pines, the growth of centuries, pointing their bent heads in different parts of the solitude like crosses in a churchyard, have been uprooted, rent, and hurled aside by the blasts!
Yet the two travellers face this furious tempest, which has plucked up trees, and pounded the frozen masses into splinters, with the roar of thunder.
They face it, without for one single instant deviating from the straight line hitherto followed by them.
Who then are these two beings who advance thus calmly amidst the storms and convulsions of nature?
Is it by chance, or design, or destiny, that the seven nails in the sole of the man's shoe form a cross—thus:
*
* * *
*
*
*
Everywhere he leaves this impress behind him.
On the smooth and polished snow, these footmarks seem imprinted by a foot of brass on a marble floor.
Night without twilight has soon succeeded day—a night of foreboding gloom.
The brilliant reflection of the snow renders the white steppes still visible beneath the azure darkness of the sky; and the pale stars glimmer on the obscure and frozen dome.
Solemn silence reigns.
But, towards the Straits, a faint light appears.
At first, a gentle, bluish light, such as precedes moonrise; it increases in brightness, and assumes a ruddy hue.
Darkness thickens in every other direction; the white wilds of the desert are now scarcely visible under the black vault of the firmament.
Strange and confused noises are heard amidst this obscurity.
They sound like the flight of large night—birds—now flapping now-heavily skimming over the steppes-now descending.
But no cry is heard.
This silent terror heralds the approach of one of those imposing phenomena that awe alike the most ferocious and the most harmless, of animated beings. An Aurora Borealis (magnificent sight!) common in the polar regions, suddenly beams forth.
A half circle of dazzling whiteness becomes visible in the horizon. Immense columns of light stream forth from this dazzling centre, rising to a great height, illuminating earth, sea, and sky. Then a brilliant reflection, like the blaze of a conflagration, steals over the snow of the desert, purples the summits of the mountains of ice, and imparts a dark red hue to the black rocks of both continents.
After attaining this magnificent brilliancy, the Northern Lights fade away gradually, and their vivid glow is lost in a luminous fog.
Just then, by a wondrous mirage an effect very common in high latitudes, the American Coast, though separated from Siberia by a broad arm of the sea, loomed so close that a bridge might seemingly be thrown from one world to other.
Then human forms appeared in the transparent azure haze overspreading both forelands.
On the Siberian Cape, a man on his knees, stretched his arms towards
America, with an expression of inconceivable despair.
On the American promontory, a young and handsome woman replied to the man's despairing gesture by pointing to heaven.
For some seconds, these two tall figures stood out, pale and shadowy, in the farewell gleams of the Aurora.
But the fog thickens, and all is lost in the darkness.
Whence came the two beings, who met thus amidst polar glaciers, at the extremities of the Old and New worlds?
Who were the two creatures, brought near for a moment by a deceitful mirage, but who seemed eternally separated?
CHAPTER I.
MOROK.
The month of October, 1831, draws to its close.
Though it is still day, a brass lamp, with four burners, illumines the cracked walls of a large loft, whose solitary window is closed against outer light. A ladder, with its top rungs coming up through an open trap leads to it.
Here and there at random on the floor lie iron chains, spiked collars, saw-toothed snaffles, muzzles bristling with nails, and long iron rods set in wooden handles. In one corner stands a portable furnace, such as tinkers use to melt their spelter; charcoal and dry chips fill it, so that a spark would suffice to kindle this furnace in a minute.
Not far from this collection of ugly instruments, putting one in mind of a torturer's kit of tools, there are some articles of defence and offence of a bygone age. A coat of mail, with links so flexible, close, and light, that it resembles steel tissue, hangs from a box beside iron cuishes and arm-pieces, in good condition, even to being properly fitted with straps. A mace, and two long three-cornered-headed pikes, with ash handles, strong, and light at the same time; spotted with lately-shed blood, complete the armory, modernized somewhat by the presence of two Tyrolese rifles, loaded and primed.
Along with this arsenal of murderous weapons and out-of-date instruments, is strangely mingled a collection of very different objects, being small glass-lidded boxes, full of rosaries, chaplets, medals, AGNUS DEI, holy water bottles, framed pictures of saints, etc., not to forget a goodly number of those chapbooks, struck off in Friburg on coarse bluish paper, in which you can hear about miracles of our own time, or "Jesus Christ's Letter to a true believer," containing awful predictions, as for the years 1831 and '32, about impious revolutionary France.
One of those canvas daubs, with which strolling showmen adorn their booths, hangs from a rafter, no doubt to prevent its being spoilt by too long rolling up. It bore the following legend:
"THE DOWNRIGHT TRUE AND MOST MEMORABLE CONVERSION OF IGNATIUS MOROK, KNOWN AS THE PROPHET, HAPPENING IN FRIBURG, 1828TH YEAR OF GRACE."
This picture, of a size larger than natural, of gaudy color, and in bad taste, is divided into three parts, each presenting an important phase in the life of the convert, surnamed "The Prophet." In the first, behold a long-bearded man, the hair almost white, with uncouth face, and clad in reindeer skin, like the Siberian savage. His black foreskin cap is topped with a raven's head; his features express terror. Bent forward in his sledge, which half-a-dozen huge tawny dogs draw over the snow, he is fleeing from the pursuit of a pack of foxes, wolves, and big bears, whose gaping jaws, and formidable teeth, seem quite capable of devouring man, sledge, and dogs, a hundred times over. Beneath this section, reads:
"IN 1810, MOROK, THE IDOLATER, FLED FROM WILD BEASTS."
In the second picture, Morok, decently clad in a catechumen's white gown kneels, with clasped hands, to a man who wears a white neckcloth, and flowing black robe. In a corner, a tall angel, of repulsive aspect, holds a trumpet in one hand,
