The Last Man

London, where you often cry, and never laugh as you do now.”—“Silence, little foolish thing,” replied her mother, “and remember any one that mentions London is sent to Coventry for an hour.”

Soon after, Raymond arrived. He did not join as usual in the playful spirit of the rest; but, entering into conversation with Adrian and myself, by degrees we seceded from our companions, and Idris and Perdita only remained with the children. Raymond talked of his new buildings; of his plan for an establishment for the better education of the poor; as usual Adrian and he entered into argument, and the time slipped away unperceived.

We assembled again towards evening, and Perdita insisted on our having recourse to music. She wanted, she said, to give us a specimen of her new accomplishment; for since she had been in London, she had applied herself to music, and sang, without much power, but with a great deal of sweetness. We were not permitted by her to select any but light-hearted melodies; and all the Operas of Mozart were called into service, that we might choose the most exhilarating of his airs. Among the other transcendent attributes of Mozart’s music, it possesses more than any other that of appearing to come from the heart; you enter into the passions expressed by him, and are transported with grief, joy, anger, or confusion, as he, our soul’s master, chooses to inspire. For some time, the spirit of hilarity was kept up; but, at length, Perdita receded from the piano, for Raymond had joined in the trio of “Taci ingiusto core,” in Don Giovanni, whose arch entreaty was softened by him into tenderness, and thrilled her heart with memories of the changed past; it was the same voice, the same tone, the self-same sounds and words, which often before she had received, as the homage of love to her—no longer was it that; and this concord of sound with its dissonance of expression penetrated her with regret and despair. Soon after Idris, who was at the harp, turned to that passionate and sorrowful air in Figaro, “Porgi, amor, qualche ristoro,” in which the deserted Countess laments the change of the faithless Almaviva. The soul of tender sorrow is breathed forth in this strain; and the sweet voice of Idris, sustained by the mournful chords of her instrument, added to the expression of the words. During the pathetic appeal with which it concludes, a stifled sob attracted our attention to Perdita, the cessation of the music recalled her to herself, she hastened out of the hall—I followed her. At first, she seemed to wish to shun me; and then, yielding to my earnest questioning, she threw herself on my neck, and wept aloud:—“Once more,” she cried, “once more on your friendly breast, my beloved brother, can the lost Perdita pour forth her sorrows. I had imposed a law of silence on myself; and for months I have kept it. I do wrong in weeping now, and greater wrong in giving words to my grief. I will not speak! Be it enough for you to know that I am miserable—be it enough for you to know, that the painted veil of life is rent, that I sit for ever shrouded in darkness and gloom, that grief is my sister, everlasting lamentation my mate!”

I endeavoured to console her; I did not question her! but I caressed her, assured her of my deepest affection and my intense interest in the changes of her fortune:—“Dear words,” she cried, “expressions of love come upon my ear, like the remembered sounds of forgotten music, that had been dear to me. They are vain, I know; how very vain in their attempt to soothe or comfort me. Dearest Lionel, you cannot guess what I have suffered during these long months. I have read of mourners in ancient days, who clothed themselves in sackcloth, scattered dust upon their heads, ate their bread mingled with ashes, and took up their abode on the bleak mountain tops, reproaching heaven and earth aloud with their misfortunes. Why this is the very luxury of sorrow! thus one might go on from day to day contriving new extravagances, revelling in the paraphernalia of woe, wedded to all the appurtenances of despair. Alas! I must for ever conceal the wretchedness that consumes me. I must weave a veil of dazzling falsehood to hide my grief from vulgar eyes, smoothe my brow, and paint my lips in deceitful smiles—even in solitude I dare not think how lost I am, lest I become insane and rave.”

The tears and agitation of my poor sister had rendered her unfit to return to the circle we had left—so I persuaded her to let me drive her through the park; and, during the ride, I induced her to confide the tale of her unhappiness to me, fancying that talking of it would lighten the burthen, and certain that, if there were a remedy, it should be found and secured to her.

Several weeks had elapsed since the festival of the anniversary, and she had been unable to calm her mind, or to subdue her thoughts to any regular train. Sometimes she reproached herself for taking too bitterly to heart, that which many would esteem an imaginary evil; but this was no subject for reason; and, ignorant as she was of the motives and true conduct of Raymond, things assumed for her even a worse appearance, than the reality warranted. He was seldom at the palace; never, but when he was assured that his public duties would prevent his remaining alone with Perdita. They seldom addressed each other, shunning explanation, each fearing any communication the other might make. Suddenly, however, the manners of Raymond changed; he appeared to desire to find opportunities of bringing about a return to kindness and intimacy with my sister. The tide of love towards her appeared to flow again; he could never forget, how once he had been devoted to her, making her the shrine and storehouse wherein to place every thought and every sentiment. Shame seemed to hold him back; yet he evidently wished to establish a renewal of confidence and affection. From the moment Perdita had sufficiently recovered herself to form any plan of action, she had laid one down, which now she prepared to follow. She received these tokens of returning love with gentleness; she did not shun his company; but she endeavoured to place a barrier in the way of familiar intercourse or painful discussion, which mingled pride and shame prevented Raymond from surmounting. He began at last to show signs of angry impatience, and Perdita became aware that the system she had adopted could not continue; she must explain herself to him; she could not summon courage to speak—she wrote thus:—

“Read this letter with patience, I entreat you. It will contain no reproaches. Reproach is indeed an idle word: for what should I reproach you?

“Allow me in some degree to explain my feeling; without that, we shall both grope in the dark, mistaking one another; erring from the path which may conduct, one of us at least, to a more eligible mode of life than that led by either during the last few weeks.

“I loved you—I love you—neither anger nor pride dictates these lines; but a feeling beyond, deeper, and more unalterable than either. My affections are wounded; it is impossible to heal them:—cease then the vain endeavour, if indeed that way your endeavours tend. Forgiveness! Return! Idle words are these! I forgive the pain I endure; but the trodden path cannot be retraced.

“Common affection might have been satisfied with common usages. I believed that you read my heart, and knew its devotion, its unalienable fidelity towards you. I never loved any but you. You came the embodied image of my fondest dreams. The praise of men, power and high aspirations attended your career. Love for you invested the world for me in enchanted light; it was no longer the earth I trod—the earth, common mother, yielding only trite and stale repetition of objects and circumstances old and worn out. I lived in a temple glorified by intensest sense of devotion and rapture; I walked, a consecrated being, contemplating only your power, your excellence;

For O, you stood beside me, like my youth,
Transformed for me the real to a dream,
Clothing the palpable and familiar
With golden exhalations of the dawn.

‘The bloom has vanished from my life’—there is no morning to this all investing night; no rising to the set-sun of love. In those days the rest of the world was nothing to me: all other men—I never considered nor felt what they were; nor did I look on you as one of them. Separated from them; exalted in my heart; sole possessor of my affections; single object of my hopes, the best half of myself.

“Ah, Raymond, were we not happy? Did the sun shine on any, who could enjoy its light with purer and more intense bliss? It was not—it is not a common infidelity at which I repine. It is the disunion of an whole which may not have parts; it is the carelessness with which you have shaken off the mantle of election with which to me you were invested, and have become one among the many. Dream not to alter this. Is not love a divinity, because it is immortal? Did not I appear sanctified, even to myself, because this love had for its temple my heart? I have gazed on you as you slept, melted even to tears, as the idea filled my mind, that all I possessed lay cradled in those idolised, but mortal lineaments before me. Yet, even then, I have checked thick-coming fears with one thought; I would not fear death, for the emotions that linked us must be immortal.

“And now I do not fear death. I should be well pleased to close my eyes, never more to open them again. And yet I fear it; even as I fear all things; for in any state of being linked by the chain of memory with this, happiness would not return—even in Paradise, I must feel that your love was less enduring than the mortal beatings