have fallen behind on the march of the expedition of relief. Days and days since, these two have been given up by their weary and failing companions as doomed and lost. He who sits thinking is Richard Wardour. He who lies sleeping or dead is Frank Aldersley.
The iceberg drifts slowly, over the black water, through the ashy light. Minute by minute the lying fire sinks. Minute by minute the deathly cold creeps nearer and nearer to the lost men.
Richard Wardour rouses himself from his thoughts—looks at the still white face beneath him—and places his hand on Frank’s heart. It still beats feebly. Give him his share of the food and fuel still stored in the boat, and Frank may live through it. Leave him neglected where he lies, and his death is a question of hours—perhaps minutes; who knows?
Richard Wardour lifts the sleeper’s head and rests it against the cavern side. He goes to the boat, and returns with a billet of wood. He stoops to place the wood on the fire—and stops. Frank is dreaming, and murmuring in his dream. A woman’s name passes his lips. Frank is in England again—at the ball—whispering to Clara the confession of his love.
Over Richard Wardour’s face there passes the shadow of a deadly thought. He rises from the fire; he takes the wood back to the boat. His iron strength is shaken, but it still holds out. They are drifting nearer and nearer to the open sea. He can launch the boat without help; he can take the food and the fuel with him. The sleeper on the iceberg is the man who has robbed him of Clara—who has wrecked the hope and the happiness of his life. Leave the man in his sleep, and let him die!
So the tempter whispers. Richard Wardour tries his strength on the boat. It moves: he has got it under control. He stops, and looks round. Beyond him is the open sea. Beneath him is the man who has robbed him of Clara. The shadow of the deadly thought grows and darkens over his face. He waits with his hands on the boat—waits and thinks.
The iceberg drifts slowly—over the black water; through the ashy light. Minute by minute, the dying fire sinks. Minute by minute, the deathly cold creeps nearer to the sleeping man. And still Richard Wardour waits—waits and thinks.
Fourth Scene.
The Garden.
Chapter 13.
The spring has come. The air of the April night just lifts the leaves of the sleeping flowers. The moon is queen in the cloudless and starless sky. The stillness of the midnight hour is abroad, over land and over sea.
In a villa on the westward shore of the Isle of Wight, the glass doors which lead from the drawing-room to the garden are yet open. The shaded lamp yet burns on the table. A lady sits by the lamp, reading. From time to time she looks out into the garden, and sees the white-robed figure of a young girl pacing slowly to and fro in the soft brightness of the moonlight on the lawn. Sorrow and suspense have set their mark on the lady. Not rivals only, but friends who formerly admired her, agree now that she looks worn and aged. The more merciful judgment of others remarks, with equal truth, that her eyes, her hair, her simple grace and grandeur of movement have lost but little of their olden charms. The truth lies, as usual, between the two extremes. In spite of sorrow and suffering, Mrs. Crayford is the beautiful Mrs. Crayford still.
The delicious silence of the hour is softly disturbed by the voice of the younger lady in the garden.
“Go to the piano, Lucy. It is a night for music. Play something that is worthy of the night.”
Mrs. Crayford looks round at the clock on the mantelpiece.
“My dear Clara, it is past twelve! Remember what the doctor told you. You ought to have been in bed an hour ago.”
“Half an hour, Lucy—give me half an hour more! Look at the moonlight on the sea. Is it possible to go to bed on such a night as this? Play something, Lucy—something spiritual and divine.”
Earnestly pleading with her friend, Clara advances toward the window. She too has suffered under the wasting influences of suspense. Her face has lost its youthful freshness; no delicate flush of color rises on it when she speaks. The soft gray eyes which won Frank’s heart in the by-gone time are sadly altered now. In repose, they have a dimmed and wearied look. In action, they are wild and restless, like eyes suddenly wakened from startling dreams. Robed in white—her soft brown hair hanging loosely over her shoulders—there is something weird and ghost-like in the girl, as she moves nearer and nearer to the window in the full light of the moon—pleading for music that shall be worthy of the mystery and the beauty of the night.
“Will you come in here if I play to you?” Mrs. Crayford asks. “It is a risk, my love, to be out so long in the night air.”
“No! no! I like it. Play—while I am out here looking at the sea. It quiets me; it comforts me; it does me good.”
She glides back, ghost-like, over the lawn. Mrs. Crayford rises, and puts down the volume that she has been reading. It is a record of explorations in the Arctic seas. The time has gone by when the two lonely women could take an interest in subjects not connected with their own anxieties. Now, when hope is fast failing them—now, when their last news of the
Unwillingly, Mrs. Crayford puts her book aside, and opens the piano—Mozart’s “Air in A, with Variations,” lies open on the instrument. One after another she plays the lovely melodies, so simply, so purely beautiful, of that unpretending and unrivaled work. At the close of the ninth Variation (Clara’s favorite), she pauses, and turns toward the garden.
“Shall I stop there?” she asks.
There is no answer. Has Clara wandered away out of hearing of the music that she loves—the music that harmonizes so subtly with the tender beauty of the night? Mrs. Crayford rises and advances to the window.
No! there is the white figure standing alone on the slope of the lawn—the head turned away from the house; the face looking out over the calm sea, whose gently rippling waters end in the dim line on the horizon which is the line of the Hampshire coast.
Mrs. Crayford advances as far as the path before the window, and calls to her.
“Clara!”
Again there is no answer. The white figure still stands immovably in its place.
