THE BRIDE OF LAMMERMOOR

by Sir Walter Scott



INTRODUCTION TO THE BRIDE OF LAMMERMOOR

THE Author, on a former occasion, declined giving the real source from which he drew the tragic subject of this history, because, though occurring at a distant period, it might possibly be unpleasing to the feelings of the descendants of the parties. But as he finds an account of the circumstances given in the Notes to Law's Memorials, by his ingenious friend, Charles Kirkpatrick Sharpe, Esq., and also indicated in his reprint of the Rev. Mr. Symson's poems appended to the Large Description of Galloway, as the original of the Bride of Lammermoor, the Author feels himself now at liberty to tell the tale as he had it from connexions of his own, who lived very near the period, and were closely related to the family of the bride.

It is well known that the family of Dalrymple, which has produced, within the space of two centuries, as many men of talent, civil and military, and of literary, political, and professional eminence, as any house in Scotland, first rose into distinction in the person of James Dalrymple, one of the most eminent lawyers that ever lived, though the labours of his powerful mind were unhappily exercised on a subject so limited as Scottish jurisprudence, on which he has composed an admirable work.

He married Margaret, daughter to Ross of Balneel, with whom he obtained a considerable estate. She was an able, politic, and high-minded woman, so successful in what she undertook, that the vulgar, no way partial to her husband or her family, imputed her success to necromancy. According to the popular belief, this Dame Margaret purchased the temporal prosperity of her family from the Master whom she served under a singular condition, which is thus narrated by the historian of her grandson, the great Earl of Stair: "She lived to a great age, and at her death desired that she might not be put under ground, but that her coffin should stand upright on one end of it, promising that while she remained in that situation the Dalrymples should continue to flourish. What was the old lady's motive for the request, or whether she really made such a promise, I shall not take upon me to determine; but it's certain her coffin stands upright in the isle of the church of Kirklistown, the burial-place belonging to the family." The talents of this accomplished race were sufficient to have accounted for the dignities which many members of the family attained, without any supernatural assistance. But their extraordinary prosperity was attended by some equally singular family misfortunes, of which that which befell their eldest daughter was at once unaccountable and melancholy.

Miss Janet Dalrymple, daughter of the first Lord Stair and Dame Margaret Ross, had engaged herself without the knowledge of her parents to the Lord Rutherford, who was not acceptable to them either on account of his political principles or his want of fortune. The young couple broke a piece of gold together, and pledged their troth in the most solemn manner; and it is said the young lady imprecated dreadful evils on herself should she break her plighted faith. Shortly after, a suitor who was favoured by Lord Stair, and still more so by his lady, paid his addresses to Miss Dalrymple. The young lady refused the proposal, and being pressed on the subject, confessed her secret engagement. Lady Stair, a woman accustomed to universal submission, for even her husband did not dare to contradict her, treated this objection as a trifle, and insisted upon her daughter yielding her consent to marry the new suitor, David Dunbar, son and heir to David Dunbar of Baldoon, in Wigtonshire. The first lover, a man of very high spirit, then interfered by letter, and insisted on the right he had acquired by his troth plighted with the young lady. Lady Stair sent him for answer, that her daughter, sensible of her undutiful behaviour in entering into a contract unsanctioned by her parents, had retracted her unlawful vow, and now refused to fulfil her engagement with him.

The lover, in return, declined positively to receive such an answer from any one but his mistress in person; and as she had to deal with a man who was both of a most determined character and of too high condition to be trifled with, Lady Stair was obliged to consent to an interview between Lord Rutherford and her daughter. But she took care to be present in person, and argued the point with the disappointed and incensed lover with pertinacity equal to his own. She particularly insisted on the Levitical law, which declares that a woman shall be free of a vow which her parents dissent from. This is the passage of Scripture she founded on:

"If a man vow a vow unto the Lord, or swear an oath to bind his soul with a bond; he shall not break his word, he shall do according to all that proceedeth out of his mouth.

"If a woman also vow a vow unto the Lord, and bind herself by a bond, being in her father's house in her youth; And her father hear her vow, and her bond wherewith she hath bound her soul, and her father shall hold his peace at her: then all her vows shall stand, and every bond wherewith she hath bound her soul shall stand.

"But if her father disallow her in the day that he heareth; not any of her vows, or of her bonds wherewith she hath bound her soul, shall stand: and the Lord shall forgive her, because her father disallowed her."—Numbers xxx. 2-5.

While the mother insisted on these topics, the lover in vain conjured the daughter to declare her own opinion and feelings. She remained totally overwhelmed, as it seemed—mute, pale, and motionless as a statue. Only at her mother's command, sternly uttered, she summoned strength enough to restore to her plighted suitor the piece of broken gold which was the emblem of her troth. On this he burst forth into a tremendous passion, took leave of the mother with maledictions, and as he left the apartment, turned back to say to his weak, if not fickle, mistresss: "For you, madam, you will be a world's wonder"; a phrase by which some remarkable degree of calamity is usually implied. He went abroad, and returned not again. If the last Lord Rutherford was the unfortunate party, he must have been the third who bore that title, and who died in 1685.

The marriage betwixt Janet Dalrymple and David Dunbar of Baldoon now went forward, the bride showing no repugnance, but being absolutely passive in everything her mother commanded or advised. On the day of the marriage, which, as was then usual, was celebrated by a great assemblage of friends and relations, she was the same—sad, silent, and resigned, as it seemed, to her destiny. A lady, very nearly connected with the family, told the Author that she had conversed on the subject with one of the brothers of the bride, a mere lad at the time, who had ridden before his sister to church. He said her hand, which lay on his as she held her arm around his waist, was as cold and damp as marble. But, full of his new dress and the part he acted in the procession, the circumstance, which he long afterwards remembered with bitter sorrow and compunction, made no impression on him at the time.

The bridal feast was followed by dancing. The bride and bridegroom retired as usual, when of a sudden the most wild and piercing cries were heard from the nuptial chamber. It was then the custom, to prevent any coarse pleasantry which old times perhaps admitted, that the key of the nuptial chamber should be entrusted to the bridesman. He was called upon, but refused at first to give it up, till the shrieks became so hideous that he was compelled to hasten with others to learn the cause. On opening the door, they found the bridegroom lying across the threshold, dreadfully wounded, and streaming with blood. The bride was then sought for. She was found in the corner of the large chimney, having no covering save her shift, and that dabbled in gore. There she sat grinning at them, mopping and mowing, as I heard the expression used; in a word, absolutely insane. The only words she spoke were, "Tak up your bonny bridegroom." She survived this horrible scene little more than a fortnight, having been married on the 24th of August, and dying on the 12th of September 1669.

The unfortunate Baldoon recovered from his wounds, but sternly prohibited all inquiries respecting the manner in which he had received them. "If a lady," he said, "asked him any question upon the subject, he would neither answer her nor speak to her again while he lived; if a gentleman, he would consider it as a mortal affront, and demand satisfaction as having received such." He did not very long survive the dreadful catastrophe, having met with a fatal injury by a fall from his horse, as he rode between Leith and Holyrood House, of which he died the next day, 28th March 1682. Thus a few years removed all the principal actors in this frightful tragedy.

Various reports went abroad on this mysterious affair, many of them very inaccurate, though they could hardly be said to be exaggerated. It was difficult at that time to become acquainted with the history of a Scottish family above the lower rank; and strange things sometimes took place there, into which even the law did not scrupulously inquire.

The credulous Mr. Law says, generally, that the Lord President Stair had a daughter, who, "being married, the night she was bride in, was taken from her bridegroom and harled through the house (by spirits, we are given to understand) and afterward died. Another daughter," he says, "was supposed to be possessed with an evil spirit."

My friend, Mr. Sharpe, gives another edition of the tale. According to his information, ti was the bridegroom who wounded the bride. The marriage, according to this account, had been against her mother's inclination, who had given her consent in these ominous words: "Weel, you may marry him, but sair shall you repent it."

I find still another account darkly insinuated in some highly scurrilous and abusive verses, of which I have an original copy. They are docketed as being written "Upon the late Viscount Stair and his family, by Sir William Hamilton of Whitelaw. The marginals by William Dunlop, writer in Edinburgh, a son of the Laird of Househill, and nephew to the said Sir William Hamilton." There was a bitter and personal quarrel and rivalry betwixt the author of this libel, a name which it richly deserves, and Lord President Stair; and the lampoon, which is written with much more malice than art, bears the following motto:

Stair's neck, mind, wife, songs, grandson, and the rest, Are wry, false, witch, pests, parricide, possessed.

This malignant satirist, who calls up all the misfortunes of the family, does not forget the fatal bridal of Baldoon. He seems, though his verses are as obscure as unpoetical, to intimate that the violence done to the bridegroom was by the intervention of the foul fiend, to whom the young lady had resigned herself, in case she should break her contract with her first lover. His hypothesis is inconsistent with the account given in the note upon Law's Memorials, but easily reconcilable to the family tradition.

In all Stair's offspring we no difference know, They do the females as the males bestow; So he of one of his daughters' marriages gave the ward, Like a true vassal, to Glenluce's Laird; He knew what she did to her master plight, If she her faith to Rutherfurd should slight, Which, like his own, for greed he broke outright. Nick did Baldoon's posterior right deride, And, as first substitute, did seize the bride; Whate'er he to his mistress did or said, He threw the bridegroom from the nuptial bed, Into the chimney did so his rival maul, His bruised bones ne'er were cured but by the fall.

One of the marginal notes ascribed to William Dunlop applies to the above lines. "She had betrothed herself to Lord Rutherfoord under horrid imprecations, and afterwards married Baldoon, his nevoy, and her mother was the cause of her breach of faith."

The same tragedy is alluded to in the following couplet and note:

What train of curses that base brood pursues, When the young nephew weds old uncle's spouse.

The note on the word "uncle" explains it as meaning "Rutherfoord, who should have married the Lady Baldoon, was Baldoon's uncle." The poetry of this satire on Lord Stair and his family was, as already noticed, written by Sir William Hamilton of Whitelaw, a rival of Lord Stair for the situation of President of the Court of Session; a person much inferior to that great lawyer in talents, and equally ill-treated by the calumny or just satire of his contemporaries as an unjust and partial judge. Some of the notes are by that curious and laborious antiquary, Robert Milne, who, as a virulent Jacobite, willingly lent a hand to blacken the family of Stair.

Another poet of the period, with a very different purpose, has left an elegy, in which he darkly hints at and bemoans the fate of the ill-starred young person, whose very uncommon calamity Whitelaw, Dunlop, and Milne thought a fitting subject for buffoonery and ribaldry. This bard of milder mood was Andrew Symson, before the Revolution minister of Kirkinner, in Galloway, and after his expulsion as an Episcopalian following the humble occupation of a printer in Edinburgh. He furnished the family of Baldoon, with which he appears to have been intimate, with an elegy on the tragic event in their family. In this piece he treats the mournful occasion of the bride's death with mysterious solemnity.

The verses bear this title, "On the unexpected death of the virtuous Lady Mrs. Janet Dalrymple, Lady Baldoon, younger," and afford us the precise dates of the catastrophe, which could not otherwise have been easily ascertained. "Nupta August 12. Domum Ducta August 24. Obiit September 12. Sepult. September 30, 1669." The form of the elegy is a dialogue betwixt a passenger and a domestic servant. The first, recollecting that he had passed that way lately, and seen all around enlivened by the appearances of mirth and festivity, is desirous to know what had changed so gay a scene into mourning. We preserve the reply of the servant as a specimen of Mr. Symson's verses, which are not of the first quality:

Sir, 'tis truth you've told. We did enjoy great mirth; but now, ah me! Our joyful song's turn'd to an elegie. A virtuous lady, not long since a bride, Was to a hopeful plant by marriage tied, And brought home hither. We did all rejoice, Even for her sake. But presently our voice Was turn'd to mourning for that little time That she'd enjoy: she waned in her prime, For Atropus, with her impartial knife, Soon cut her thread, and therewithal her life; And for the time we may it well remember, It being in unfortunate September; . Where we must leave her till the resurrection. 'Tis then the Saints enjoy their full perfection.

Mr. Symson also poured forth his elegiac strains upon the fate of the widowed bridegroom, on which subject, after a long and querulous effusion, the poet arrives at the sound conclusion, that if Baldoon had walked on foot, which it seems was his general custom, he would have escaped perishing by a fall from horseback. As the work in which it occurs is so scarce as almost to be unique, and as it gives us the most full account of one of the actors in this tragic tale which we have rehearsed, we will, at the risk of being tedious, insert some short specimens of Mr. Symson's composition. It is entitled:

"A Funeral Elegie, occasioned by the sad and much lamented death of that worthily respected, and very much accomplished gentleman, David Dunbar, younger, of Baldoon, only son and apparent heir to the right worshipful Sir David Dunbar of Baldoon, Knight Baronet. He departed this life on March 28, 1682, having received a bruise by a fall, as he was riding the day preceding betwixt Leith and Holyrood House; and was honourably interred in the Abbey Church of Holyrood House, on April 4, 1682."

Men might, and very justly too, conclude Me guilty of the worst ingratitude, Should I be silent, or should I forbear At this sad accident to shed a tear; A tear! said I? ah! that's a petit thing, A very lean, slight, slender offering, Too mean, I'm sure, for me, wherewith t'attend The unexpected funeral of my friend: A glass of briny tears charged up to th' brim. Would be too few for me to shed for him.

The poet proceeds to state his intimacy with the deceased, and the constancy of the young man's attendance on public worship, which was regular, and had such effect upon two or three other that were influenced by his example:

So that my Muse 'gainst Priscian avers, He, only he, WERE my parishioners; Yea, and my only hearers.

He then describes the deceased in person and manners, from which it appears that more accomplishments were expected in the composition of a fine gentleman in ancient than modern times:

His body, though not very large or tall, Was sprightly, active, yea and strong withal. His constitution was, if right I've guess'd, Blood mixt with choler, said to be the best. In's gesture, converse, speech, discourse, attire, He practis'd that which wise men still admire, Commend, and recommend. What's that? you'll say. 'Tis this: he ever choos'd the middle way 'Twixt both th' extremes. Amost in ev'ry thing He did the like, 'tis worth our noticing: Sparing, yet not a niggard; liberal, And yet not lavish or a prodigal, As knowing when to spend and when to spare; And that's a lesson which not many are Acquainted with. He bashful was, yet daring When he saw cause, and yet therein not sparing; Familiar, yet not common, for he knew To condescend, and keep his distance too. He us'd, and that most commonly, to go On foot; I wish that he had still done so. Th' affairs of court were unto him well known; And yet meanwhile he slighted not his own. He knew full well how to behave at court, And yet but seldom did thereto resort; But lov'd the country life, choos'd to inure Himself to past'rage and agriculture; Proving, improving, ditching, trenching, draining, Viewing, reviewing, and by those means gaining; Planting, transplanting, levelling, erecting Walls, chambers, houses, terraces; projecting Now this, now that device, this draught, that measure, That might advance his profit with his pleasure. Quick in his bargains, honest in commerce, Just in his dealings, being much adverse From quirks of law, still ready to refer His cause t' an honest country arbiter. He was acquainted with cosmography, Arithmetic, and modern history; With architecture and such arts as these, Which I may call specifick sciences Fit for a gentleman; and surely he That knows them not, at least in some degree, May brook the title, but he wants the thing, Is but a shadow scarce worth noticing. He learned the French, be't spoken to his praise, In very little more than fourty days.

Then comes the full burst of woe, in which, instead of saying much himself, the poet informs us what the ancients would have said on such an occasion:

A heathen poet, at the news, no doubt, Would have exclaimed, and furiously cry'd out Against the fates, the destinies and starrs, What! this the effect of planetarie warrs! We might have seen him rage and rave, yea worse, 'Tis very like we might have heard him curse The year, the month, the day, the hour, the place, The company, the wager, and the race; Decry all recreations, with the names Of Isthmian, Pythian, and Olympick games; Exclaim against them all both old and new, Both the Nemaean and the Lethaean too: Adjudge all persons, under highest pain, Always to walk on foot, and then again Order all horses to be hough'd, that we Might never more the like adventure see.

Supposing our readers have had enough of Mr. Symson's woe, and finding nothing more in his poem worthy of transcription, we return to the tragic story.

It is needless to point out to the intelligent reader that the witchcraft of the mother consisted only in the ascendency of a powerful mind over a weak and melancholy one, and that the harshness with which she exercised her superiority in a case of delicacy had driven her daughter first to despair, then to frenzy. Accordingly, the Author has endeavoured to explain the tragic tale on this principle. Whatever resemblance Lady Ashton may be supposed to possess to the celebrated Dame Margaret Ross, the reader must not suppose that there was any idea of tracing the portrait of the first Lord Viscount Stair in the tricky and mean-spirited Sir William Ashton. Lord Stair, whatever might be his moral qualities, was certainly one of the first statesmen and lawyers of his age.

The imaginary castle of Wolf's Crag has been identified by some lover of locality with that of Fast Castle. The Author is not competent to judge of the resemblance betwixt the real and imaginary scenes, having never seen Fast Castle except from the sea. But fortalices of this description are found occupying, like ospreys' nests, projecting rocks, or promontories, in many parts of the eastern coast of Scotland, and the position of Fast Castle seems certainly to resemble that of Wolf's Crag as much as any other, while its vicinity to the mountain ridge of Lammermoor renders the assimilation a probable one.

We have only to add, that the death of the unfortunate bridegroom by a fall from horseback has been in the novel transferred to the no less unfortunate lover.



CHAPTER I

By Cauk and keel to win your bread, Wi' whigmaleeries for them wha need, Whilk is a gentle trade indeed To carry the gaberlunzie on.

Old Song.

FEW have been in my secret while I was compiling these narratives, nor is it probable that they will ever become public during the life of their author. Even were that event to happen, I am not ambitious of the honoured distinction, digito monstrari. I confess that, were it safe to cherish such dreams at all, I should more enjoy the thought of remaining behind the curtain unseen, like the ingenious manager of Punch and his wife Joan, and enjoying the astonishment and conjectures of my audience. Then might I, perchance, hear the productions of the obscure Peter Pattieson praised by the judicious and admired by the feeling, engrossing the young and attracting even the old; while the critic traced their fame up to some name of literary celebrity, and the question when, and by whom, these tales were written filled up the pause of conversation in a hundred circles and coteries. This I may never enjoy during my lifetime; but farther than this, I am certain, my vanity should never induce me to aspire.

I am too stubborn in habits, and too little polished in manners, to envy or aspire to the honours assigned to my literary contemporaries. I could not think a whit more highly of myself were I found worthy to "come in place as a lion" for a winter in the great metropolis. I could not rise, turn round, and show all my honours, from the shaggy mane to the tufted tail, "roar you an't were any nightingale," and so lie down again like a well-behaved beast of show, and all at the cheap and easy rate of a cup of coffee and a slice of bread and butter as thin as a wafer. And I could ill stomach the fulsome flattery with which the lady of the evening indulges her show-monsters on such occasions, as she crams her parrots with sugar-plums, in order to make them talk before company. I cannot be tempted to "come aloft" for these marks of distinction, and, like imprisoned Samson, I would rather remain—if such must be the alternative—all my life in the mill-house, grinding for my very bread, than be brought forth to make sport for the Philistine lords and ladies. This proceeds from no dislike, real or affected, to the aristocracy of these realms. But they have their place, and I have mine; and, like the iron and earthen vessels in the old fable, we can scarce come into collision without my being the sufferer in every sense. It may be otherwise with the sheets which I am now writing. These may be opened and laid aside at pleasure; by amusing themselves with the perusal, the great will excite no false hopes; by neglecting or condemning them, they will inflict no pain; and how seldom can they converse with those whose minds have toiled for their delight without doing either the one or the other.

In the better and wiser tone of feeling with Ovid only expresses in one line to retract in that which follows, I can address these quires—

Parve, nec invideo, sine me, liber, ibis in urbem.

Nor do I join the regret of the illustrious exile, that he himself could not in person accompany the volume, which he sent forth to the mart of literature, pleasure, and luxury. Were there not a hundred similar instances on record, the rate of my poor friend and school-fellow, Dick Tinto, would be sufficient to warn me against seeking happiness in the celebrity which attaches itself to a successful cultivator of the fine arts.

Dick Tinto, when he wrote himself artist, was wont to derive his origin from the ancient family of Tinto, of that ilk, in Lanarkshire, and occasionally hinted that he had somewhat derogated from his gentle blood in using the pencil for his principal means of support. But if Dick's pedigree was correct, some of his ancestors must have suffered a more heavy declension, since the good man his father executed the necessary, and, I trust, the honest, but certainly not very distinguished, employment of tailor in ordinary to the village of Langdirdum in the west.. Under his humble roof was Richard born, and to his father's humble trade was Richard, greatly contrary to his inclination, early indentured. Old Mr. Tinto had, however, no reason to congratulate himself upon having compelled the youthful genius of his son to forsake its natural bent. He fared like the school-boy who attempts to stop with his finger the spout of a water cistern, while the stream, exasperated at this compression, escapes by a thousand uncalculated spurts, and wets him all over for his pains. Even so fared the senior Tinto, when his hopeful apprentice not only exhausted all the chalk in making sketches upon the shopboard, but even executed several caricatures of his father's best customers, who began loudly to murmur, that it was too hard to have their persons deformed by the vestments of the father, and to be at the same time turned into ridicule by the pencil of the son. This led to discredit and loss of practice, until the old tailor, yielding to destiny and to the entreaties of his son, permitted him to attempt his fortune in a line for which he was better qualified.

There was about this time, in the village of Langdirdum, a peripatetic brother of the brush, who exercised his vocation sub Jove frigido, the object of admiration of all the boys of the village, but especially to Dick Tinto. The age had not yet adopted, amongst other unworthy retrenchments, that illiberal measure of economy which, supplying by written characters the lack of symbolical representation, closes one open and easily accessible avenue of instruction and emolument against the students of the fine arts. It was not yet permitted to write upon the plastered doorway of an alehouse, or the suspended sign of an inn, "The Old Magpie," or "The Saracen's Head," substituting that cold description for the lively effigies of the plumed chatterer, or the turban'd frown of the terrific soldan. That early and more simple age considered alike the necessities of all ranks, and depicted the symbols of good cheer so as to be obvious to all capacities; well judging that a man who could not read a syllable might nevertheless love a pot of good ale as well as his better-educated neighbours, or even as the parson himself. Acting upon this liberal principle, publicans as yet hung forth the painted emblems of their calling, and sign-painters, if they seldom feasted, did not at least absolutely starve.

To a worthy of this decayed profession, as we have already intimated, Dick Tinto became an assistant; and thus, as is not unusual among heaven-born geniuses in this department of the fine arts, began to paint before he had any notion of drawing.

His talent for observing nature soon induced him to rectify the errors, and soar above the instructions, of his teacher. He particularly shone in painting horses, that being a favourite sign in the Scottish villages; and, in tracing his progress, it is beautiful to observe how by degrees he learned to shorten the backs and prolong the legs of these noble animals, until they came to look less like crocodiles, and more like nags. Detraction, which always pursues merit with strides proportioned to its advancement, has indeed alleged that Dick once upon a time painted a horse with five legs, instead of four. I might have rested his defence upon the license allowed to that branch of his profession, which, as it permits all sorts of singular and irregular combinations, may be allowed to extend itself so far as to bestow a limb supernumerary on a favourite subject. But the cause of a deceased friend is sacred; and I disdain to bottom it so superficially. I have visited the sign in question, which yet swings exalted in the village of Langdirdum; and I am ready to depone upon the oath that what has been idly mistaken or misrepresented as being the fifth leg of the horse, is, in fact, the tail of that quadruped, and, considered with reference to the posture in which he is delineated, forms a circumstance introduced and managed with great and successful, though daring, art. The nag being represented in a rampant or rearing posture, the tail, which is prolonged till it touches the ground, appears to form a point d'appui, and gives the firmness of a tripod to the figure, without which it would be difficult to conceive, placed as the feet are, how the courser could maintain his ground without tumbling backwards. This bold conception has fortunately fallen into the custody of one by whom it is duly valued; for, when Dick, in his more advanced state of proficiency, became dubious of the propriety of so daring a deviation to execute a picture of the publican himself in exchange for this juvenile production, the courteous offer was declined by his judicious employer, who had observed, it seems, that when his ale failed to do its duty in conciliating his guests, one glance at his sign was sure to put them in good humour.

It would be foreign to my present purpose to trace the steps by which Dick Tinto improved his touch, and corrected, by the rules of art, the luxuriance of a fervid imagination. The scales fell from his eyes on viewing the sketches of a contemporary, the Scottish Teniers, as Wilkie has been deservedly styled. He threw down the brush took up the crayons, and, amid hunger and toil, and suspense and uncertainty, pursued the path of his profession under better auspices than those of his original master. Still the first rude emanations of his genius, like the nursery rhymes of Pope, could these be recovered, will be dear to the companions of Dick Tinto's youth. There is a tankard and gridiron painted over the door of an obscure change-house in the Back Wynd of Gandercleugh——But I feel I must tear myself from the subject, or dwell on it too long.

Amid his wants and struggles, Dick Tinto had recourse, like his brethren, to levying that tax upon the vanity of mankind which he could not extract from their taste and liberality—on a word, he painted portraits. It was in this more advanced state of proficiency, when Dick had soared above his original line of business, and highly disdained any allusion to it, that, after having been estranged for several years, we again met in the village of Gandercleugh, I holding my present situation, and Dick painting copies of the human face divine at a guinea per head. This was a small premium, yet, in the first burst of business, it more than sufficed for all Dick's moderate wants; so that he occupied an apartment at the Wallace Inn, cracked his jest with impunity even upon mine host himself, and lived in respect and observance with the chambermaid, hostler, and waiter.

Those halcyon days were too serene to last long. When his honour the Laird of Gandercleugh, with his wife and three daughters, the minister, the gauger, mine esteemed patron Mr. Jedediah Cleishbotham, and some round dozen of the feuars and farmers, had been consigned to immortality by Tinto's brush, custom began to slacken, and it was impossible to wring more than crowns and half-crowns from the hard hands of the peasants whose ambition led them to Dick's painting-room.

Still, though the horizon was overclouded, no storm for some time ensued. Mine host had Christian faith with a lodger who had been a good paymaster as long as he had the means. And from a portrait of our landlord himself, grouped with his wife and daughters, in the style of Rubens, which suddenly appeared in the best parlour, it was evident that Dick had found some mode of bartering art for the necessaries of life.

Nothing, however, is more precarious than resources of this nature. It was observed that Dick became in his turn the whetstone of mine host's wit, without venturing either at defence or retaliation; that his easel was transferred to a garret-room, in which there was scarce space for it to stand upright; and that he no longer ventured to join the weekly club, of which he had been once the life and soul. In short, Dick Tinto's friends feared that he had acted like the animal called the sloth, which, heaving eaten up the last green leaf upon the tree where it has established itself, ends by tumbling down from the top, and dying of inanition. I ventured to hint this to Dick, recommended his transferring the exercise of his inestimable talent to some other sphere, and forsaking the common which he might be said to have eaten bare.

"There is an obstacle to my change of residence," said my friend, grasping my hand with a look of solemnity.

"A bill due to my landlord, I am afraid?" replied I, with heartfelt sympathy; "if any part of my slender means can assist in this emergence——"

"No, by the soul of Sir Joshua!" answered the generous youth, "I will never involve a friend in the consequences of my own misfortune. There is a mode by which I can regain my liberty; and to creep even through a common sewer is better than to remain in prison."

I did not perfectly understand what my friend meant. The muse of painting appeared to have failed him, and what other goddess he could invoke in his distress was a mystery to me. We parted, however, without further explanation, and I did not see him until three days after, when he summoned me to partake of the "foy" with which his landlord proposed to regale him ere his departure for Edinburgh.

I found Dick in high spirits, whistling while he buckled the small knapsack which contained his colours, brushes, pallets, and clean shirt. That he parted on the best terms with mine host was obvious from the cold beef set forth in the low parlour, flanked by two mugs of admirable brown stout; and I own my curiosity was excited concerning the means through which the face of my friend's affairs had been so suddenly improved. I did not suspect Dick of dealing with the devil, and by what earthly means he had extricated himself thus happily I was at a total loss to conjecture.

He perceived my curiosity, and took me by the hand. "My friend," he said, "fain would I conceal, even from you, the degradation to which it has been necessary to submit, in order to accomplish an honourable retreat from Gandercleaugh. But what avails attempting to conceal that which must needs betray itself even by its superior excellence? All the village—all the parish—all the world—will soon discover to what poverty has reduced Richard Tinto."

A sudden thought here struck me. I had observed that our landlord wore, on that memorable morning, a pair of bran new velveteens instead of his ancient thicksets.

"What," said I, drawing my right hand, with the forefinger and thumb pressed together, nimbly from my right haunch to my left shoulder, "you have condescended to resume the paternal arts to which you were first bred—long stitches, ha, Dick?"

He repelled this unlucky conjecture with a frown and a pshaw, indicative of indignant contempt, and leading me into another room, showed me, resting against the wall, the majestic head of Sir William Wallace, grim as when severed from the trunk by the orders of the Edward.

The painting was executed on boards of a substantial thickness, and the top decorated with irons, for suspending the honoured effigy upon a signpost.

"There," he said, "my friend, stands the honour of Scotland, and my shame; yet not so—rather the shame of those who, instead of encouraging art in its proper sphere, reduce it to these unbecoming and unworthy extremities."

I endeavoured to smooth the ruffled feelings of my misused and indignant friend. I reminded him that he ought not, like the stag in the fable, to despise the quality which had extricated him from difficulties, in which his talents, as a portrait or landscape painter, had been found unavailing. Above all, I praised the execution, as well as conception, of his painting, and reminded him that, far from feeling dishonoured by so superb a specimen of his talents being exposed to the general view of the public, he ought rather to congratulate himself upon the augmentation of his celebrity to which its public exhibition must necessarily give rise.

"You are right, my friend—you are right," replied poor Dick, his eye kindling with enthusiasm; "why should I shun the name of an—an—(he hesitated for a phrase)—an out-of-doors artist? Hogarth has introduced himself in that character in one of his best engravings; Domenichino, or somebody else, in ancient times, Morland in our own, have exercised their talents in this manner. And wherefore limit to the rich and higher classes alone the delight which the exhibition of works of art is calculated to inspire into all classes? Statues are placed in the open air, why should Painting be more niggardly in displaying her masterpieces than her sister Sculpture? And yet, my friend, we must part suddenly; the carpenter is coming in an hour to put up the—the emblem; and truly, with all my philosophy, and your consolatory encouragement to boot, I would rather wish to leave Gandercleugh before that operation commences."

We partook of our genial host's parting banquet, and I escorted Dick on his walk to Edinburgh. We parted about a mile from the village, just as we heard the distant cheer of the boys which accompanied the mounting of the new symbol of the Wallace Head. Dick Tinto mended his pace to get out of hearing, so little had either early practice or recent philosophy reconciled him to the character of a sign-painter.

In Edinburgh, Dick's talents were discovered and appreciated, and he received dinners and hints from several distinguished judges of the fine arts. But these gentlemen dispensed their criticism more willingly than their cash, and Dick thought he needed cash more than criticism. He therefore sought London, the universal mart of talent, and where, as is usual in general marts of most descriptions, much more of each commodity is exposed to sale than can ever find purchasers.

Dick, who, in serious earnest, was supposed to have considerable natural talents for his profession, and whose vain and sanguine disposition never permitted him to doubt for a moment of ultimate success, threw himself headlong into the crowd which jostled and struggled for notice and preferment. He elbowed others, and was elbowed himself; and finally, by dint of intrepidity, fought his way into some notice, painted for the prize at the Institution, had pictures at the exhibition at Somerset House, and damned the hanging committee. But poor Dick was doomed to lose the field he fought so gallantly. In the fine arts, there is scarce an alternative betwixt distinguished success and absolute failure; and as Dick's zeal and industry were unable to ensure the first, he fell into the distresses which, in his condition, were the natural consequences of the latter alternative. He was for a time patronised by one or two of those judicious persons who make a virtue of being singular, and of pitching their own opinions against those of the world in matters of taste and criticism. But they soon tired of poor Tinto, and laid him down as a load, upon the principle on which a spoilt child throws away its plaything. Misery, I fear, took him up, and accompanied him to a premature grave, to which he was carried from an obscure lodging in Swallow Street, where he had been dunned by his landlady within doors, and watched by bailiffs without, until death came to his relief. A corner of the Morning Post noticed his death, generously adding, that his manner displayed considerable genius, though his style was rather sketchy; and referred to an advertisement, which announced that Mr. Varnish, a well-known printseller, had still on hand a very few drawings and painings by Richard Tinto, Esquire, which those of the nobility and gentry who might wish to complete their collections of modern art were invited to visit without delay. So ended Dick Tinto! a lamentable proof of the great truth, that in the fine arts mediocrity is not permitted, and that he who cannot ascend to the very top of the ladder will do well not to put his foot upon it at all.

The memory of Tinto is dear to me, from the recollection of the many conversations which we have had together, most of them turning upon my present task. He was delighted with my progress, and talked of an ornamented and illustrated edition, with heads, vignettes, and culs de lampe, all to be designed by his own patriotic and friendly pencil. He prevailed upon an old sergeant of invalids to sit to him in the character of Bothwell, the lifeguard's-man of Charles the Second, and the bellman of Gandercleugh in that of David Deans. But while he thus proposed to unite his own powers with mine for the illustration of these narratives, he mixed many a dose of salutary criticism with the panegyrics which my composition was at times so fortunate as to call forth.

"Your characters," he said, "my dear Pattieson, make too much use of the gob box; they patter too much (an elegant phraseology which Dick had learned while painting the scenes of an itinerant company of players); there is nothing in whole pages but mere chat and dialogue."

"The ancient philosopher," said I in reply, "was wont to say, 'Speak, that I may know thee'; and how is it possible for an author to introduce his personae dramatis to his readers in a more interesting and effectual manner than by the dialogue in which each is represented as supporting his own appropriate character?"

"It is a false conclusion," said Tinto; "I hate it, Peter, as I hate an unfilled can. I grant you, indeed, that speech is a faculty of some value in the intercourse of human affairs, and I will not even insist on the doctrine of that Pythagorean toper, who was of opinion that over a bottle speaking spoiled conversation. But I will not allow that a professor of the fine arts has occasion to embody the idea of his scene in language, in order to impress upon the reader its reality and its effect. On the contrary, I will be judged by most of your readers, Peter, should these tales ever become public, whether you have not given us a page of talk for every single idea which two words might have communicated, while the posture, and manner, and incident, accurately drawn, and brougth out by appropriate colouring, would have preserved all that was worthy of preservation, and saved these everlasting 'said he's' and 'said she's,' with which it has been your pleasure to encumber your pages."

I replied, "That he confounded the operations of the pencil and the pen; that the serene and silent art, as painting has been called by one of our first living poets, necessarily appealed to the eye, because it had not the organs for addressing the ear; whereas poetry, or that species of composition which approached to it, lay under the necessity of doing absolutely the reverse, and addressed itself to the ear, for the purpose of exciting that interest which it could not attain through the medium of the eye."

Dick was not a whit staggered by my argument, which he contended was founded on misrepresentation. "Description," he said, "was to the author of a romance exactly what drawing and tinting were to a painter: words were his colours, and, if properly employed, they could not fail to place the scene which he wished to conjure up as effectually before the mind's eye as the tablet or canvas presents it to the bodily organ. The same rules," he contended, "applied to both, and an exuberance of dialogue, in the former case, was a verbose and laborious mode of composition which went to confound the proper art of fictitious narrative with that of the drama, a widely different species of composition, of which dialogue was the very essence, because all, excepting the language to be made use of, was presented to the eye by the dresses, and persons, and actions of the performers upon the stage. But as nothing," said Dick, "can be more dull than a long narrative written upon the plan of a drama, so where you have approached most near to that species of composition, by indulging in prolonged scenes of mere conversation, the course of your story has become chill and constrained, and you have lost the power of arresting the attention and exciting the imagination, in which upon other occasions you may be considered as having succeeded tolerably well."

I made my bow in requital of the compliment, which was probably thrown in by way of placebo, and expressed myself willing at least to make one trial of a more straightforward style of composition, in which my actors should do more, and say less, than in my former attempts of this kind. Dick gave me a patronising and approving nod, and observed that, finding me so docile, he would communicate, for the benefit of my muse, a subject which he had studied with a view to his own art.

"The story," he said, "was, by tradition, affirmed to be truth, although, as upwards of a hundred years had passed away since the events took place, some doubts upon the accuracy of all the particulars might be reasonably entertained."

When Dick Tinto had thus spoken, he rummaged his portfolio for the sketch from which he proposed one day to execute a picture of fourteen feet by eight. The sketch, which was cleverly executed, to use the appropriate phrase, represented an ancient hall, fitted up and furnished in what we now call the taste of Queen Elizabeth's age. The light, admitted from the upper part of a high casement, fell upon a female figure of exquisite beauty, who, in an attitude of speechless terror, appeared to watch the issue of a debate betwixt two other persons. The one was a young man, in the Vandyke dress common to the time of Charles I., who, with an air of indignant pride, testified by the manner in which he raised his head and extended his arm, seemed to be urging a claim of right, rather than of favour, to a lady whose age, and some resemblance in their features, pointed her out as the mother of the younger female, and who appeared to listen with a mixture of displeasure and impatience.

Tinto produced his sketch with an air of mysterious triumph, and gazed on it as a fond parent looks upon a hopeful child, while he anticipates the future figure he is to make in the world, and the height to which he will raise the honour of his family. He held it at arm's length from me—he helt it closer—he placed it upon the top of a chest of drawers—closed the lower shutters of the casement, to adjust a downward and favourable light—fell back to the due distance, dragging me after him—shaded his face with his hand, as if to exclude all but the favourite object—and ended by spoiling a child's copy-book, which he rolled up so as to serve for the darkened tube of an amateur. I fancy my expressions of enthusiasm had not been in proportion to his own, for he presently exclaimed with vehemence: "Mr. Pattieson, I used to think you had an eye in your head."

I vindicated my claim to the usual allowance of visual organs.

"Yet, on my honour," said Dick, "I would swear you had been born blind, since you have failed at the first glance to discover the subject and meaning of that sketch. I do not mean to praise my own performance, I leave these arts to others; I am sensible of my deficiencies, conscious that my drawing and colouring may be improved by the time I intend to dedicate to the art. But the conception—the expression—the positions—these tell the story to every one who looks at the sketch; and if I can finish the picture without diminution of the original conception, the name of Tinto shall no more be smothered by the mists of envy and intrigue."

I replied: "That I admired the sketch exceedingly; but that to understand its full merit, I felt it absolutely necessary to be informed of the subject."

"That is the very thing I complain of," answered Tinto; "you have accustomed yourself so much to these creeping twilight details of yours, that you are become incapable of receiving that instant and vivid flash of conviction which darts on the mind from seeing the happy and expressive combinations of a single scene, and which gathers from the position, attitude, and countenance of the moment, not only the history of the past lives of the personages represented, and the nature of the business on which they are immediately engaged, but lifts even the veil of futurity, and affords a shrewd guess at their future fortunes."

"In that case," replied I, "Paining excels the ape of the renowned Gines de Passamonte, which only meddled with the past and the present; nay, she excels that very Nature who affords her subject; for I protest to you, Dick, that were I permitted to peep into that Elizabeth-chamber, and see the persons you have sketched conversing in flesh and blood, I should not be a jot nearer guessing the nature of their business than I am at this moment while looking at your sketch. Only generally, from the languishing look of the young lady, and the care you have taken to present a very handsome leg on the part of the gentleman, I presume there is some reference to a love affair between them."

"Do you really presume to form such a bold conjecture?" said Tinto. "And the indignant earnestness with which you see the man urge his suit, the unresisting and passive despair of the younger female, the stern air of inflexible determination in the elder woman, whose looks express at once consciousness that she is acting wrong and a firm determination to persist in the course she has adopted——"

"If her looks express all this, my dear Tinto," replied I, interrupting him, "your pencil rivals the dramatic art of Mr. Puff in The Critic, who crammed a whole complicated sentence into the expressive shake of Lord Burleigh's head."

"My good friend, Peter," replied Tinto, "I observe you are perfectly incorrigible; however, I have compassion on your dulness, and am unwilling you should be deprived of the pleasure of understanding my picture, and of gaining, at the same time, a subject for your own pen. You must know then, last summer, while I was taking sketches on the coast of East Lothian and Berwickshire, I was seduced into the mountains of Lammermoor by the account I received of some remains of antiquity in that district. Those with which I was most struck were the ruins of an ancient castle in which that Elizabeth-chamber, as you call it, once existed. I resided for two or three days at a farmhouse in the neighbourhood, where the aged goodwife was well acquainted with the history of the castle, and the events which had taken place in it. One of these was of a nature so interesting and singular, that my attention was divided between my wish to draw the old ruins in landscape, and to represent, in a history-piece, the singular events which have taken place in it. Here are my notes of the tale," said poor Dick, handing a parcel of loose scraps, partly scratched over with his pencil, partly with his pen, where outlines of caricatures, sketches of turrets, mills, old gables, and dovecots, disputed the ground with his written memoranda.

I proceeded, however, to decipher the substance of the manuscript as well as I could, and move it into the following Tale, in which, following in part, though not entirely, my friend Tinto's advice, I endeavoured to render my narrative rather descriptive than dramatic. My favourite propensity, however, has at times overcome me, and my persons, like many others in this talking world, speak now what then a great deal more than they act.



CHAPTER II.

Well, lord, we have not got that which we have; 'Tis not enough our foes are this time fled, Being opposites of such repairing nature.

Henry VI. Part II.

IN the gorge of a pass or mountain glen, ascending from the fertile plains of East Lothian, there stood in former times an extensive castle, of which only the ruins are now visible. Its ancient proprietors were a race of powerful and warlike carons, who bore the same name with the castle itself, which was Ravenswood. Their line extended to a remote period of antiquity, and they had intermarried with the Douglasses, Humes, Swintons, Hays, and other families of power and distinction in the same country. Their history was frequently involved in that of Scotland itself, in whose annals their feats are recorded. The Castle of Ravenswood, occupying, and in some measure commanding, a pass betweixt Berwickshire, or the Merse, as the southeastern province of Scotland is termed, and the Lothians, was of importance both in times of foreign war and domestic discord. It was frequently beseiged with ardour, and defended with obstinacy, and, of course, its owners played a conspicuous part in story. But their house had its revolutions, like all sublunary things: it became greatly declined from its splendour about the middle of the 17th century; and towards the period of the Revolution, the last proprietor of Ravenswood Castle saw himself compelled to part with the ancient family seat, and to remove himself to a lonely and sea-beaten tower, which, situated on the bleak shores between St. Abb's Head and the village of Eyemouth, looked out on the lonely and boisterous German Ocean. A black domain of wild pasture-land surrounded their new residence, and formed the remains of their property.

Lord Ravenswood, the heir of this ruined family, was far from bending his mind to his new condition of life. In the civil war of 1689 he had espoused the sinking side, and although he had escaped without the forfeiture of life or land, his blood had been attainted, and his title abolished. He was now called Lord Ravenswood only in courtesy.

This forfeited nobleman inherited the pride and turbulence, though not the forture, of his house, and, as he imputed the final declension of his family to a particular individual, he honoured that person with his full portion of hatred. This was the very man who had now become, by purchase, proprietor of Ravenswood, and the domains of which the heir of the house now stood dispossessed. He was descended of a family much less ancient than that of Lord Ravenswood, and which had only risen to wealth and political importance during the great civil wars. He himself had been bred to the bar, and had held high offices in the state, maintaining through life the character of a skilful fisher in the troubled waters of a state divided by factions, and governed by delegated authority; and of one who contrived to amass considerable sums of money in a country where there was but little to be gathered, and who equally knew the value of wealth and the various means of augmenting it and using it as an engine of increasing his power and influence.

Thus qualified and gifted, he was a dangerous antagonist to the fierce and imprudent Ravenswood. Whether he had given him good cause for the enmity with which the Baron regarded him, was a point on which men spoke differently. Some said the quarrel arose merely from the vindictive spirit and envy of Lord Ravenswood, who could not patiently behold another, though by just and fair purchase, become the proprietor of the estate and castle of his forefathers. But the greater part of the public, prone to slander the wealthy in their absence as to flatter them in their presence, held a less charitable opinion. They said that the Lord Keeper (for to this height Sir William Ashton had ascended) had, previous to the final purchase of the estate of Ravenswood, been concerned in extensive pecuniary transactions with the former proprietor; and, rather intimating what was probable than affirming anything positively, they asked which party was likely to have the advantage in stating and enforcing the claims arising out of these complicated affairs, and more than hinted the advantages which the cool lawyer and able politician must necessarily possess over the hot, fiery, and imprudent character whom he had involved in legal toils and pecuniary snares.

The character of the times aggravated these suspicions. "In those days there was no king in Israel." Since the departure of James VI. to assume the richer and more powerful crown of England, there had existed in Scotland contending parties, formed among the aristocracy, by whom, as their intrigues at the court of St. James's chanced to prevail, the delegated powers of sovereignty were alternately swayed. The evils attending upon this system of government resembled those which afflict the tenants of an Irish estate, the property of an absentee. There was no supreme power, claiming and possessing a general interest with the community at large, to whom the oppressed might appeal from subordinate tyranny, either for justice or for mercy. Let a monarch be as indolent, as selfish, as much disposed to arbitrary power as he will, still, in a free country, his own interests are so clearly connected with those of the public at large, and the evil consequences to his own authority are so obvious and imminent when a different course is pursued, that common policy, as well as ocmmon feeling, point to the equal distribution of justice, and to the establishment of the throne in righteousness. Thus, even sovereigns remarkable for usurpation and tyranny have been found rigorous in the administration of justice among their subjects, in cases where their own power and passions were not compromised.

It is very different when the powers of sovereignty are delegated to the head of an aristocratic faction, rivalled and pressed closely in the race of ambition by an adverse leader. His brief and precarious enjoyment of power must be employed in rewarding his partizans, in extending his influence, in oppressing and crushing his adversaries. Even Abou Hassan, the most disinterested of all viceroys, forgot not, during his caliphate of one day, to send a douceur of one thousand pieces of gold to his own household; and the Scottish vicegerents, raised to power by the strength of their faction, failed not to embrace the same means of rewarding them.

The administration of justice, in particular, was infected by the most gross partiality. A case of importance scarcely occurred in which there was not some ground for bias or partiality on the part of the judges, who were so little able to withstand the temptation that the adage, "Show me the man, and I will show you the law," became as prevalent as it was scandalous. One corruption led the way to others still mroe gross and profligate. The judge who lent his sacred authority in one case to support a friend, and in another to crush an enemy, and who decisions were founded on family connexions or political relations, could not be supposed inaccessible to direct personal motives; and the purse of the wealthy was too often believed to be thrown into the scale to weigh down the cause of the poor litigant. The subordinate officers of the law affected little scruple concerning bribery. Pieces of plate and bags of money were sent in presents to the king's counsel, to influence their conduct, and poured forth, says a contemporary writer, like billets of wood upon their floors, without even the decency of concealment.

In such times, it was not over uncharitable to suppose that the statesman, practised in courts of law, and a powerful member of a triumphant cabal, might find and use means of advantage over his less skilful and less favoured adversary; and if it had been supposed that Sir William Ashton's conscience had been too delicate to profit by these advantages, it was believed that his ambition and desire of extending his wealth and consequence found as strong a stimulus in the exhortations of his lady as the daring aim of Macbeth in the days of yore.

Lady Ashton was of a family more distinguished than that of her lord, an advantage which she did not fail to use to the uttermost, in maintaining and extending her husband's influence over others, and, unless she was greatly belied, her own over him. She had been beautiful, and was stately and majestic in her appearance. Endowed by nature with strong powers and violent passions, experience had taught her to employ the one, and to conceal, if not to moderate, the other. She was a severe adn strict observer of the external forms, at least, of devotion; her hospitality was splendid, even to ostentation; her address and manners, agreeable to the pattern most valued in Scotland at the period, were grave, dignified, and severely regulated by the rules of etiquette. Her character had always been beyond the breath of slander. And yet, with all these qualities to excite respect, Lady Ashton was seldom mentioned in the terms of love or affection. Interest—the interest of her family, if not her own—seemed too obviously the motive of her actions; and where this is the case, the sharp-judging and malignant public are not easily imposed upon by outward show. It was seen and ascertained that, in her most graceful courtesies and compliments, Lady Ashton no more lost sight of her object than the falcon in his airy wheel turns his quick eyes from his destined quarry; and hence, somethign of doubt and suspicion qualified the feelings with which her equals received her attentions. With her inferiors these feelings were mingled with fear; an impression useful to her purposes, so far as it enforced ready compliance with her requests and implicit obedience to her commands, but detrimental, because it cannot exist with affection or regard.

Even her husband, it is said, upon whose fortunes her talents and address had produced such emphatic influence, regarded her with respectful awe rather than confiding attachment; and report said, there were times when he considered his grandeur as dearly purchased at the expense of domestic thraldom. Of this, however, much might be suspected, but little could be accurately known: Lady Ashton regarded the honour of her husband as her own, and was well aware how much that would suffer in the public eye should he appear a vassal to his wife. In all her arguments his opinion was quoted as infallible; his taste was appealed to, and his sentiments received, with the air of deference which a dutiful wife might seem to owe to a husband of Sir William Ashton's rank adn character. But there was something under all this which rung false and hollow; and to those who watched this couple with close, and perhaps malicious, scrutiny it seemed evident that, in the haughtiness of a firmer character, higher birth, and more decided views of aggrandisement, the lady looked with some contempt on her husband, and that he regarded her with jealous fear, rather than with love or admiration.

Still, however, the leading and favourite interests of Sir William Ashton and his lady were the same, and they failed not to work in concert, although without cordiality, and to testify, in all exterior circumstances, that respect for each other which they were aware was necessary to secure that of the public.

Their union was crowned with several children, of whom three survived. One, the eldest son, was absent on his travels; the second, a girl of seventeen, adn the third, a boy about three years younger, resided with their parents in Edinburgh during the sessions of the Scottish Parliament and Privy Council, at other times in the old Gothic castle of Ravenswood, to which the Lord Keeper had made large additions in the style of the 17th century.

Allan Lord Ravenswood, the late proprietor of that ancient mansion adn the large estate annexed to it, continued for some time to wage ineffectual war with his successor concerning various points to which their former transactions had given rise, and which were successively determined in favour of the wealthy and powerful competitor, until death closed the litigation, by summoning Ravenswood to a higher bar. The thread of life, which had been long wasting, gave way during a fit of violent and impotent fury with which he was assailed on receiving the news of the loss of a cause, founded, perhaps, rather in equity than in law, the last which he had maintained against his powerful antagonist. His son witnessed his dying agonies, and heard the curses which he breathed against his adversary, as if they had conveyed to him a legacy of vengeance. Other circumstances happened to exasperate a passion which was, and had long been, a prevalent vice in the Scottish disposition.

It was a November morning, and the cliffs which overlooked the ocean were hung with thick and heavy mist, when the portals of the ancient and half-ruinous tower, in which Lord Ravenswood had spent the last and troubled years of his life, opened, that his mortal remains might pass forward to an abode yet more dreary and lonely. The pomp of attendance, to which the deceased had, in his latter years, been a stranger, was revived as he was about to be consigned to the realms of forgetfulness.

Banner after banner, with the various devices and coats of this ancient family and its connexions, followed each other in mournful procession from under the low-browed archway of the courtyard. The principal gentry of the country attended in the deepest mourning, and tempered the pace of their long train of horses to the solemn march befitting the occasion. Trumpets, with banners of crape attached to them, sent forth their long and melancholy notes to regulate the movements of the procession. An immense train of inferior mourners and menials closed the rear, which had not yet issued from the castle gate when the van had reached the chapel where the body was to be deposited.

Contrary to the custom, and even to the law, of the time, the body was met by a priest of the Scottish Episcopal communion, arrayed in his surplice, and prepared to read over the coffin of the deceased the funeral service of the church. Such had been the desire of Lord Ravenswood in his last illness, and it was readily complied with by the Tory gentlemen, or Cavaliers, as they affected to style themselves, in which faction most of his kinsmen were enrolled. The Presbyterian Church judicatory of the bounds, considering the ceremony as a bravading insult upon their authority, had applied to the Lord Keeper, as the nearest privy councillor, for a warrant to prevent its being carried into effect; so that, when the clergyman had opened his prayer-book, an officer of the law, supported by some armed men, commanded him to be silent. An insult which fired the whol assembly with indignation was particularly and instantly resented by the only son of the deceased, Edgar, popularly called the Master of Ravenswood, a youth of about twenty years of age. He clapped his hand on his sword, and bidding the official person to desist at his peril from farther interruption, commanded the clergyman to proceed. The man attempted to enforce his commission; but as an hundred swords at once glittered in the air, he contented himself with protesting against the violence which had been offered to him in the execution of his duty, and stood aloof, a sullen adn moody spectator of the ceremonial, muttering as one who should say: "You'll rue the day that clogs me with this answer."

The scene was worthy of an artist's pencil. Under the very arch of the house of death, the clergyman, affrighted at the scene, and trembling for his own safety, hastily and unwillingly rehearsed the solemn service of the church, and spoke "dust to dust and ashes to ashes," over ruined pride and decayed prosperity. Around stood the relations of the deceased, their countenances more in anger than in sorrow, and the drawn swords which they brandished forming a violent contrast with their deep mourning habits. In the countenance of the young man alone, resentment seemed for the moment overpowered by the deep agony with which he beheld his nearest, and almost his only, friend consigned to the tomb of his ancestry. A relative observed him turn deadly pale, when, all rites being now duly observed, it became the duty of the chief mourner to lower down into the charnel vault, where mouldering coffins showed their tattered velvet and decayed plating, the head of the corpse which was to be their partner in corruption. He stept to the youth and offered his assistance, which, by a mute motion, Edgar Ravenswood rejected. Firmly, and without a tear, he performed that last duty. The stone was laid on the sepulchre, the door of the aisle was locked, and the youth took possession of its massive key.

As the crowd left the chapel, he paused on the steps which led to its Gothic chancel. "Gentlemen and friends," he said, "you have this day done no common duty to the body of your deceased kinsman. The rites of due observance, which, in other countries, are allowed as the due of the meanest Christian, would this day have been denied to the body of your relative—not certainly sprung of the meanest house in Scotland—had it not been assured to him by your courage. Others bury their dead in sorrow and tears, in silence and in reverence; our funeral rites are marred by the intrusion of bailiffs and ruffians, and our grief—the grief due to our departed friend—is chased from our cheeks by the glow of just indignation. But it is well that I know from what quiver this arrow has come forth. It was only he that dug the drave who could have the mean cruelty to disturb the obsequies; and Heaven do as much to me and more, if I requite not to this man and his house the ruin and disgrace he has brought on me and mine!"

A numerous part of the assembly applauded this speech, as the spirited expression of just resentment; but the more cool and judicious regretted that it had been uttered. The fortunes of the heir of Ravenswood were too low to brave the farther hostility which they imagined these open expressions of resentment must necessarily provoke. Their apprehensions, however, proved groundless, at least in the immediate consequences of this affair.

The mourners returned to the tower, there, according to a custom but recently abolished in Scotland, to carouse deep healths to the memory of the deceased, to make the house of sorrow ring with sounds of joviality and debauch, and to diminish, by the expense of a large and profuse entertainment, the limited revenues of the heir of him whose funeral they thus strangely honoured. It was the custom, however, and on the present occasion it was fully observed. The tables swam in wine, the populace feasted in the courtyard, the yeomen in the kitchen and buttery; and two years' rent of Ravenswood's remaining property hardly defrayed the charge of the funeral revel. The wine did its office on all but the Master of Ravenswood, a title which he still retained, though forfeiture had attached to that of his father. He, while passing around the cup which he himself did not taste, soon listened to a thousand exclamations against the Lord Keeper, and passionate protestations of attachment to himself, and to the honour of his house. He listened with dark and sullen brow to ebullitions which he considered justly as equally evanescent with the crimson bubbles on the brink of the goblet, or at least with the vapours which its contents excited in the brains of the revellers around him.

When the last flask was emptied, they took their leave with deep protestations—to be forgotten on the morrow, if, indeed, those who made them should not think it necessary for their safety to make a more solemn retractation.

Accepting their adieus with an air of contempt which he could scarce conceal, Ravenswood at length beheld his ruinous habitation cleared of their confluence of riotous guests, and returned to the deserted hall, which now appeared doubly lonely from the cessation of that clamour to which it had so lately echoed. But its space was peopled by phantoms which the imagination of the young heir conjured up before him—the tarnished honour and degraded fortunes of his house, the destruction of his own hopes, and the triumph of that family by whom they had been ruined. To a mind naturally of a gloomy cast here was ample room for meditation, and the musings of young Ravenswood were deep and unwitnessed.

The peasant who shows the ruins of the tower, which still crown the beetling cliff and behold the war of the waves, though no mroe tenanted saved by the sea-mew and cormorant, even yet affirms that on this fatal night the Master of Ravenswood, by the bitter exclamations of his despair, evoked some evil fiend, under whose malignant influence the future tissue of incidents was woven. Alas! what fiend can suggest more desperate counsels than those adopted under the guidance of our own violent and unresisted passions?



CHAPTER III.

Over Gods forebode, then said the King, That thou shouldst shoot at me.

William Bell, Clim 'o the Cleugh, etc.

On the morning after the funeral, the legal officer whose authority had been found insufficient to effect an interruption of the funeral solemnities of the late Lord Ravenswood, hastened to state before the Keeper the resistance which he had met with in the execution of his office.

The statesman was seated in a spacious library, once a banqueting-room in the old Castle of Ravenswood, as was evident from the armorial insignia still displayed on the carved roof, which was vaulted with Spanish chestnut, and on the stained glass of the casement, through which gleamed a dim yet rich light on the long rows of shelves, bending under the weight of legal commentators and monkish historians, whose ponderous volumes formed the chief and most valued contents of a Scottish historian [library] of the period. On the massive oaken table and reading-desk lay a confused mass of letters, petitions, and parchments; to toil amongst which was the pleasure at once and the plague of Sir William Ashton's life. His appearance was grave and even noble, well becoming one who held an high office in the state; and it was not save after long and intimate conversation with him upon topics of pressing and personal interest, that a stranger could have discovered something vacillating and uncertain in his resolutions; an infirmity of purpose, arising from a cautious and timid disposition, which, as he was conscious of its internal influence on his mind, he was, from pride as well as policy, most anxious to conceal from others. He listened with great apparent composure to an exaggerated account of the tumult which had taken place at the funeral, of the contempt thrown on his own authority and that of the church and state; nor did he seem moved even by the faithful report of the insulting and threatening language which had been uttered by young Ravenswood and others, and obviously directed against himself. He heard, also, what the man had been able to collect, in a very distorted and aggravated shape, of the toasts which had been drunk, and the menaces uttered, at the subsequent entertainment. In fine, he made careful notes of all these particulars, and of the names of the persons by whom, in case of need, an accusation, founded upon these violent proceedings, could be witnessed and made good, and dismissed his informer, secure that he was now master of the remaining fortune, and even of the personal liberty, of young Ravenswood.

When the door had closed upon the officer of the law, the Lord Keeper remained for a moment in deep meditation; then, starting from his seat, paced the apartment as one about to take a sudden and energetic resolution. "Young Ravenswood," he muttered, "is now mine—he is my own; he has placed himself in my hand, and he shall bend or break. I have not forgot the determined and dogged obstinacy with which his father fought every point to the last, resisted every effort at compromise, embroiled me in lawsuits, and attempted to assail my character when he could not otherwise impugn my rights. This boy he has left behind him—this Edgar—this hot-headed, hare-brained fool, has wrecked his vessel before she has cleared the harbor. I must see that he gains no advantage of some turning tide which may again float him off. These memoranda, properly stated to the privy council, cannot but be construed into an aggravated riot, in which the dignity both of the civil and ecclesiastical authorities stands committed. A heavy fine might be imposed; an order for committing him to Edinburgh or Blackness Castle seems not improper; even a charge of treason might be laid on many of these words and expressions, though God forbid I should prosecute the matter to that extent. No, I will not; I will not touch his life, even if it should be in my power; and yet, if he lives till a change of times, what follows? Restitution—perhaps revenge. I know Athole promised his interest to old Ravenswood, and here is his son already bandying and making a faction by his own contemptible influence. What a ready tool he would be for the use of those who are watching the downfall of our administration!"

While these thoughts were agitating the mind of the wily statesman, and while he was persuading himself that his own interest and safety, as well as those of his friends and party, depended on using the present advantage to the uttermost against young Ravenswood, the Lord Keeper sate down to his desk, and proceeded to draw up, for the information of the privy council, an account of the disorderly proceedings which, in contempt of his warrant, had taken place at the funeral of Lord Ravenswood. The names of most of the parties concerned, as well as the fact itself, would, he was well aware, sound odiously in the ears of his colleagues in administration, and most likely instigate them to make an example of young Ravenswood, at least, in terrorem.

It was a point of delicacy, however, to select such expressions as might infer the young man's culpability, without seeming directly to urge it, which, on the part of Sir William Ashton, his father's ancient antagonist, could not but appear odious and invidious. While he was in the act of composition, labouring to find words which might indicate Edgar Ravenswood to be the cause of the uproar, without specifically making such a charge, Sir William, in a pause of his task, chanced, in looking upward, to see the crest of the family for whose heir he was whetting the arrows and disposing the toils of the law carved upon one of the corbeilles from which the vaulted roof of the apartment sprung. It was a black bull's head, with the legend, "I bide my time"; and the occasion upon which it was adopted mingled itself singularly and impressively with the subject of his present reflections.

It was said by a constant tradition that a Malisius de Ravenswood had, in the 13th century, been deprived of his castle and lands by a powerful usurper, who had for a while enjoyed his spoils in quiet. At length, on the eve of a costly banquet, Ravenswood, who had watched his opportunity, introduced himself into the castle with a small band of faithful retainers. The serving of the expected feast was impatiently looked for by the guests, and clamorously demanded by the temporary master of the castle. Ravenswood, who had assumed the disguise of a sewer upon the occasion, answered, in a stern voice, "I bide my time"; and at the same moment a bull's head, the ancient symbol of death, was placed upon the table. The explosion of the conspiracy took place upon the signal, and the usurper and his followers were put to death. Perhaps there was something in this still known and often repeated story which came immediately home to the breast and conscience of the Lord Keeper; for, putting from him the paper on which he had begun his report, and carefully locking the memoranda which he had prepared into a cabinet which stood beside him, he proceeded to walk abroad, as if for the purpose of collecting his ideas, and reflecting farther on the consequences of the step which he was about to take, ere yet they became inevitable.

In passing through a large Gothic ante-room, Sir William Ashton heard the sound of his daughter's lute. Music, when the performers are concealed, affects us with a pleasure mingled with surprise, and reminds us of the natural concert of birds among the leafy bowers. The statesman, though little accustomed to give way to emotions of this natural and simple class, was still a man and a father. He stopped, therefore, and listened, while the silver tones of Lucy Ashton's voice mingled with the accompaniment in an ancient air, to which some one had adapted the following words:

"Look not thou on beauty's charming, Sit thou still when kings are arming, Taste not when the wine-cup glistens, Speak not when the people listens, Stop thine ear against the singer, From the red gold keep they finger, Vacant heart, and hand, and eye, Easy live and quiet die."

The sounds ceased, and the Keeper entered his daughter's apartment.

The words she had chosen seemed particularly adapted to her character; for Lucy Ashton's exquisitely beautiful, yet somewhat girlish features were formed to express peace of mind, serenity, and indifference to the tinsel of wordly pleasure. Her locks, which were of shadowy gold, divided on a brow of exquisite whiteness, like a gleam of broken and pallid sunshine upon a hill of snow. The expression of the countenance was in the last degree gentle, soft, timid, and feminine, and seemed rather to shrink from the most casual look of a stranger than to court his admiration. Something there was of a Madonna cast, perhaps the result of delicate health, and of residence in a family where the dispositions of the inmates were fiercer, more active, and energetic than her own.

Yet her passiveness of disposition was by no means owing to an indifferent or unfeeling mind. Left to the impulse of her own taste and feelings, Lucy Ashton was peculiarly accessible to those of a romantic cast. Her secret delight was in the old legendary tales of ardent devotion and unalterable affection, chequered as they so often are with strange adventures and supernatural horrors. This was her favoured fairy realm, and here she erected her aerial palaces. But it was only in secret that she laboured at this delusive though delightful architecture. In her retired chamber, or in the woodland bower which she had chosen for her own, and called after her name, she was in fancy distributing the prizes at the tournament, or raining down influence from her eyes on the valiant combatants: or she was wandering in the wilderness with Una, under escort of the generous lion; or she was identifying herself with the simple yet noble-minded Miranda in the isle of wonder and enchantment.

But in her exterior relations to things of this world, Lucy willingly received the ruling impulse from those around her. The alternative was, in general, too indifferent to her to render resistance desirable, and she willingly found a motive for decision in the opinion of her friends which perhaps she might have sought for in vain in her own choice. Every reader must have observed in some family of his acquaintance some individual of a temper soft and yielding, who, mixed with stronger and more ardent minds, is borne along by the will of others, with as little power of opposition as the flower which is flung into a running stream. It usually happens that such a compliant and easy disposition, which resigns itself without murmur to the guidance of others, becomes the darling of those to whose inclinations its own seem to be offered, in ungrudging and ready sacrifice. This was eminently the case with Lucy Ashton. Her politic, wary, and wordly father felt for her an affection the strength of which sometimes surprised him into an unusual emotion. Her elder brother, who trode the path of ambition with a haughtier step than his father, had also more of human affection. A soldier, and in a dissolute age, he preferred his sister Lucy even to pleasure and to military preferment and distinction. Her younger brother, at an age when trifles chiefly occupied his mind, made her the confidante of all his pleasures and anxieties, his success in field-sports, and his quarrels with his tutor and instructors. To these details, however trivial, Lucy lent patient and not indifferent attention. They moved and interested Henry, and that was enough to secure her ear.

Her mother alone did not feel that distinguished and predominating affection with which the rest of the family cherished Lucy. She regarded what she termed her daughter's want of spirit as a decided mark that the more plebeian blood of her father predominated in Lucy's veins, and used to call her in derision her Lammermoor Shepherdess. To dislike so gentle and inoffensive a being was impossible; but Lady Ashton preferred her eldest son, on whom had descended a large portion of her own ambitious and undaunted disposition, to a daughter whose softness of temper seemed allied to feebleness of mind. Her eldest son was the more partially beloved by his mother because, contrary to the usual custom of Scottish families of distinction, he had been named after the head of the house.

"My Sholto," she said, "will support the untarnished honour of his maternal house, and elevate and support that of his father. Poor Lucy is unfit for courts or crowded halls. Some country laird must be her husband, rich enough to supply her with every comfort, without an effort on her own part, so that she may have nothing to shed a tear for but the tender apprehension lest he may break his neck in a foxchase. It was not so, however, that our house was raised, nor is it so that it can be fortified and augmented. The Lord Keeper's dignity is yet new; it must be borne as if we were used to its weight, worthy of it, and prompt to assert and maintain it. Before ancient authorities men bend from customary and hereditary deference; in our presence they will stand erect, unless they are compelled to prostrate themselves. A daughter fit for the sheepfold or the cloister is ill qualified to exact respect where it is yielded with reluctance; and since Heaven refused us a third boy, Lucy should have held a character fit to supply his place. The hour will be a happy one which disposes her hand in marriage to some one whose energy is greater than her own, or whose ambition is of as low an order."

So meditated a mother to whom the qualities of her children's hearts, as well as the prospect of their domestic happiness, seemed light in comparison to their rank and temporal greatness. But, like many a parent of hot and impatient character, she was mistaken in estimating the feelings of her daughter, who, under a semblance of extreme indifference, nourished the germ of those passions which sometimes spring up in one night, like the gourd of the prophet, and astonish the observer by their unexpected ardour and intensity. In fact, Lucy's sentiments seemed chill because nothing had occurred to interest or awaken them. Her life had hitherto flowed on in a uniform and gentle tenor, and happy for her had not its present smoothness of current resembled that of the stream as it glides downwards to the waterfall!

"So, Lucy," said her father, entering as her song was ended, "does your musical philosopher teach you to contemn the world before you know it? That is surely something premature. Or did you but speak according to the fashion of fair maidens, who are always to hold the pleasures of life in contempt till they are pressed upon them by the address of some gentle knight?"

Lucy blushed, disclaimed any inference respecting her own choice being drawn from her selection of a song, and readily laid aside her instrument at her father's request that she would attend him in his walk.

A large and well-wooded park, or rather chase, stretched along the hill behind the castle, which, occupying, as we have noticed, a pass ascending from the plain, seemed built in its very gorge to defend the forest ground which arose behind it in shaggy majesty. Into this romantic region the father and daughter proceeded, arm in arm, by a noble avenue overarched by embowering elms, beneath which groups of the fallow-deer were seen to stray in distant perspective. As they paced slowly on, admiring the different points of view, for which Sir William Ashton, notwithstanding the nature of his usual avocations, had considerable taste and feeling, they were overtaken by the forester, or park-keeper, who, intent on silvan sport, was proceeding with his cross-bow over his arm, and a hound led in leash by his boy, into the interior of the wood.

"Going to shoot us a piece of venison, Norman?" said his master, as he returned the woodsman's salutation.

"Saul, your honour, and that I am. Will it please you to see the sport?"

"Oh no," said his lordship, after looking at his daughter, whose colour fled at the idea of seeing the deer shot, although, had her father expressed his wish that they should accompany Norman, it was probable she would not even have hinted her reluctance.

The forester shrugged his shoulders. "It was a disheartening thing," he said, "when none of the gentles came down to see the sport. He hoped Captain Sholto would be soon hame, or he might shut up his shop entirely; for Mr. Harry was kept sae close wi' his Latin nonsense that, though his will was very gude to be in the wood from morning till night, there would be a hopeful lad lost, and no making a man of him. It was not so, he had heard, in Lord Ravenswood's time: when a buck was to be killed, man and mother's son ran to see; and when the deer fell, the knife was always presented to the knight, and he never gave less than a dollar for the compliment. And there was Edgar Ravenswood—Master of Ravenswood that is now—when he goes up to the wood—there hasna been a better hunter since Tristrem's time—when Sir Edgar hauds out, down goes the deer, faith. But we hae lost a' sense of woodcraft on this side of the hill."