Aurora Floyd

of her father, who was almost always at sea⁠—nor of a brother, three years older than herself, who quarrelled with his father, the merchant-captain, and ran away, and was never heard of again⁠—nor of her mother, who died when she, Eliza, was four years old. The rest was told in a few words. She was taken into the family of an aunt who kept a grocer’s shop in Miss Prodder’s native town. She learnt artificial flower-making, and did not take to the business. She went often to the Liverpool theatres, and thought she would like to go upon the stage. Being a daring and energetic young person, she left her aunt’s house one day, walked straight to the stage-manager of one of the minor theatres, and asked him to let her appear as Lady Macbeth. The man laughed at her, but told her that, in consideration of her fine figure and black eyes, he would give her fifteen shillings a week to “walk on,” as he technically called the business of the ladies who wander on to the stage, sometimes dressed as villagers, sometimes in court costume of calico trimmed with gold, and stare vaguely at whatever may be taking place in the scene. From “walking on,” Eliza came to play minor parts, indignantly refused by her superiors; from these she plunged ambitiously into the tragic lead⁠—and thus for nine years pursued the even tenor of her way; until, close upon her nine-and-twentieth birthday, Fate threw the wealthy banker across her pathway, and in the parish church of a small town in the Potteries the black-eyed actress exchanged the name of Prodder for that of Floyd.

She had accepted the rich man partly because, moved by a sentiment of gratitude for the generous ardour of his affection, she was inclined to like him better than anyone else she knew; and partly in accordance with the advice of her theatrical friends, who told her, with more candour than elegance, that she would be a jolly fool to let such a chance escape her; but at the time she gave her hand to Archibald Martin Floyd, she had no idea whatever of the magnitude of the fortune he had invited her to share. He told her that he was a banker, and her active mind immediately evoked the image of the only banker’s wife she had ever known: a portly lady, who wore silk gowns, lived in a square stuccoed house with green blinds, kept a cook and housemaid, and took three box-tickets for Miss Percival’s benefit.

When, therefore, the doting husband loaded his handsome bride with diamond bracelets and necklaces, and with silks and brocades that were stiff and unmanageable from their very richness⁠—when he carried her straight from the Potteries to the Isle of Wight, and lodged her in spacious apartments at the best hotel in Ryde, and flung his money here and there, as if he had carried the lamp of Aladdin in his coat-pocket⁠—Eliza remonstrated with her new master, fearing that his love had driven him mad, and that this alarming extravagance was the first outburst of insanity.

It seemed a repetition of the dear old Burleigh story when Archibald Floyd took his wife into the long picture-gallery at Felden Woods. She clasped her hands for frank womanly joy as she looked at the magnificence about her. She compared herself to the humble bride of the earl, and fell on her knees and did theatrical homage to her lord. “O Archy,” she said, “it is all too good for me! I am afraid I shall die of my grandeur, as the poor girl pined away at Burleigh House.”

In the full maturity of womanly loveliness, rich in health, freshness, and high spirits, how little could Eliza dream that she would hold even a briefer lease of these costly splendours than the Bride of Burleigh had done before her!

Now the reader, being acquainted with Eliza’s antecedents, may perhaps find in them some clue to the insolent ease and well-bred audacity with which Mrs. Floyd treated the second-rate county families, who were bent upon putting her to confusion. She was an actress: for nine years she had lived in that ideal world in which dukes and marquises are as common as butchers and bakers in work-a-day life; in which, indeed, a nobleman is generally a poor mean-spirited individual, who gets the worst of it on every hand, and is contemptuously entreated by the audience on account of his rank. How should she be abashed on entering the drawing-rooms of these Kentish mansions, when for nine years she had walked nightly on to a stage to be the focus of every eye, and to entertain her guests the evening through? Was it likely she was to be overawed by the Lenfields, who were coachbuilders in Park Lane, or the Miss Manderlys, whose father had made his money by a patent for starch⁠—she, who had received King Duncan at the gates of her castle, and had sat on a rickety throne dispensing condescending hospitality to the obsequious Thanes at Dunsinane? So, do what they would, they were unable to subdue this base intruder; while, to add to their mortification, it every day became more obvious that Mr. and Mrs. Floyd made one of the happiest couples who had ever worn the bonds of matrimony, and changed them into garlands of roses. If this were a very romantic story, it would be perhaps only proper for Eliza Floyd to pine in her gilded bower, and misapply her energies in weeping for some abandoned lover, deserted in an evil hour of ambitious madness. But as my story is a true one⁠—not only true in a general sense, but strictly true as to the leading facts which I am about to relate⁠—and as I could point out, in a certain county, far northward of the lovely Kentish woods, the very house in which the events I shall describe took place, I am bound also to be truthful here, and