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Idolatry - A Romance, a novel by Julian Hawthorne |
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Chapter 1. The Enchanted Ring |
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_ CHAPTER I. One of the most imposing buildings in Boston twenty years ago was a granite hotel, whose western windows looked upon a graveyard. Passing up a flight of steps, and beneath a portico of dignified granite columns, and so through an embarrassing pair of swinging-doors to the roomy vestibule,--you would there pause a moment to spit upon the black-and-white tessellated pavement. Having thus asserted your title to Puritan ancestry, and to the best accommodations the house afforded, you would approach the desk and write your name in the hotel register. This done, you would be apt to run your eye over the last dozen arrivals, on the chance of lighting upon the autograph of some acquaintance, to be shunned or sought according to circumstances. Let us suppose, for the story's sake, that such was the gentle reader's behavior on a certain night during the latter part of May, in the year eighteen hundred and fifty-three. If now he will turn to the ninety-ninth page of the register above mentioned, he will remark that the last name thereon written is, "Doctor Hiero Glyphic. Room 27." The natural inference is that, unless so odd a name be an assumed one, Doctor Glyphic occupies that room. Passing on to page one hundred, he will find the first entry reads as follows "Balder Helwyse, Cosmopolis. Room 29." In no trifling mood do we call attention to these two names, and, above all, to their relative position in the book. Had they both appeared upon the same page, this romance might never have been written. On such seemingly frail pegs hang consequences the most weighty. Because Doctor Glyphic preferred the humble foot of the ninety-ninth page to the trouble of turning to a leading position on the one hundredth; because Mr. Helwyse, having begun the one hundredth page, was too incurious to find out who was his next-door neighbor on the ninety-ninth, ensued unparalleled adventures, and this account of them. Our present purpose, by the reader's leave, and in his company, is to violate Doctor Hiero Glyphic's retirement, as he lies asleep in bed. Nor shall we stop at his bedside; we mean to penetrate deep into the darksome caves of his memory, and to drag forth thence sundry odd-looking secrets, which shall blink and look strangely in the light of discovery;--little thought their keeper that our eyes should ever behold them! Yet will he not resent our, intrusion; it is twenty years ago,--and he lies asleep. Two o'clock sounds from the neighboring steeple of the Old South Church, as we noiselessly enter the chamber,--noiselessly, for the hush of the past is about us. We scarcely distinguish anything at first; the moon has set on the other side of the hotel, and perhaps, too, some of the dimness of those twenty intervening years affects our eyesight. By degrees, however, objects begin to define themselves; the bed shows doubtfully white, and that dark blot upon the pillow must be the face of our sleeping man. It is turned towards the window; the mouth is open; probably the good Doctor is snoring, albeit, across this distance of time, the sound fails to reach us. The room is as bare, square, and characterless as other hotel rooms; nevertheless, its occupant may have left a hint or two of himself about, which would be of use to us. There are no trunks or other luggage; evidently he will be on his way again to-morrow. The window is shut, although the night is warm and clear. The door is carefully locked. The Doctor's garments, which appear to be of rather a jaunty and knowing cut, are lying disorderly about, on chair, table, or floor. He carries no watch; but under his pillow we see protruding the corner of a great leathern pocket-book, which might contain a fortune in bank-notes. A couple of chairs are drawn up to the bedside, upon one of which stands a blown-out candle; the other supports an oblong, coffin-shaped box, narrower at one end than at the other, and painted black. Too small for a coffin, however; no human corpse, at least, is contained in it. But the frame that lies so quiet and motionless here, thrills, when awaked to life, with a soul only less marvellous than man's. In short, the coffin is a violin-case, and the mysterious frame the violin. The Doctor must have been fiddling overnight, after getting into bed; to the dissatisfaction, perhaps, of his neighbor on the other side of the partition. Little else in the room is worthy notice, unless it be the pocket-comb which has escaped from the Doctor's waistcoat, and the shaving materials (also pocketable) upon the wash-stand. Apparently our friend does not stand upon much toilet ceremony. The room has nothing more of significance to say to us; so now we come to the room's occupant. Our eyes have got enough accustomed to the imperfect light to discern what manner of man he may be. Barely middle-aged; or, at a second glance, he might be fifteen to twenty-five years older. His face retains the form of youth, yet wears a subtile shadow which we feel might be consistent even with extreme old age. The forehead is wide and low, supported by regular eyebrows; the face beneath long and narrow, of a dark and dry complexion. In sleep, open-mouthed, the expression is rather inane; though we can readily imagine the waking face to be not devoid of a certain intensity and comeliness of aspect, marred, however, by an air of guarded anxiety which is apparent even now. We prattle of the dead past, and use to fancy that peace must dwell there, if nothing else. Only in the past, say we, is security from jostle, danger, and disturbance; who would live at his ease must number his days backwards; no charm so potent as the years, if read from right to left. Living in the past, prophecy and memory are at one; care for the future can harass no man. Throw overboard that Jonah, Time, and the winds of fortune shall cease to buffet us. And more to the same effect. And yet it is not so. The past, if more real than the future, is no less so than the present; the pain of a broken heart or head is never annihilated, but becomes part and parcel of eternity. This uneasy snorer here, for instance: his earthly troubles have been over years ago, yet, as our fancy sees him, he is none the calmer or the happier for that. Observe him, how he mumbles inarticulately, and makes strengthless clutchings at the blanket with his long, slender fingers. But we delay too long over the external man, seeing that our avowed business is with the internal. A sleeping man is truly a helpless creature. They say that, if you take his hand in yours and ask him questions, he has no other choice than to answer--or to awake. The Doctor--as we know by virtue of the prophetic advantages just remarked upon--will stay asleep for some hours yet. Or, if you are clairvoyant, you have but to fall in a trance, and lay a hand on his forehead, and you may read off his thoughts,--provided he does his thinking in his head. But the world is growing too wise, nowadays, to put faith in old woman's nonsense like this. Again, there is--or used to be--an odd theory that all matter is a sort of photographic plate, whereon is registered, had we but eyes to read it, the complete history of itself. What an invaluable pair of eyes were that! In vain, arraigned before them, would the criminal deny his guilt, the lover the soft impeachment. The whole scene would stand forth, photographed in fatal minuteness and indelibility upon face, hands, coat-sleeve, shirt-bosom. Mankind would be its own book of life, written in the primal hieroglyphic character,--the language understood by all. Vocal conversation would become obsolete, unless among a few superior persons able to discuss abstract ideas. We speak of these things only to smile at them; far be it from us to insult the reader's understanding by asking him to regard them seriously. But story-tellers labor under one disadvantage which is peculiar to their profession,--the necessity of omniscience. This tends to make them top arbitrary, leads them to disregard the modesty of nature and the harmonies of reason in their methods. They will pretend to know things which they never could have seen or heard of, and for the truth of which they bring forward no evidence; thus forcing the reader to reject, as lacking proper confirmation, what he would else, from its inherent grace or sprightliness, be happy to accept. That we shall be free from this reproach is rather our good fortune than our merit. It is by favor of our stars, not by virtue of our own, that we turn not aside from the plain path of truth to the by-ways of supernaturalism and improbability. Yet we refrain with difficulty from a breath of self-praise; there is a proud and solid satisfaction in holding an unassailable position could we but catch the world's eye, we would meet it calmly! Let us hasten to introduce our talisman. You may see it at this very moment, encircling the third finger of Doctor Glyphic's left hand; in fact, it is neither more nor less than a quaint diamond ring. The stone, though not surprisingly large, is surpassingly pure and brilliant; as its keen, delicate ray sparkles on the eye, one marvels whence, in the dead of night, it got together so much celestial fire. Observe the setting; the design is unique. Two fairy serpents--one golden, the other fashioned from black meteoric iron--are intertwined along their entire length, forming the hoop of the ring. Their heads approach the diamond from opposite sides, and each makes a mighty bite at it with his tiny jaws, studded with sharp little teeth. Thus their contest holds the stone firmly in place. The whole forms a pretty symbol of the human soul, battled for by the good and the evil principles. But the diamond seems, in its entirety, to be an awkward mouthful for either. The snakes are wrought with marvellous dexterity and finish; each separate scale is distinguishable upon their glistening bodies, the wrinkling of the skin in the coils, the sparkling points of eyes, and the minute nostrils. Such works of art are not made nowadays; the ring is an antique,--a relic of an age when skill was out of all proportion to liberty,--a very distant time indeed. To deserve such a setting, the stone must have exceptional qualities. Let us take a closer look at it. Fortunately, its own lustre makes it visible in every part; the minuteness of our scrutiny need be limited only by our power of eye. It is cut with many facets,--twenty-seven, if you choose to count them; perhaps (though we little credit such fantasies) some mystic significance may be intended in this number. Concentrating now our attention upon any single facet, we see--either inscribed upon its surface, or showing through from the interior of the stone--a sort of monogram, or intricately designed character, not unlike the mysterious Chinese letters on tea-chests. Every facet has a similar figure, though no two are identical. But the central, the twenty-seventh facet, which is larger than the others, has an important peculiarity. Looking upon it, we find therein, concentrated and commingled, the other twenty-six characters; which, separately unintelligible, form, when thus united, a simple and consistent narrative, equivalent in extent to many hundred printed pages, and having for subject nothing less than the complete history of the ring itself. Some small portion of this narrative--that, namely, which relates more particularly to the present wearer of the ring--we will glance at; the rest must be silence, although, going back as it does to the earliest records of the human race, many an interesting page must be skipped perforce. The advantages to a historian of a medium such as this are too patent to need pointing out. Pretension and conjecture will be avoided, because unnecessary. The most trifling thought or deed of any person connected with the history of the ring is laid open to direct inspection. Were there more such talismans as this, the profession of authorship would become no less easy than delightful, and criticism would sting itself to death, in despair of better prey. So far as is known, however, the enchanted ring is unique of its kind, and, such as it is, is not likely to become common property. _ |
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