"You shall know directly," I answered. "Let me get my bonnet and cloak first."

"Do you mean to leave the house?"

"I do."

She rang the bell. I quietly dressed myself, to go out.

The servant answered the bell, as I returned to the sitting-room.

"Tell your master I wish to see him instantly," said Lady Claudia.

"My master has gone out, my lady."

"To his club?"

"I believe so, my lady."

"I will send you with a letter to him. Come back when I ring again." She turned to me as the man withdrew. "Do you refuse to stay here until the General returns?"

"I shall be happy to see the General, if you will inclose my address in your letter to him."

Replying in those terms, I wrote the address for the second time. Lady Claudia knew perfectly well, when I gave it to her, that I was going to a respectable house kept by a woman who had nursed me when I was a child.

"One last question," she said. "Am I to tell the General that it is your intention to marry your groom?"

Her tone stung me into making an answer which I regretted the moment it had pa.s.sed my lips.

"You can put it more plainly, if you like," I said. "You can tell the General that it is my intention to marry _your_ son."

She was near the door, on the point of leaving me. As I spoke, she turned with a ghastly stare of horror--felt about her with her hands as if she was groping in darkness--and dropped on the floor.

I instantly summoned help. The women-servants carried her to my bed.

While they were restoring her to herself, I wrote a few lines telling the miserable woman how I had discovered her secret.

"Your husband's tranquillity," I added, "is as precious to me as my own.

As for your son, you know what he thinks of the mother who deserted him.

Your secret is safe in my keeping--safe from your husband, safe from your son, to the end of my life."

I sealed up those words, and gave them to her when she had come to herself again. I never heard from her in reply. I have never seen her from that time to this. She knows she can trust me.

And what did my good uncle say, when we next met? I would rather report what he did, when he had got the better of his first feelings of anger and surprise on hearing of my contemplated marriage. He consented to receive us on our wedding-day; and he gave my husband the appointment which places us both in an independent position for life.

But he had his misgivings. He checked me when I tried to thank him.

"Come back in a year's time," he said. "I will wait to be thanked till the experience of your married life tells me that I have deserved it."

The year pa.s.sed; and the General received the honest expression of my grat.i.tude. He smiled and kissed me; but there was something in his face which suggested that he was not quite satisfied yet.

"Do you believe that I have spoken sincerely?" I asked.

"I firmly believe it," he answered--and there he stopped.

A wiser woman would have taken the hint and dropped the subject. My folly persisted in putting another question:

"Tell me, uncle. Haven't I proved that I was right when I married my groom?"

"No, my dear. You have only proved that you are a lucky woman!"

MR. LEPEL AND THE HOUSEKEEPER

FIRST EPOCH.

THE Italians are born actors.

At this conclusion I arrived, sitting in a Roman theater--now many years since. My friend and traveling companion, Rothsay, cordially agreed with me. Experience had given us some claim to form an opinion. We had visited, at that time, nearly every city in Italy. Where-ever a theater was open, we had attended the performances of the companies which travel from place to place; and we had never seen bad acting from first to last. Men and women, whose names are absolutely unknown in England, played (in modern comedy and drama for the most part) with a general level of dramatic ability which I have never seen equaled in the theaters of other nations. Incapable Italian actors there must be, no doubt. For my own part I have only discovered them, by ones and twos, in England; appearing among the persons engaged to support Salvini and Ristori before the audiences of London.

On the occasion of which I am now writing, the night's performances consisted of two plays. An accident, to be presently related, prevented us from seeing more than the introductory part of the second piece.

That one act--in respect of the influence which the remembrance of it afterward exercised over Rothsay and myself--claims a place of its own in the opening pages of the present narrative.

The scene of the story was laid in one of the princ.i.p.alities of Italy, in the bygone days of the Carbonaro conspiracies. The chief persons were two young n.o.blemen, friends affectionately attached to each other, and a beautiful girl born in the lower ranks of life.

On the rising of the curtain, the scene before us was the courtyard of a prison. We found the beautiful girl (called Celia as well as I can recollect) in great distress; confiding her sorrows to the jailer's daughter. Her father was pining in the prison, charged with an offense of which he was innocent; and she herself was suffering the tortures of hopeless love. She was on the point of confiding her secret to her friend, when the appearance of the young n.o.bleman closed her lips. The girls at once withdrew; and the two friends--whom I now only remember as the Marquis and the Count--began the dialogue which prepared us for the story of the play.

The Marquis had been tried for conspiracy against the reigning Prince and his government; had been found guilty, and is condemned to be shot that evening. He accepts his sentence with the resignation of a man who is weary of his life. Young as he is, he has tried the round of pleasures without enjoyment; he has no interests, no aspirations, no hopes; he looks on death as a welcome release. His friend the Count, admitted to a farewell interview, has invented a stratagem by which the prisoner may escape and take to flight. The Marquis expresses a grateful sense of obligation, and prefers being shot. "I don't value my life,"

he says; "I am not a happy man like you." Upon this the Count mentions circ.u.mstances which he has. .h.i.therto kept secret. He loves the charming Celia, and loves in vain. Her reputation is unsullied; she possesses every good quality that a man can desire in a wife--but the Count's social position forbids him to marry a woman of low birth. He is heart-broken; and he too finds life without hope a burden that is not to be borne. The Marquis at once sees a way of devoting himself to his friend's interests. He is rich; his money is at his own disposal; he will bequeath a marriage portion to Celia which will make her one of the richest women in Italy. The Count receives this proposal with a sigh.

"No money," he says, "will remove the obstacle that still remains. My father's fatal objection to Celia is her rank in life." The Marquis walks apart--considers a little--consults his watch--and returns with a new idea. "I have nearly two hours of life still left," he says. "Send for Celia: she was here just now, and she is probably in her father's cell." The Count is at a loss to understand what this proposal means.

The Marquis explains himself. "I ask your permission," he resumes, "to offer marriage to Celia--for your sake. The chaplain of the prison will perform the ceremony. Before dark, the girl you love will be my widow.

My widow is a lady of t.i.tle--a fit wife for the greatest n.o.bleman in the land." The Count protests and refuses in vain. The jailer is sent to find Celia. She appears. Unable to endure the scene, the Count rushes out in horror. The Marquis takes the girl into his confidence, and makes his excuses. If she becomes a widow of rank, she may not only marry the Count, but will be in a position to procure the liberty of the innocent old man, whose strength is failing him under the rigors of imprisonment.

Celia hesitates. After a struggle with herself, filial love prevails, and she consents. The jailer announces that the chaplain is waiting; the bride and bridegroom withdraw to the prison chapel. Left on the stage, the jailer hears a distant sound in the city, which he is at a loss to understand. It sinks, increases again, travels nearer to the prison, and now betrays itself as the sound of mult.i.tudinous voices in a state of furious uproar. Has the conspiracy broken out again? Yes! The whole population has risen; the soldiers have refused to fire on the people; the terrified Prince has dismissed his ministers, and promises a const.i.tution. The Marquis, returning from the ceremony which has just made Celia his wife, is presented with a free pardon, and with the offer of a high place in the re-formed ministry. A new life is opening before him--and he has innocently ruined his friend's prospects! On this striking situation the drop-curtain falls.

While we were still applauding the first act, Rothsay alarmed me: he dropped from his seat at my side, like a man struck dead. The stifling heat in the theater had proved too much for him. We carried him out at once into the fresh air. When he came to his senses, my friend entreated me to leave him, and see the end of the play. To my mind, he looked as if he might faint again. I insisted on going back with him to our hotel.

On the next day I went to the theater, to ascertain if the play would be repeated. The box-office was closed. The dramatic company had left Rome.

My interest in discovering how the story ended led me next to the booksellers' shops--in the hope of buying the play. n.o.body knew anything about it. n.o.body could tell me whether it was the original work of an Italian writer, or whether it had been stolen (and probably disfigured) from the French. As a fragment I had seen it. As a fragment it has remained from that time to this.

SECOND EPOCH.

ONE of my objects in writing these lines is to vindicate the character of an innocent woman (formerly in my service as housekeeper) who has been cruelly slandered. Absorbed in the pursuit of my purpose, it has only now occurred to me that strangers may desire to know something more than they know now of myself and my friend. "Give us some idea," they may say, "of what sort of persons you are, if you wish to interest us at the outset of your story."

A most reasonable suggestion, I admit. Unfortunately, I am not the right man to comply with it.

In the first place, I cannot pretend to p.r.o.nounce judgment on my own character. In the second place, I am incapable of writing impartially of my friend. At the imminent risk of his own life, Rothsay rescued me from a dreadful death by accident, when we were at college together. Who can expect me to speak of his faults? I am not even capable of seeing them.

Under these embarra.s.sing circ.u.mstances--and not forgetting, at the same time, that a servant's opinion of his master and his master's friends may generally be trusted not to err on the favorable side--I am tempted to call my valet as a witness to character.