Bracebridge Hall, or The Humorists. Washington Irving

going on around me, in consequence of the approaching event for which we are assembled at the Hall, that I confess I find my thoughts singularly exercised on the subject. Indeed, all the bachelors of the establishment seem to be passing through a kind of fiery ordeal; for Lady Lillycraft is one of those tender, romance-read dames of the old school, whose mind is filled with flames and darts, and who breathe nothing but constancy and wedlock. She is for ever immersed in the concerns of the heart; and, to use a poetical phrase, is perfectly surrounded by "the purple light of love." The very general seems to feel the influence of this sentimental atmosphere; to melt as he approaches her ladyship, and, for the time, to forget all his heresies about matrimony and the sex.

      The good lady is generally surrounded by little documents of her prevalent taste; novels of a tender nature; richly bound little books of poetry, that are filled with sonnets and love tales, and perfumed with rose-leaves; and she has always an album at hand, for which she claims the contributions of all her friends. On looking over this last repository, the other day, I found a series of poetical extracts, in the Squire's handwriting, which might have been intended as matrimonial hints to his ward. I was so much struck with several of them, that I took the liberty of copying them out. They are from the old play of Thomas Davenport, published in 1661, entitled "The City Night-Cap;" in which is drawn out and exemplified, in the part of Abstemia, the character of a patient and faithful wife, which, I think, might vie with that of the renowned Griselda.

      I have often thought it a pity that plays and novels should always end at the wedding, and should not give us another act, and another volume, to let us know how the hero and heroine conducted themselves when married. Their main object seems to be merely to instruct young ladies how to get husbands, but not how to keep them: now this last, I speak it with all due diffidence, appears to me to be a desideratum in modern married life. It is appalling to those who have not yet adventured into the holy state, to see how soon the flame of romantic love burns out, or rather is quenched in matrimony; and how deplorably the passionate, poetic lover declines into the phlegmatic, prosaic husband. I am inclined to attribute this very much to the defect just mentioned in the plays and novels, which form so important a branch of study of our young ladies; and which teach them how to be heroines, but leave them totally at a loss when they come to be wives. The play from which the quotations before me were made, however, is an exception to this remark; and I cannot refuse myself the pleasure of adducing some of them for the benefit of the reader, and for the honour of an old writer, who has bravely attempted to awaken dramatic interest in favour of a woman, even after she was married!

      The following is a commendation of Abstemia to her husband Lorenzo:

        She's modest, but not sullen, and loves silence;

        Not that she wants apt words, (for when she speaks,

        She inflames love with wonder,) but because

        She calls wise silence the soul's harmony.

        She's truly chaste; yet such a foe to coyness,

        The poorest call her courteous; and which is excellent,

        (Though fair and young) she shuns to expose herself

        To the opinion of strange eyes. She either seldom

        Or never walks abroad but in your company.

        And then with such sweet bashfulness, as if

        She were venturing on crack'd ice, and takes delight

        To step into the print your foot hath made,

        And will follow you whole fields; so she will drive

        Tediousness out of time, with her sweet character.

      Notwithstanding all this excellence, Abstemia has the misfortune to incur the unmerited jealousy of her husband. Instead, however, of resenting his harsh treatment with clamorous upbraidings, and with the stormy violence of high, windy virtue, by which the sparks of anger are so often blown into a flame, she endures it with the meekness of conscious, but patient, virtue; and makes the following beautiful appeal to a friend who has witnessed her long suffering:

        – Hast thou not seen me

        Bear all his injuries, as the ocean suffers

        The angry bark to plough through her bosom,

        And yet is presently so smooth, the eye

        Cannot perceive where the wide wound was made?

      Lorenzo, being wrought on by false representations, at length repudiates her. To the last, however, she maintains her patient sweetness, and her love for him, in spite of his cruelty. She deplores his error, even more than his unkindness; and laments the delusion which has turned his very affection into a source of bitterness. There is a moving pathos in her parting address to Lorenzo, after their divorce:

        – Farewell, Lorenzo,

        Whom my soul doth love: if you e'er marry,

        May you meet a good wife; so good, that you

        May not suspect her, nor may she be worthy

        Of your suspicion; and if you hear hereafter

        That I am dead, inquire but my last words,

        And you shall know that to the last I lov'd you.

        And when you walk forth with your second choice

        Into the pleasant fields, and by chance talk of me,

        Imagine that you see me, lean and pale,

        Strewing your path with flowers. —

        But may she never live to pay my debts: (weeps)

      If but in thought she wrong you, may she die

      In the conception of the injury.

      Pray make me wealthy with one kiss: farewell, sir:

      Let it not grieve you when you shall remember

      That I was innocent: nor this forget,

      Though innocence here suffer, sigh, and groan,

      She walks but thorow thorns to find a throne.

      In a short time Lorenzo discovers his error, and the innocence of his injured wife. In the transports of his repentance, he calls to mind all her feminine excellence; her gentle, uncomplaining, womanly fortitude under wrongs and sorrows:

        – Oh, Abstemia!

        How lovely thou lookest now! now thou appearest

        Chaster than is the morning's modesty

        That rises with a blush, over whose bosom

        The western wind creeps softly; now I remember

        How, when she sat at table, her obedient eye

        Would dwell on mine, as if it were not well,

        Unless it look'd where I look'd: oh how proud

        She was, when she could cross herself to please me!

        But where now is this fair soul? Like a silver cloud

        She hath wept herself, I fear, into the dead sea.

        And will be found no more.

      It is but doing right by the reader, if interested in the fate of Abstemia by the preceding extracts, to say, that she was restored to the arms and affections of her husband, rendered fonder than ever, by that disposition in every good heart, to atone for past injustice, by an overflowing measure of returning kindness:

        Thou wealth, worth more than kingdoms; I am now

        Confirmed past all suspicion; thou art far

        Sweeter in thy sincere truth than a sacrifice

        Deck'd up for death with garlands. The Indian winds

        That blow from off the coast and cheer the sailor

        With the sweet