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farm-house, the tree, and both the figures of the picture. The young man, in times, long past, had often met his gaze within the looking-glass; the girl was the very image of his first love, - his cottage love, - his Martha Burroughs! Mr. Smith was scandalized. O, vile and slanderous picture!" he exclaims. When have I triumphed over ruined innocence ? Was not Martha wedded, in her teens, to David Tomkins, who won her girlish love and long enjoyed her affection as a wife? And ever since his death she has lived a reputable widow!" Meantime, Memory was turning over the leaves of her volume, rustling them to and fro with uncertain fingers, until, among the earlier pages, she found one which had reference to this picture. She reads it, close to the old gentleman's ear; it is a record merely of sinful thought, which never was embodied in an act; but, while Memory is reading Conscience unveils her face, and strikes a dagger to the heart of Mr. Smith. Though not a death-blow, the torture was extreme.
The exhibition proceeded. One after another, Fancy displayed her pictures, all of which appeared to have been painted by some malicious artist, on purpose to vex Mr. Smith. Not a shadow of proof could have been adduced, in any earthly court, that he was guilty of the slightest of those sins which were thus made to stare him in the face. In one scene there was a table set out, with several bottles, and glasses half filled with wine, which threw back the dull ray of an expiring lamp. There had been mirth and revelry, until the hand of the clock stood just at midnight, when murder stepped between the boon companions. A young man had fallen on the floor, and lay stone dead, with a ghastly
wound crushed into his temple, while over him, with a delirium of mingled rage and horror in his countenance, stood the youthful likeness of Mr. Smith. The murdered youth wore the features of Edward Spencer! "What does this rascal of a painter mean?" cries Mr. Smith, provoked beyond all patience. "Edward Spencer was my earliest and dearest friend, true to me as I to him, through more than half a century. Neither I, nor any other, ever murdered him. Was he not alive within five years, and did he not, in token of our long friendship, bequeath me his gold-headed cane, and a mourning ring?" Again had Memory been turning over her volume, and fixed at length upon so confused a page, that she surely must have scribbled it when she was tipsy. The purport was, however, that, while Mr. Smith and Edward Spencer were heating their young blood with wine, a quarrel had flashed up between them, and Mr. Smith, in deadly wrath, had flung a bottle at Spencer's head. True, it missed its aim, and merely smashed a looking-glass; and the next morning, when the incident was imperfectly remembered, they had shaken hands with a hearty laugh. Yet, again, while Memory was reading, Conscience unveiled her face, struck a dagger to the heart of Mr. Smith, and quelled his remonstrance with her iron frown. The pain was quite excruciating.
Some of the pictures had been painted with so doubtful a touch, and in colors so faint and pale, that the subjects could barely be conjectured. A dull, semi-transparent mist had been thrown over the surface of the canvas, into which the figures seemed to vanish, while the eye sought most earnestly to fix them. But, in every scene, however
dubiously portrayed, Mr. Smith was invariably haunted by his own lineaments, at various ages, as in a dusty mirror. After poring several minutes over one of these blurred and almost indistinguishable pictures, he began to see that the painter had intended to represent him, now in the decline of life, as stripping the clothes from the backs of three half-starved children. "" Really, this puzzles me!" quoth Mr. Smith, with the irony of conscious rectitude. "Asking pardon of the painter, I pronounce him a fool, as well as a scandalous knave. A man of my standing in the world, to be robbing little children of their clothes! Ridiculous!" But while he spoke, Memory had searched her fatal volume, and found a page, which, with her sad, calm voice, she poured into his ear. It was not altogether inapplicable to the misty scene. It told how Mr. Smith had been grievously tempted by many devilish sophistries, on the ground of a legal quibble, to commence a lawsuit against three orphan children, joint heirs to a considerable estate. Fortunately, before he was quite decided, his claims had turned out nearly as devoid of law as justice. As Memory ceased to read, Conscience again thrust aside her mantle, and would have struck her victim with the envenomed dagger, only that he struggled, and clasped his hands before his heart. Even then, however, he sustained an ugly gash.
Why should we follow Fancy through the whole series of those awful pictures? Painted by an artist of wondrous power, and terrible acquaintance with the secret soul, they embodied the ghosts of all the never perpetrated sins that had glided through the lifetime of Mr. Smith. And could such beings
of cloudy fantasy, so near akin to nothingness, give valid evidence against him, at the day of judgment? Be that the case or not, there is reason to believe that one truly penitential tear would have washed away each hateful picture, and left the canvas white as snow. But Mr. Smith, at a prick of Conscience too keen to be endured, bellowed aloud, with impatient agony, and suddenly discovered that his three guests were gone. There he sat alone, a silver-haired and highly-venerated old man, in the rich gloom of the crimson-curtained room, with no box of pictures on the table, but only a decanter of most excellent Madeira. Yet his heart still seemed to fester with the venom of the dagger.
Nevertheless, the unfortunate old gentleman might have argued the matter with Conscience, and alleged many reasons wherefore she should not smite him so pitilessly. Were we to take up his cause, it should be somewhat in the following fashion: A scheme of guilt, till it be put in execution, greatly resembles a train of incidents in a projected tale. The latter, in order to produce a sense of reality in the reader's mind, must be conceived with such proportionate strength by the author as to seem, in the glow of fancy, more like truth past, present, or to come, than purely fiction. The prospective sinner, on the other hand, weaves his plot of crime, but seldom or never feels a perfect certainty that it will be executed. There is a dreaminess diffused about his thoughts; in a dream, as it were, he strikes the death-blow into his victim's heart, and starts to find an indelible blood stain on his hand. Thus a novel-writer, or a dramatist, in creating a villain of romance, and fitting him with evil deeds, and the villain of actual
life, in projecting crimes that will be perpetrated, may almost meet each other, half-way between reality and fancy. It is not until the crime is accomplished, that guilt clinches its gripe upon the guilty heart, and claims it for its own. Then, and not before, sin is actually felt and acknowledged, and, if unaccompanied by repentance, grows a thousand-fold more virulent by its self-consciousness. Be it considered, alsó, that men often overestimate their capacity for evil. At a distance, while its attendant circumstances do not press upon their notice, and its results are dimly seen, they can bear to contemplate it. They may take the steps which lead to crime, impelled by the same sort of mental action as in working out a mathematical problem, yet be powerless with compunction at the final moment. They knew not what deed it was that they deemed themselves resolved to do. In truth, there is no such thing in man's nature as a settled and full resolve, either for good or evil, except at the very moment of execution. Let us hope, therefore, that all the dreadful consequences of sin will not be incurred, unless the act have set its seal upon the thought.
Yet, with the slight fancy work which we have framed, some sad and awful truths are interwoven. Man must not disclaim his brotherhood, even with the guiltiest, since, though his hand be clean, his heart has surely been polluted by the flitting phantoms of iniquity. He must feel, that, when he shall knock at the gate of Heaven, no semblance of an unspotted life can entitle him to entrance there. Penitence must kneel, and Mercy come from the footstool of the throne, or that golden gate will never open!