined; but as for the
eyes themselves, I can only repeat what I said before, that their dark
depths were full of tenderness and a sort of veiled enthusiasm
difficult to describe in words. Her dress was black, soft, and coarse,
relieved by deep cuffs of white linen. Her solitary ornament, if
ornament it could be called, was a rosary of black beads. Not without
reason have I been thus particular in describing Sister Agnes and her
surroundings, as they who read will discover for themselves by-and-by.
Public-domain text, read in full here on John Shaqi.
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