30 Occult and Supernatural Masterpieces in One Book. Эдит Несбит
Читать онлайн книгу.
a voice I knew, with which to speak to me. When I hear of youth in suffering or shame, I think that my child might have come to that, perhaps, and that God took it from me in His mercy. Even in age and grey hair, such as father’s, it is present: saying that it too might have lived to be old, long and long after you and I were gone, and to have needed the respect and love of younger people.”
Her quiet voice was quieter than ever, as she took her husband’s arm, and laid her head against it.
“Children love me so, that sometimes I half fancy — it’s a silly fancy, William — they have some way I don’t know of, of feeling for my little child, and me, and understanding why their love is precious to me. If I have been quiet since, I have been more happy, William, in a hundred ways. Not least happy, dear, in this — that even when my little child was born and dead but a few days, and I was weak and sorrowful, and could not help grieving a little, the thought arose, that if I tried to lead a good life, I should meet in Heaven a bright creature, who would call me, Mother!”
Redlaw fell upon his knees, with a loud cry.
“O Thou, he said, “who through the teaching of pure love, hast graciously restored me to the memory which was the memory of Christ upon the Cross, and of all the good who perished in His cause, receive my thanks, and bless her!”
Then, he folded her to his heart; and Milly, sobbing more than ever, cried, as she laughed, “He is come back to himself! He likes me very much indeed, too! Oh, dear, dear, dear me, here’s another!”
Then, the student entered, leading by the hand a lovely girl, who was afraid to come. And Redlaw so changed towards him, seeing in him and his youthful choice, the softened shadow of that chastening passage in his own life, to which, as to a shady tree, the dove so long imprisoned in his solitary ark might fly for rest and company, fell upon his neck, entreating them to be his children.
Then, as Christmas is a time in which, of all times in the year, the memory of every remediable sorrow, wrong, and trouble in the world around us, should be active with us, not less than our own experiences, for all good, he laid his hand upon the boy, and, silently calling Him to witness who laid His hand on children in old time, rebuking, in the majesty of His prophetic knowledge, those who kept them from Him, vowed to protect him, teach him, and reclaim him.
Then, he gave his right hand cheerily to Philip, and said that they would that day hold a Christmas dinner in what used to be, before the ten poor gentlemen commuted, their great Dinner Hall; and that they would bid to it as many of that Swidger family, who, his son had told him, were so numerous that they might join hands and make a ring round England, as could be brought together on so short a notice.
And it was that day done. There were so many Swidgers there, grown up and children, that an attempt to state them in round numbers might engender doubts, in the distrustful, of the veracity of this history. Therefore the attempt shall not be made. But there they were, by dozens and scores — and there was good news and good hope there, ready for them, of George, who had been visited again by his father and brother, and by Milly, and again left in a quiet sleep. There, present at the dinner, too, were the Tetterbys, including young Adolphus, who arrived in his prismatic comforter, in good time for the beef. Johnny and the baby were too late, of course, and came in all on one side, the one exhausted, the other in a supposed state of double-tooth; but that was customary, and not alarming.
It was sad to see the child who had no name or lineage, watching the other children as they played, not knowing how to talk with them, or sport with them, and more strange to the ways of childhood than a rough dog. It was sad, though in a different way, to see what an instinctive knowledge the youngest children there had of his being different from all the rest, and how they made timid approaches to him with soft words and touches, and with little presents, that he might not be unhappy. But he kept by Milly, and began to love her — that was another, as she said! — and, as they all liked her dearly, they were glad of that, and when they saw him peeping at them from behind her chair, they were pleased that he was so close to it.
All this, the Chemist, sitting with the student and his bride that was to be, Philip, and the rest, saw.
Some people have said since, that he only thought what has been herein set down; others, that he read it in the fire, one winter night about the twilight time; others, that the Ghost was but the representation of his gloomy thoughts, and Milly the embodiment of his better wisdom. I say nothing.
- Except this. That as they were assembled in the old Hall, by no other light than that of a great fire (having dined early), the shadows once more stole out of their hiding-places, and danced about the room, showing the children marvellous shapes and faces on the walls, and gradually changing what was real and familiar there, to what was wild and magical. But that there was one thing in the Hall, to which the eyes of Redlaw, and of Milly and her husband, and of the old man, and of the student, and his bride that was to be, were often turned, which the shadows did not obscure or change. Deepened in its gravity by the fire-light, and gazing from the darkness of the panelled wall like life, the sedate face in the portrait, with the beard and ruff, looked down at them from under its verdant wreath of holly, as they looked up at it; and, clear and plain below, as if a voice had uttered them, were the words.
Lord keep my Memory green.
Table of Contents
Joseph Sheridan Le Fanu
Schalken the Painter
Joseph Sheridan Le Fanu
Published: 1851 Categorie(s): Fiction, Occult & Supernatural, Supernatural Creatures, Ghost, Horror, Short Stories
"For he is not a man as I am that we should come together; neither is there any that might lay his hand upon us both. Let him, therefore, take his rod away from me, and let not his fear terrify me."
There exists, at this moment, in good preservation a remarkable work of Schalken's. The curious management of its lights constitutes, as usual in his pieces, the chief apparent merit of the picture. I say apparent, for in its subject, and not in its handling, however exquisite, consists its real value. The picture represents the interior of what might be a chamber in some antique religious building; and its foreground is occupied by a female figure, in a species of white robe, part of which is arranged so as to form a veil. The dress, however, is not that of any religious order. In her hand the figure bears a lamp, by which alone her figure and face are illuminated; and her features wear such an arch smile, as well becomes a pretty woman when practising some prankish roguery; in the background, and, excepting where the dim red light of an expiring fire serves to define the form, in total shadow, stands the figure of a man dressed in the old Flemish fashion, in an attitude of alarm, his hand being placed upon the hilt of his sword, which he appears to be in the act of drawing.
There are some pictures, which impress one, I know not how, with a conviction that they represent not the mere ideal shapes and combinations which have floated through the imagination of the artist, but scenes, faces, and situations which have actually existed. There is in that strange picture, something that stamps it as the representation of a reality.
And such in truth it is, for it faithfully records a remarkable and mysterious occurrence, and perpetuates, in the face of the female figure, which occupies the most prominent place in the design, an accurate portrait of Rose Velderkaust, the niece of Gerard Douw, the first, and, I believe, the only love of Godfrey Schalken. My great grandfather knew the painter well; and from Schalken himself he learned the fearful story of the painting, and from him too he ultimately received the picture itself as a bequest. The story and the picture have become heir-looms in my family, and having described the latter, I shall, if you please, attempt to relate the tradition which has descended with the canvas.
There are few forms on which the mantle of romance hangs more ungracefully than upon that of the uncouth Schalken—the boorish but most cunning worker in oils, whose