the gates of those cities from which she could take her departure unchallenged towards the lands of the morning or of the sunset? Often, after a freshet, she had seen a child's miniature boat floating down on its side past her window, and traced it in imagination back to some crystal brook flowing by the door of a cottage far up a blue mountain in the distance. So she now began to follow down the stream the airy shallop that held her bright fancies. These dreams of hers were colored by the rainbows of an enchanted fountain—the books of adventure, the romances, the stories which fortune had placed in her hands—the same over which the heart of the Pride of the County had throbbed in the last century, and on the pages of some of which the traces of her tears might still be seen.
The literature which was furnished for Myrtle's improvement was chiefly of a religious character, and, however interesting and valuable to those to whom it was adapted, had not been chosen with any wise regard to its fitness for her special conditions. Of what use was it to offer books like the “Saint's Rest” to a child whose idea of happiness was in perpetual activity? She read “Pilgrim's Progress,” it is true, with great delight. She liked the idea of travelling with a pack on one's back, the odd shows at the House of the interpreter, the fighting, the adventures, the pleasing young ladies at the palace the name of which was Beautiful, and their very interesting museum of curiosities. As for the allegorical meaning, it went through her consciousness like a peck of wheat through a bushel measure with the bottom out, without touching.
But the very first book she got hold of out of the hidden treasury threw the “Pilgrim's Progress” quite into the shade. It was the story of a youth who ran away and lived on an island—one Crusoe—a homely narrative, but evidently true, though full of remarkable adventures. There too was the history, coming much nearer home, of Deborah Sampson, the young woman who served as a soldier in the Revolutionary War, with a portrait of her in man's attire, looking intrepid rather than lovely. A virtuous young female she was, and married well, as she deserved to, and raised a family with as good a name as wife and mother as the best of them. But perhaps not one of these books and stories took such hold of her imagination as the tale of Rasselas, which most young persons find less entertaining than the “Vicar of Wakefield,” with which it is nowadays so commonly bound up. It was the prince's discontent in the Happy Valley, the iron gate opening to the sound of music, and closing forever on those it admitted, the rocky boundaries of the imprisoning valley, the visions of the world beyond, the projects of escape, and the long toil which ended in their accomplishment, which haunted her sleeping and waking. She too was a prisoner, but it was not in the Happy Valley. Of the romances and the love-letters we must take it for granted that she selected wisely, and read discreetly; at least we know nothing to the contrary.
There were mysterious reminiscences and hints of her past coming over her constantly. It was in the course of the long, weary spring before her disappearance, that a dangerous chord was struck which added to her growing restlessness. In an old closet were some seashells and coral-fans, and dried star-fishes and sea, horses, and a natural mummy of a rough-skinned dogfish. She had not thought of them for years, but now she felt impelled to look after them. The dim sea odors which still clung to them penetrated to the very inmost haunts of memory, and called up that longing for the ocean breeze which those who have once breathed and salted their blood with it never get over, and which makes the sweetest inland airs seem to them at last tame and tasteless. She held a tigershell to her ear, and listened to that low, sleepy murmur, whether in the sense or in the soul we hardly know, like that which had so often been her lullaby—a memory of the sea, as Landor and Wordsworth have sung.
“You are getting to look like your father,” Aunt Silence said one day; “I never saw it before. I always thought you took after old Major Gideon Withers. Well, I hope you won't come to an early grave like poor Charles—or at any rate, that you may be prepared.”
It did not seem very likely that the girl was going out of the world at present, but she looked Miss Silence in the face very seriously, and said, “Why not an early grave, Aunt, if this world is such a bad place as you say it is?”
“I'm afraid you are not fit for a better.”
She wondered if Silence Withers and Cynthia Badlam were just ripe for heaven.
For some months Miss Cynthia Badlam, who, as was said, had been an habitual visitor at The Poplars, had lived there as a permanent resident. Between her and Silence Withers, Myrtle Hazard found no rest for her soul. Each of them was for untwisting the morning-glory without waiting for the sunshine to do it. Each had her own wrenches and pincers to use for that purpose. All this promised little for the nurture and admonition of the young girl, who, if her will could not be broken by imprisonment and starvation at three years old, was not likely to be over-tractable to any but gentle and reasonable treatment at fifteen.
Aunt Silence's engine was responsibility—her own responsibility, and the dreadful consequences which would follow to her, Silence, if Myrtle should in any way go wrong. Ever since her failure in that moral coup d'etat by which the sinful dynasty of the natural self-determining power was to be dethroned, her attempts in the way of education had been a series of feeble efforts followed by plaintive wails over their utter want of success. The face she turned upon the young girl in her solemn expostulations looked as if it were inscribed with the epitaphs of hope and virtue. Her utterances were pitched in such a forlorn tone, that the little bird in his cage, who always began twittering at the sound of Myrtle's voice, would stop in his song, and cock his head with a look of inquiry full of pathos, as if he wanted to know what was the matter, and whether he could do anything to help.
The specialty of Cynthia Badlam was to point out all the dangerous and unpardonable trangressions into which young people generally, and this young person in particular, were likely to run, to hold up examples of those who had fallen into evil ways and come to an evil end, to present the most exalted standard of ascetic virtue to the lively girl's apprehension, leading her naturally to the conclusion that a bright example of excellence stood before her in the irreproachable relative who addressed her. Especially with regard to the allurements which the world offers to the young and inexperienced female, Miss Cynthia Badlam was severe and eloquent. Sometimes poor Myrtle would stare, not seeing the meaning of her wise caution, sometimes look at Miss Cynthia with a feeling that there was something about her that was false and forced, that she had nothing in common with young people, that she had no pity for them, only hatred of their sins, whatever these might be—a hatred which seemed to extend to those sources of frequent temptation, youth and beauty, as if they were in themselves objectionable.
Both the lone women at The Poplars were gifted with a thin vein of music. They gave it expression in psalmody, of course, in which Myrtle, who was a natural singer, was expected to bear her part. This would have been pleasantry if the airs most frequently selected had been cheerful or soothing, and if the favorite hymns had been of a sort to inspire a love for what was lovely in this life, and to give some faint foretaste of the harmonies of a better world to come. But there is a fondness for minor keys and wailing cadences common to the monotonous chants of cannibals and savages generally, to such war-songs as the wild, implacable “Marseillaise,” and to the favorite tunes of low—spirited Christian pessimists. That mournful “China,” which one of our most agreeable story-tellers has justly singled out as the cry of despair itself, was often sung at The Poplars, sending such a sense of utter misery through the house, that poor Kitty Fagan would cross herself, and wring her hands, and think of funerals, and wonder who was going to die—for she fancied she heard the Banshee's warning in those most dismal ululations.
On the first Saturday of June, a fortnight before her disappearance, Myrtle strolled off by the river shore, along its lonely banks, and came home with her hands full of leaves and blossoms. Silence Withers looked at them as if they were a kind of melancholy manifestation of frivolity on the part of the wicked old earth. Not that she did not inhale their faint fragrance with a certain pleasure, and feel their beauty as none whose souls are not wholly shriveled and hardened can help doing, but the world was, in her estimate, a vale of tears, and it was only by a momentary forgetfulness
