hat, whom I take from this hour forth to my bosom as a friend (I think he was a Waiter or an Hostler at a village Inn, but many years have passed since he and I have met), remarks that the sassigassity of that dog is indeed surprising; and evermore this jocular conceit will live in my remembrance fresh and unfading, overtopping all possible jokes, unto the end of time. Or now, I learn with bitter tears how poor Jane Shore, dressed all in white, and with her brown hair hanging down, went starving through the streets; or how George Barnwell killed the worthiest uncle that ever man had, and was afterwards so sorry for it that he ought to have been let off. Comes swift to comfort me, the Pantomime—stupendous Phenomenon!—when clowns are shot from loaded mortars into the great chandelier, bright constellation that it is; when Harlequins, covered all over with scales of pure gold, twist and sparkle, like amazing fish; when Pantaloon (whom I deem it no irreverence to compare in my own mind to my grandfather) puts red-hot pokers in his pocket, and cries "Here's somebody coming!" or taxes the Clown with petty larceny, by saying, "Now, I sawed you do it!" when Everything is capable, with the greatest ease, of being changed into Anything; and "Nothing is, but thinking makes it so." Now, too, I perceive my first experience of the dreary sensation—often to return in after-life—of being unable, next day, to get back to the dull, settled world; of wanting to live for ever in the bright atmosphere I have quitted; of doting on the little Fairy, with the wand like a celestial Barber's Pole, and pining for a Fairy immortality along with her. Ah, she comes back, in many shapes, as my eye wanders down the branches of my Christmas Tree, and goes as often, and has never yet stayed by me!
Out of this delight springs the toy-theatre,—there it is, with its familiar proscenium, and ladies in feathers, in the boxes!—and all its attendant occupation with paste and glue, and gum, and water colours, in the getting-up of The Miller and his Men, and Elizabeth, or the Exile of Siberia. In spite of a few besetting accidents and failures (particularly an unreasonable disposition in the respectable Kelmar, and some others, to become faint in the legs, and double up, at exciting points of the drama), a teeming world of fancies so suggestive and all-embracing, that, far below it on my Christmas Tree, I see dark, dirty, real Theatres in the day-time, adorned with these associations as with the freshest garlands of the rarest flowers, and charming me yet.
But hark! The Waits are playing, and they break my childish sleep! What images do I associate with the Christmas music as I see them set forth on the Christmas Tree? Known before all the others, keeping far apart from all the others, they gather round my little bed. An angel, speaking to a group of shepherds in a field; some travellers, with eyes uplifted, following a star; a baby in a manger; a child in a spacious temple, talking with grave men; a solemn figure, with a mild and beautiful face, raising a dead girl by the hand; again, near a city gate, calling back the son of a widow, on his bier, to life; a crowd of people looking through the opened roof of a chamber where he sits, and letting down a sick person on a bed, with ropes; the same, in a tempest, walking on the water to a ship; again, on a sea-shore, teaching a great multitude; again, with a child upon his knee, and other children round; again, restoring sight to the blind, speech to the dumb, hearing to the deaf, health to the sick, strength to the lame, knowledge to the ignorant; again, dying upon a Cross, watched by armed soldiers, a thick darkness coming on, the earth beginning to shake, and only one voice heard, "Forgive them, for they know not what they do."
Still, on the lower and maturer branches of the Tree, Christmas associations cluster thick. School-books shut up; Ovid and Virgil silenced; the Rule of Three, with its cool impertinent inquiries, long disposed of; Terence and Plautus acted no more, in an arena of huddled desks and forms, all chipped, and notched, and inked; cricket-bats, stumps, and balls, left higher up, with the smell of trodden grass and the softened noise of shouts in the evening air; the tree is still fresh, still gay. If I no more come home at Christmas-time, there will be boys and girls (thank Heaven!) while the World lasts; and they do! Yonder they dance and play upon the branches of my Tree, God bless them, merrily, and my heart dances and plays too!
And I do come home at Christmas. We all do, or we all should. We all come home, or ought to come home, for a short holiday—the longer, the better—from the great boarding-school, where we are for ever working at our arithmetical slates, to take, and give a rest. As to going a visiting, where can we not go, if we will; where have we not been, when we would; starting our fancy from our Christmas Tree!
Away into the winter prospect. There are many such upon the tree! On, by lowlying, misty grounds, through fens and fogs, up long hills, winding dark as caverns between thick plantations, almost shutting out the sparkling stars; so, out on broad heights, until we stop at last, with sudden silence, at an avenue. The gate-bell has a deep, half-awful sound in the frosty air; the gate swings open on its hinges; and, as we drive up to a great house, the glancing lights grow larger in the windows, and the opposing rows of trees seem to fall solemnly back on either side, to give us place. At intervals, all day, a frightened hare has shot across this whitened turf; or the distant clatter of a herd of deer trampling the hard frost, has, for the minute, crushed the silence too. Their watchful eyes beneath the fern may be shining now, if we could see them, like the icy dewdrops on the leaves; but they are still, and all is still. And so, the lights growing larger, and the trees falling back before us, and closing up again behind us, as if to forbid retreat, we come to the house.
There is probably a smell of roasted chestnuts and other good comfortable things all the time, for we are telling Winter Stories—Ghost Stories, or more shame for us—round the Christmas fire; and we have never stirred, except to draw a little nearer to it. But, no matter for that. We came to the house, and it is an old house, full of great chimneys where wood is burnt on ancient dogs upon the hearth, and grim portraits (some of them with grim legends, too) lower distrustfully from the oaken panels of the walls. We are a middle-aged nobleman, and we make a generous supper with our host and hostess and their guests—it being Christmas-time, and the old house full of company—and then we go to bed. Our room is a very old room. It is hung with tapestry. We don't like the portrait of a cavalier in green, over the fireplace. There are great black beams in the ceiling, and there is a great black bedstead, supported at the foot by two great black figures, who seem to have come off a couple of tombs in the old baronial church in the park, for our particular accommodation. But, we are not a superstitious nobleman, and we don't mind. Well! we dismiss our servant, lock the door, and sit before the fire in our dressing-gown, musing about a great many things. At length we go to bed. Well! we can't sleep. We toss and tumble, and can't sleep. The embers on the hearth burn fitfully and make the room look ghostly. We can't help peeping out over the counterpane, at the two black figures and the cavalier—that wicked-looking cavalier—in green. In the flickering light they seem to advance and retire: which, though we are not by any means a superstitious nobleman, is not agreeable. Well! we get nervous—more and more nervous. We say "This is very foolish, but we can't stand this; we'll pretend to be ill, and knock up somebody." Well! we are just going to do it, when the locked door opens, and there comes in a young woman, deadly pale, and with long fair hair, who glides to the fire, and sits down in the chair we have left there, wringing her hands. Then, we notice that her clothes are wet. Our tongue cleaves to the roof of our mouth, and we can't speak; but, we observe her accurately. Her clothes are wet; her long hair is dabbled with moist mud; she is dressed in the fashion of two hundred years ago; and she has at her girdle a bunch of rusty keys. Well! there she sits, and we can't even faint, we are in such a state about it. Presently she gets up, and tries all the locks in the room with the rusty keys, which won't fit one of them; then, she fixes her eyes on the portrait of the cavalier in green, and says, in a low, terrible voice, "The stags know it!" After that, she wrings her hands again, passes the bedside, and goes out at the door. We hurry on our dressing-gown, seize our pistols (we always travel with pistols), and are following, when we find the door locked. We turn the key, look out into the dark gallery; no one there. We wander away, and try to find our servant. Can't be done. We pace the gallery till daybreak; then return to our deserted room, fall asleep, and are awakened by our servant (nothing ever haunts him) and the shining sun. Well! we make a wretched breakfast, and all the company say we look queer. After breakfast, we go over the house with our host, and then we take him to the portrait of the cavalier in green, and then it all comes out. He was false to a young housekeeper once attached to that family, and famous for her beauty,
