Night and Morning, Complete. Эдвард Бульвер-Литтон

it is, sir!” cried the clerk; and he pounced upon a pale parchment volume. The thin clergyman opened it, and recoiled in dismay—more than three-fourths of the leaves had been torn out.

      “It is the moths, sir,” said the gardener’s wife, who had not yet removed from the house.

      The clergyman looked round; one of the children was trembling. “What have you done to this book, little one?”

      “That book?—the—hi!—hi!—”

      “Speak the truth, and you sha’n’t be punished.”

      “I did not know it was any harm—hi!—hi!—”

      “Well, and—”

      “And old Ben helped us.”

      “Well?”

      “And—and—and—hi!—hi!—The tail of the kite, sir!—”

      “Where is the kite?”

      Alas! the kite and its tail were long ago gone to that undiscovered limbo where all things lost, broken, vanished, and destroyed; things that lose themselves—for servants are too honest to steal; things that break themselves—for servants are too careful to break; find an everlasting and impenetrable refuge.

      “It does not signify a pin’s head,” said the clerk; “the parish must find a new ‘un!”

      “It is no fault of mine,” said the Pastor. “Are my chops ready?”

      CHAPTER II

      “And soothed with idle dreams the frowning fate.”—CRABBE.

      “Why does not my father come back? what a time he has been away!”

      “My dear Philip, business detains him; but he will be here in a few days—perhaps to-day!”

      “I should like him to see how much I am improved.”

      “Improved in what, Philip?” said the mother, with a smile. “Not Latin, I am sure; for I have not seen you open a book since you insisted on poor Todd’s dismissal.”

      “Todd! Oh, he was such a scrub, and spoke through his nose: what could he know of Latin?”

      “More than you ever will, I fear, unless—” and here there was a certain hesitation in the mother’s voice, “unless your father consents to your going to school.”

      “Well, I should like to go to Eton! That’s the only school for a gentleman. I’ve heard my father say so.”

      “Philip, you are too proud.”—“Proud! you often call me proud; but, then, you kiss me when you do so. Kiss me now, mother.”

      The lady drew her son to her breast, put aside the clustering hair from his forehead, and kissed him; but the kiss was sad, and the moment after she pushed him away gently and muttered, unconscious that she was overheard:

      “If, after all, my devotion to the father should wrong the children!”

      The boy started, and a cloud passed over his brow; but he said nothing. A light step entered the room through the French casements that opened on the lawn, and the mother turned to her youngest-born, and her eye brightened.

      “Mamma! mamma! here is a letter for you. I snatched it from John: it is papa’s handwriting.”

      The lady uttered a joyous exclamation, and seized the letter. The younger child nestled himself on a stool at her feet, looking up while she read it; the elder stood apart, leaning on his gun, and with something of thought, even of gloom, upon his countenance.

      There was a strong contrast in the two boys. The elder, who was about fifteen, seemed older than he was, not only from his height, but from the darkness of his complexion, and a certain proud, nay, imperious, expression upon features that, without having the soft and fluent graces of childhood, were yet regular and striking. His dark-green shooting-dress, with the belt and pouch, the cap, with its gold tassel set upon his luxuriant curls, which had the purple gloss of the raven’s plume, blended perhaps something prematurely manly in his own tastes, with the love of the fantastic and the picturesque which bespeaks the presiding genius of the proud mother. The younger son had scarcely told his ninth year; and the soft, auburn ringlets, descending half-way down the shoulders; the rich and delicate bloom that exhibits at once the hardy health and the gentle fostering; the large deep-blue eyes; the flexile and almost effeminate contour of the harmonious features; altogether made such an ideal of childlike beauty as Lawrence had loved to paint or Chantrey model. And the daintiest cares of a mother, who, as yet, has her darling all to herself—her toy, her plaything—were visible in the large falling collar of finest cambric, and the blue velvet dress with its filigree buttons and embroidered sash.

      Both the boys had about them the air of those whom Fate ushers blandly into life; the air of wealth, and birth, and luxury, spoiled and pampered as if earth had no thorn for their feet, and heaven not a wind to visit their young cheeks too roughly. The mother had been extremely handsome; and though the first bloom of youth was now gone, she had still the beauty that might captivate new love—an easier task than to retain the old. Both her sons, though differing from each other, resembled her; she had the features of the younger; and probably any one who had seen her in her own earlier youth would have recognized in that child’s gay yet gentle countenance the mirror of the mother when a girl. Now, however, especially when silent or thoughtful, the expression of her face was rather that of the elder boy;—the cheek, once so rosy was now pale, though clear, with something which time had given, of pride and thought, in the curved lip and the high forehead. One who could have looked on her in her more lonely hours, might have seen that the pride had known shame, and the thought was the shadow of the passions of fear and sorrow.

      But now as she read those hasty, brief, but well-remembered characters—read as one whose heart was in her eyes—joy and triumph alone were visible in that eloquent countenance. Her eyes flashed, her breast heaved; and at length, clasping the letter to her lips, she kissed it again and again with passionate transport. Then, as her eyes met the dark, inquiring, earnest gaze of her eldest born, she flung her arms round him, and wept vehemently.

      “What is the matter, mamma, dear mamma?” said the youngest, pushing himself between Philip and his mother. “Your father is coming back, this day—this very hour;—and you—you—child—you, Philip—” Here sobs broke in upon her words, and left her speechless.

      The letter that had produced this effect ran as follows:

      TO MRS MORTON, Fernside Cottage.

      “DEAREST KATE,—My last letter prepared you for the news I have now to relate—my poor uncle is no more. Though I had seen little of him, especially of late years, his death sensibly affected me; but I have at least the consolation of thinking that there is nothing now to prevent my doing justice to you. I am the sole heir to his fortune—I have it in my power, dearest Kate, to offer you a tardy recompense for all you have put up with for my sake;—a sacred testimony to your long forbearance, your unreproachful love, your wrongs, and your devotion. Our children, too—my noble Philip!—kiss them, Kate—kiss them for me a thousand times.

      “I write in great haste—the burial is just over, and my letter will only serve to announce my return. My darling Catherine, I shall be with you almost as soon as these lines meet your eyes—those clear eyes, that, for all the tears they have shed for my faults and follies, have never looked the less kind. Yours, ever as ever, “PHILIP BEAUFORT.

      This letter has told its tale, and little remains to explain. Philip Beaufort was one of those men of whom there are many in his peculiar class of society—easy, thoughtless, good-humoured, generous, with feelings infinitely better than his principles.

      Inheriting himself but a moderate fortune, which was three parts in the hands of the Jews before he was twenty-five, he had the most brilliant expectations from his uncle; an old bachelor, who, from a courtier, had turned a misanthrope—cold—shrewd—penetrating—worldly—sarcastic—and imperious; and from this relation he received, meanwhile, a handsome and, indeed, munificent allowance. About sixteen years before the date at which this narrative opens, Philip Beaufort