The Complete Works of Nathaniel Hawthorne (With Illustrations). Nathaniel Hawthorne
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I know not,” answered Hugh. “But her hand was at least as white as her face: that I can swear. Well, gentlemen, I trust you find everything in my house to your satisfaction. When the fire needs renewing, or the wine runs low, be pleased to tap on the table. I shall appear with the speed of a sunbeam.”
After the departure of the landlord, the conversation of the young men amounted to little more than monosyllables. Edward Walcott was wrapped in his own contemplations; and his companion was in a half-slumberous state, from which he started every quarter of an hour, at the chiming of the clock that stood in a corner. The fire died gradually away; the lamps began to burn dim; and Glover, rousing himself from one of his periodical slumbers, was about to propose a return to their chambers. He was prevented, however, by the approach of footsteps along the passageway; and Hugh Crombie, opening the door, ushered a person into the room, and retired.
The newcomer was Fanshawe. The water that poured plentifully from his cloak evinced that he had but just arrived at the inn; but, whatever was his object, he seemed not to have attained it in meeting with the young men. He paused near the door, as if meditating whether to retire.
“My intrusion is altogether owing to a mistake, either of the landlord’s or mine,” he said. “I came hither to seek another person; but, as I could not mention his name, my inquiries were rather vague.”
“I thank Heaven for the chance that sent you to us,” replied Edward, rousing himself. “Glover is wretched company; and a duller evening have I never spent. We will renew our fire and our wine, and you must sit down with us. And for the man you seek,” he continued in a whisper, “he left the inn within a half-hour after we encountered him. I inquired of Hugh Crombie last night.”
Fanshawe did not express his doubts of the correctness of the information on which Edward seemed to rely. Laying aside his cloak, he accepted his invitation to make one of the party, and sat down by the fireside.
The aspect of the evening now gradually changed. A strange wild glee spread from one to another of the party, which, much to the surprise of his companions, began with and was communicated from, Fanshawe. He seemed to overflow with conceptions inimitably ludicrous, but so singular, that, till his hearers had imbibed a portion of his own spirit, they could only wonder at, instead of enjoying them. His applications to the wine were very unfrequent; yet his conversation was such as one might expect from a bottle of champagne endowed by a fairy with the gift of speech. The secret of this strange mirth lay in the troubled state of his spirits, which, like the vexed ocean at midnight (if the simile be not too magnificent), tossed forth a mysterious brightness. The undefined apprehensions that had drawn him to the inn still distracted his mind; but, mixed with them, there was a sort of joy not easily to be described. By degrees, and by the assistance of the wine, the inspiration spread, each one contributing such a quantity, and such quality of wit and whim, as was proportioned to his genius; but each one, and all, displaying a greater share of both than they had ever been suspected of possessing.
At length, however, there was a pause, — the deep pause of flagging spirits, that always follows mirth and wine. No one would have believed, on beholding the pensive faces, and hearing the involuntary sighs of the party, that from these, but a moment before, had arisen so loud and wild a laugh. During this interval Edward Walcott (who was the poet of his class) volunteered the following song, which, from its want of polish, and from its application to his present feelings, might charitably be taken for an extemporaneous production: —
The wine is bright, the wine is bright;
And gay the drinkers be:
Of all that drain the bowl tonight,
Most jollily drain we.
Oh, could one search the weary earth, —
The earth from sea to sea, —
He’d turn and mingle in our mirth;
For we’re the merriest three.
Yet there are cares, oh, heavy cares!
We know that they are nigh:
When forth each lonely drinker fares,
Mark then his altered eye.
Care comes upon us when the jest
And frantic laughter die;
And care will watch the parting guest —
Oh late, then let us fly!
Hugh Crombie, whose early love of song and minstrelsy was still alive, had entered the room at the sound of Edward’s voice, in sufficient time to accompany the second stanza on the violin. He now, with the air of one who was entitled to judge in these matters, expressed his opinion of the performance.
“Really, Master Walcott, I was not prepared for this,” he said in the tone of condescending praise that a great man uses to his inferior when he chooses to overwhelm him with excess of joy. “Very well, indeed, young gentleman! Some of the lines, it is true, seem to have been dragged in by the head and shoulders; but I could scarcely have done much better myself at your age. With practice, and with such instruction as I might afford you, I should have little doubt of your becoming a distinguished poet. A great defect in your seminary, gentlemen, — the want of due cultivation in this heavenly art.”
“Perhaps, sir,” said Edward, with much gravity, “you might yourself be prevailed upon to accept the professorship of poetry?”
“Why, such an offer would require consideration,” replied the landlord.
“Professor Hugh Crombie of Harley College: it has a good sound, assuredly.
But I am a public man, Master Walcott; and the public would be loath to spare me from my present office.”
“Will Professor Crombie favor us with a specimen of his productions?” inquired Edward.
“Ahem, I shall be happy to gratify you, young gentleman,” answered Hugh. “It is seldom, in this rude country, Master Walcott, that we meet with kindred genius; and the opportunity should never be thrown away.”
Thus saying, he took a heavy draught of the liquor by which he was usually inspired, and the praises of which were the prevailing subject of his song; then, after much hemming, thrumming, and prelusion, and with many queer gestures and gesticulations, he began to effuse a lyric in the following fashion: —
I’ve been a jolly drinker this five-and-twenty year,
And still a jolly drinker, my friends, you see me here:
I sing the joys of drinking; bear a chorus, every man,
With pint pot and quart pot and clattering of can.
The sense of the professor’s first stanza was not in exact proportion to the sound; but, being executed with great spirit, it attracted universal applause. This Hugh appropriated with a condescending bow and smile; and, making a signal for silence, he went on, —
King Solomon of old, boys (a jolly king was he), —
But here he was interrupted by a clapping of hands, that seemed a continuance of the applause bestowed on his former stanza. Hugh Crombie, who, as is the custom of many great performers, usually sang with his eyes shut, now opened them, intending gently to rebuke his auditors for their unseasonable expression of delight. He immediately perceived, however, that the fault was to be attributed to neither of the three young men; and, following the direction of their eyes, he saw near the door, in the dim background of the apartment, a figure in a cloak. The hat was flapped forward, the cloak muffled round the lower part of the face; and only the eyes were visible.
The party gazed a moment in silence, and then rushed en masse upon the intruder, the landlord bringing up the rear, and sounding a charge upon his fiddle. But, as they drew nigh, the black cloak began to assume a familiar look; the hat, also, was an old acquaintance; and, these being removed, from beneath them shone forth the reverend face and form of Dr. Melmoth.
The president, in his quality of clergyman, had, late in the preceding afternoon, been called to visit an aged female who was supposed to be at the point of death. Her habitation was at the distance