ancestors, if not in this life then in the next.
Mathinna yearned for some similar fire to live by, but in the meantime made do with what helped her endure, with what enabled her to survive. Mostly that was drink. Sometimes she still held her hands over her eyes and looked for the cracks of light. But less and less. More and more she drank towards the darkness.
George Augustus Robinson called in to Oyster Cove on his way home to England, to say a final farewell to what remained of those he had protected. He was mystified that they had little to say to him, and there was no excitement at his visit. He had been particularly interested to meet with Mathinna and see what had become of the experiment of the black princess, but all he met with were sorry rumours.
He reflected on the strangeness of this final meeting many years later in the town of Bath, to which he had retired, as he closed a large trunk full of his assembled papers detailing his strange history of encounters with the savages of Australia and Van Diemen’s Land. Robinson had hoped to make something of them—a book, celebrity, honours, money. That most elusive accolade, greatness. No one was interested. Nor, ultimately, he had discovered, was he. His major cause for regret was not holding out for more money when he brought in the last of the natives. Money, money, money, and what money can make of life!
His ambitions, like his body, were collapsing. He found balance difficult. He hoped for a brass plaque to be attached to his house after his death. He was no longer sure how best to lobby for, or even obliquely suggest, such an honour on the ever-rarer occasions he met the few who paraded themselves as powerful in the old Regency spa town. What was he commemorating? His thoughts were mist. He heard strange chanting. Saw a naked man dancing between the stars and the earth. Remembered rivers, a dark child at his door, fingers greasy with sawing. He awoke early on the eighteenth of October 1866 and, rolling his head to one side in his warm bed, he looked at an autumnal light, red and diffuse, softly falling through a window. He felt a great serenity wash over him, his body peacefully stretched out, and, secure in the knowledge he had been a good man who had helped many others, he died.
12
SEATS FOR THE FINAL NIGHT were impossible to procure. People who had come by train from as far away as London were begging ticket touts for pity. Lady Jane had been luckier. After she missed seeing the play in London because of fundraising engagements elsewhere, she had been delighted to receive an invitation for that evening’s performance, along with a delightful letter, from Mr Dickens himself.
Travelling into the heart of Manchester that uncharacteristically hot August morning felt to Lady Jane like descending into the cone of Vesuvius. The light was ochre and the sweaty air tasted of sulphur; iron horseshoes and the iron wheels of omnibuses, coaches, wagons and drays were thundering all around her, a cacophony of noise like ten thousand smithies. And like a spectator on a volcano, she was enjoying these marvellous sensations of a most modern city when her landau carriage, taking a side road to avoid the flyblown corpse of a horse, became caught up in a funeral cortege.
She travelled the world now, her vengeance on her husband’s obstinacy applauded as noble grief, her part as loyal widow having emancipated her from men and allowing her freedoms few other women could imagine. Her life, as a studied melancholy, she savoured. To admit to happiness would have been inappropriate, but as her cursing driver sought a way around, she believed herself to be fulfilled.
Craning her head, she could see it was a child’s hearse, half-sized, white-painted, brass-railed and white ostrich feather-plumed. Inside lay a toy-sized coffin. Water from the melting ice packed beneath that small, sad box dripped down the hearse’s jolting rear. As those beads of water splashed on the street’s hot cobbles, vanishing into steam, Lady Jane found her pleasant thoughts evaporating.
‘Faster,’ she yelled to the landau’s driver. ‘Get me there faster.’
At the Grand Western Hotel, Ellen Ternan’s spirits were also not what they had been. All day she had the sense Dickens was avoiding her. She worried that she had lost his respect, she cursed herself for becoming too familiar. Meanwhile Maria Ternan had woken unwell, and by the afternoon her cold was so bad her voice had gone. Against this loss Maria could do nothing, and it was clear that she would not be able to perform that night as Wardour’s love, Clara Burnham.
An hour and a half before the curtain went up, Ellen Ternan received a terse note from Dickens saying Mr Hueffer had found a local actress to fill her role, freeing her to take her sister’s place in the lead. She burst into tears, not knowing whether it was from relief or terror, or both.
Though each evening had seen an ever more extraordinary performance from Dickens, even the cast were unprepared for the intensity and emotion of Dickens’ acting that final evening.
‘It’s as though it’s no longer a play, but life itself,’ said Wilkie to Forster, as they waited in the wings for their calls.
‘I’m simply glad the folly’s finishing,’ replied Forster, without turning. ‘If this goes on any longer, he’ll end up more lost than Sir John.’
Seated in the best box in the house, Lady Jane gasped in shock with the rest of the audience when, in the concluding act, Dickens made his last appearance as the dying Wardour. She had to raise a cologne-scented handkerchief to her nose, for the stench of sweaty wool and animal odour rising from the heated crowd below seemed to worsen with each sensational development in the play. He had become a terrible being, eyes glaring like a wild animal’s, long grey hair and beard matted, his clothes no more than piteous rags.
‘Who is it you want to find?’ asked Ellen Ternan. ‘Your wife?’
Dickens shook his head wildly.
‘Who, then? What is she like?’
On stage, Dickens was allowed finally to stare into her eyes, to take in her cheeks, her nose, her lips, and he could not stop staring. Little by little, the hoarse, hollow voice he affected for the part softened.
‘Young,’ he said, ‘with a fair, sad face, with kind tender eyes. Young and loving and merciful,’ he now cried out, not to the audience but to Ellen Ternan, his voice no longer Wardour’s but strangely his own. ‘I keep her face in my mind, though I can keep nothing else. I must wander, wander, wander—restless, sleepless, homeless—till I find her! Over the ice and snow, tramping over the land, awake all night, awake all day, wander till I find her!’
Lady Jane, looking down from her box, was thinking how, like Clara Burnham, she had demonstrated the purity and virtue of her love. Yet far from making her feel vindicated with her life, instead of thinking nobly of Sir John, the play was taking her back to those final years in Van Diemen’s Land. There was such a wrongness about something, such a terrible wrongness, that she feared she might scream.
Dickens turned and sensed the huge audience out there in the darkness. Wardour had ceased to exist and was drifting away with the steam rising from his hot body. Yet he felt the heat of the crowd wanting something more. Though he did not know what it was, he knew he would keep giving it to them until there was nothing left and only death remained, death that had chased him here, death that was eating him even there on the stage. He suddenly fell to the floor—the audience gasped, someone shrieked in horror. Ellen Ternan knelt down and gently rolled his head into her lap.
He could feel her thighs beneath his neck as she cradled him, he could feel the white light envelop them at last as she wrapped him in her arms, and he wanted to stay that way, in her arms and in that light, forever.
Watching through his thick spectacles, Wilkie found himself not simply moved, but astonished as Wardour, now dying in Clara Burnham’s arms, finally recognises her as his long-lost love, for whom he has sacrificed everything so that her love, Frank Aldersley, might live. Wilkie had never witnessed anything like it in his life.
Ellen Ternan was looking at Dickens, shaking her head, biting her lips; and, to his amazement, Wilkie could see that she was weeping, not stage tears, but a heartfelt sobbing. In the rows, scores of people were weeping with her. Handkerchief clasped tightly to her face, Lady Jane, too, felt the emotion rising in her as an inexorable panic. Far below, she saw, as if through water, a murky orphanage courtyard and, standing alone within it, a bedraggled child staring back at her.
‘You,’ said Dickens, shakily.
Lady Jane was leaning down, the audience was coming forward, all craning to better watch and hear. They
