Justice in the By-Ways Part 14

ANNA BONARD SEEKS AN INTERVIEW WITH THE ANTIQUARY.

IT is night. King street seems in a melancholy mood, the blue arch of heaven is bespangled with twinkling stars, the moon has mounted her high throne, and her beams, like messengers of love, dance joyously over the calm waters of the bay, so serenely skirted with dark woodland. The dull tramp of the guardman's horse now breaks the stillness; then the measured tread of the heavily-armed patrol, with which the city swarms at night, echoes and reoches along the narrow streets. A theatre reeking with the fumes of whiskey and tobacco; a sombre-looking guard-house, bristling with armed men, who usher forth to guard the fears of tyranny, or drag in some wretched slave; a dilapidated "Court House," at the corner, at which lazy-looking men lounge; a castellated "Work House," so grand without, and so full of bleeding hearts within; a "Poor House" on crutches, and in which infirm age and poverty die of treatment that makes the heart sicken-these are all the public buildings we can boast. Like ominous mounds, they seem sleeping in the calm and serene night. Ah! we had almost forgotten the sympathetic old hospital, with its verandas; the crabbed looking "City Hall," with its port holes; and the "Citadel," in which, when our youths have learned to fight duels, we learn them how to fight their way out of the Union. Duelling is our high art; getting out of the Union is our low. And, too, we have, and make no small boast that we have, two or three buildings called "Halls." In these our own supper-eating men riot, our soldiers drill (soldiering is our presiding genius), and our mob-politicians waste their spleen against the North. Unlike Boston, towering all bright and vigorous in the atmosphere of freedom, we have no galleries of statuary; no conservatories of paintings; no ma.s.sive edifices of marble, dedicated to art and science; no princely school-houses, radiating their light of learning over a peace and justice-loving community; no majestic exchange, of granite and polished marble, so emblematic of a thrifty commerce;--we have no regal "State House" on the lofty hill, no glittering colleges everywhere striking the eye.

The G.o.d of slavery-the G.o.d we wors.h.i.+p, has no use for such temples; public libraries are his prison; his civilization is like a dull dead march; he is the enemy of his own heart, vitiating and making drear whatever he touches. He wages war on art, science, civilization! he trembles at the sight of temples reared for the enlightening of the ma.s.ses. Tyranny is his law, a cotton-bag his judgment-seat. But we pride ourselves that we are a respectable people-what more would you have us?

The night is chilly without, in the fire-place of the antiquary's back parlor there burns a scanty wood fire. Tor has eaten his supper and retired to a little closet-like room overhead, where, in bed, he muses over what fell from Maria's lips, in their interview. Did she really cherish a pa.s.sion for him? had her solicitude in years past something more than friends.h.i.+p in it? what did she mean? He was not one of those whose place in a woman's heart could never be supplied.

How would an alliance with Maria affect his mother's dignity? All these things Tom evolves over and over in his mind. In point of position, a mechanic's daughter was not far removed from the slave; a mechanic's daughter was viewed only as a good object of seduction for some nice young gentleman. Antiquarians might get a few bows of planter's sons, the legal gentry, and cotton brokers (these make up our aristocracy), but practically no one would think of admitting them into decent society. They, of right, belong to that vulgar herd that live by labor at which the slave can be employed. To be anything in the eyes of good society, you must only live upon the earnings of slaves.

"Why," says Tom, "should I consult the dignity of a mother who discards me? The love of this lone daughter of the antiquary, this girl who strives to know my wants, and to promote my welfare, rises superior to all. I will away with such thoughts! I will be a man!

Maria, with eager eye and thoughtful countenance, sits at the little antique centre-table, reading Longfellow's Evangeline, by the pale light of a candle. A lurid glare is shed over the cavern-like place.

The reflection plays curiously upon the corrugated features of the old man, who, his favorite cat at his side, reclines on a stubby little sofa, drawn well up to the fire. The poet would not select Maria as his ideal of female loveliness; and yet there is a touching modesty in her demeanor, a sweet smile ever playing over her countenance, an artlessness in her conversation that more than makes up for the want of those charms novel writers are pleased to call transcendent. "Father!" she says, pausing, "some one knocks at the outer door." The old man starts and listens, then hastens to open it. There stands before him the figure of a strange female, veiled.

"I am glad to find you, old man. Be not suspicious of my coming at this hour, for my mission is a strange one." The old man's crooked eyes flash, his deep curling lip quivers, his hand vibrates the candle he holds before him. "If on a mission to do n.o.body harm," he responds, "then you are welcome." "You will pardon me; I have seen you before. You have wished me well," she whispers in a musical voice. Gracefully she raises her veil over her Spanish hood, and advances cautiously, as the old man closes the door behind her. Then she uncovers her head, nervously. The white, jewelled fingers of her right hand, so delicate and tapering, wander over and smooth her silky black hair, that falls in waves over her Ion-like brow. How exquisite those features just revealed; how full of soul those flas.h.i.+ng black eyes; her dress, how chaste! "They call me Anna Bonard," she speaks, timorously, "you may know me?--"

"Oh, I know you well," interrupts the old man, "your beauty has made you known. What more would you have?"

"Something that will make me happy. Old man, I am unhappy. Tell me, if you have the power, who I am. Am I an orphan, as has been told me; or have I parents yet living, affluent, and high in society? Do they seek me and cannot find me? Oh! let the fates speak, old man, for this world has given me nothing but pain and shame. Am I--" she pauses, her eyes wander to the floor, her cheeks crimson, she seizes the old man by the hand, and her bosom heaves as if a fierce pa.s.sion had just been kindled within it.

The old man preserves his equanimity, says he has a fortune to tell her. Fortunes are best told at midnight. The stars, too, let out their secrets more willingly when the night-king rules. He bids her follow him, and totters back to the little parlor. With a wise air, he bids her be seated on the sofa, saying he never mistakes maidens when they call at this hour.

Maria, who rose from the table at the entrance of the stranger, bows, shuts her book mechanically, and retires. Can there be another face so lovely? she questions within herself, as she pauses to contemplate the stranger ere she disappears. The antiquary draws a chair and seats himself beside Anna. "Thy life and destiny," he says, fretting his bony fingers over the crown of his wig. "Blessed is the will of providence that permits us to know the secrets of destiny. Give me your hand, fair lady." Like a philosopher in deep study, he wipes and adjusts his spectacles, then takes her right hand and commences reading its lines. "Your history is an uncommon one--"

"Yes," interrupts the girl, "mine has been a chequered life."

"You have seen sorrow enough, but will see more. You come of good parents; but, ah!--there is a mystery shrouding your birth." ("And that mystery," interposes the girl, "I want to have explained.") "There will come a woman to reclaim you-a woman in high life; but she will come too late--" (The girl pales and trembles.) "Yes,"

pursues the old man, looking more studiously at her hand, "she will come too late." You will have admirers, and even suitors; but they will only betray you, and in the end you will die of trouble. Ah!

there is a line that had escaped me. You may avert this dark destiny-yes, you may escape the end that fate has ordained for you.

In neglect you came up, the companion of a man you think true to you. But he is not true to you. Watch him, follow him-you will yet find him out. Ha! ha! ha! these men are not to be trusted, my dear.

There is but one man who really loves you. He is an old man, a man of station. He is your only true friend. I here see it marked." He crosses her hand, and says there can be no mistaking it. "With that man, fair girl, you may escape the dark destiny. But, above all things, do not treat him coldly. And here I see by the sign that Anna Bonard is not your name. The name was given you by a wizard."

"You are right, old man," speaks Anna, raising thoughtfully her great black eyes, as the antiquary pauses and watches each change of her countenance; "that name was given me by Hag Zogbaum, when I was a child in her den, in New York, and when no one cared for me. What my right name was has now slipped my memory. I was indeed a wretched child, and know little of myself."

"Was it Munday?" inquires the old man. Scarce has he lisped the name before she catches it up and repeats it, incoherently, "Munday!

Monday! Munday!" her eyes flash with anxiety. "Ah, I remember now. I was called Anna Munday by Mother Bridges. I lived with her before I got to the den of Hag Zogbaum. And Mother Bridges sold apples at a stand at the corner of a street, on West street. It seems like a dream to me now. I do not want to recall those dark days of my childhood. Have you not some revelation to make respecting my parents?" The old man says the signs will not aid him further. "On my arm," she pursues, baring her white, polished arm, "there is a mark. I know not who imprinted it there. See, old man." The old man sees high up on her right arm two hearts and a broken anchor, impressed with India ink blue and red. "Yes," repeats the antiquary, viewing it studiously, "but it gives out no history. If you could remember who put it there." Of that she has no recollection. The old man cannot relieve her anxiety, and arranging her hood she bids him good night, forces a piece of gold into his hand, and seeks her home, disappointed.

The antiquary's predictions were founded on what Mr. Soloman Snivel had told him, and that gentleman got what he knew of Anna's history from George Mullholland. To this, however, he added what suggestions his suspicions gave rise to. The similarity of likeness between Anna and Madame Montford was striking; Madame Montford's mysterious searches and inquiries for the woman Monday had something of deep import in them. Mag Munday's strange disappearance from Charleston, and her previous importuning for the old dress left in p.a.w.n with McArthur, were not to be overlooked. These things taken together, and Mr. Snivel saw a case there could be no mistaking. That case became stronger when his fas.h.i.+onable friend engaged his services to trace out what had become of the woman Mag Munday, and to further ascertain what the girl Anna Bonard knew of her own history.

CHAPTER XIX.

A SECRET INTERVIEW.

WHILE the scene we have related in the foregoing chapter was being enacted, there might be seen pacing the great colonnade of the Charleston hotel, the tall figure of a man wrapped in a ma.s.sive talma. Heedless of the throng of drinkers gathered in the s.p.a.cious bar-room, making the very air echo with their revelry, he pauses every few moments, watches intently up and then down Meeting street, now apparently contemplating the twinkling stars, then turning as if disappointed, and resuming his sallies. "He will not come to night,"

he mutters, as he pauses at the "Ladies' door," then turns and rings the bell. The well dressed and highly-perfumed servant who guards the door, admits him with a scrutinizing eye. "Beg pardon," he says, with a mechanical bow. He recognizes the stranger, bows, and motions his hands. "Twice," continues the servant, "she has sent a messenger to inquire of your coming." The figure in the talma answers with a bow, slips something into the hand of the servant, pa.s.ses softly up the great stairs, and is soon lost to sight. In another minute he enters, without knocking, a s.p.a.cious parlor, decorated and furnished most sumptuously. "How impatiently I have waited your coming,"

whispers, cautiously, a richly-dressed lady, as she rises from a velvet covered lounge, on which she had reclined, and extends her hand to welcome him. "Madame, your most obedient," returns the man, bowing and holding her delicate hand in his. "You have something of importance,--something to relieve my mind?" she inquires, watching his lips, trembling, and in anxiety. "Nothing definite," he replies, touching her gently on the arm, as she begs him to be seated in the great arm-chair. He lays aside his talma, places his gloves on the centre-table, which is heaped with an infinite variety of delicately-enveloped missives and cards, all indicative of her position in fas.h.i.+onable society. "I may say, Madame, that I sympathize with you in your anxiety; but as yet I have discovered nothing to relieve it." Madame sighs, and draws her chair near him, in silence. "That she is the woman you seek I cannot doubt. While on the Neck, I penetrated the shanty of one Thompson, a poor mechanic-our white mechanics, you see, are very poor, and not much thought of-who had known her, given her a shelter, and several times saved her from starvation. Then she left the neighborhood and took to living with a poor wretch of a shoemaker."

"Poor creature," interrupts Madame Montford, for it is she whom Mr.

Snivel addresses. "If she be dead-oh, dear! That will be the end. I never shall know what became of that child. And to die ignorant of its fate will--" Madame pauses, her color changes, she seems seized with some violent emotion. Mr. Snivel perceives her agitation, and begs she will remain calm. "If that child had been my own," she resumes, "the responsibility had not weighed heavier on my conscience. Wealth, position, the pleasures of society-all sink into insignificance when compared with my anxiety for the fate of that child. It is like an arrow piercing my heart, like a phantom haunting me in my dreams, like an evil spirit waking me at night to tell me I shall die an unhappy woman for having neglected one I was bound by the commands of G.o.d to protect-to save, perhaps, from a life of shame." She lets fall the satin folds of her dress, buries her face in her hands, and gives vent to her tears in loud sobs. Mr.

Snivel contemplates her agitation with unmoved muscle. To him it is a true index to the sequel. "If you will pardon me, Madame," he continues, "as I was about to say of this miserable shoemaker, he took to drink, as all our white mechanics do, and then used to abuse her. We don't think anything of these people, you see, who after giving themselves up to whiskey, die in the poor house, a terrible death. This shoemaker, of whom I speak, died, and she was turned into the streets by her landlord, and that sent her to living with a 'yellow fellow,' as we call them. Soon after this she died-so report has it. We never know much, you see, about these common people. They are a sort of trash we can make nothing of, and they get terribly low now and then." Madame Montford's swelling breast heaves, her countenance wears an air of melancholy; again she nervously lays aside the cloud-like skirts of her brocade dress. "Have you not,"

she inquires, fretting her jewelled fingers and displaying the ma.s.sive gold bracelets that clasp her wrists, "some stronger evidence of her death?" Mr. Snivel says he has none but what he gathered from the negroes and poor mechanics, who live in the by-lanes of the city. There is little dependence, however, to be placed in such reports. Madame, with an air of composure, rises from her chair, and paces twice or thrice across the room, seemingly in deep study. "Something," she speaks, stopping suddenly in one of her sallies--"something (I do not know what it is) tells me she yet lives: that this is the child we see, living an abandoned life."

"As I was going on to say, Madame," pursues Mr. Snivel, with great blandness of manner, "when our white trash get to living with our negroes they are as well as dead. One never knows what comes of them after that. Being always ready to do a bit of a good turn, as you know, I looked in at Sam Wiley's cabin. Sam Wiley is a negro of some respectability, and generally has an eye to what becomes of these white wretches. I don't-I a.s.sure you I don't, Madame-look into these places except on professional business. Sam, after making inquiry among his neighbors-our colored population view these people with no very good opinion, when they get down in the world-said he thought she had found her way through the gates of the poor man's graveyard."

"Poor man's graveyard!" repeats Madame Montford, again resuming her chair.

"Exactly! We have to distinguish between people of position and those white mechanics who come here from the North, get down in the world, and then die. We can't sell this sort of people, you see. No keeping their morals straight without you can. However, this is not to the point. (Mr. Solomon Snivel keeps his eyes intently fixed upon the lady.)

"I sought out the old s.e.xton, a stupid old cove enough. He had neither names on his record nor graves that answered the purpose. In a legal sense, Madame, this would not be valid testimony, for this old cove being only too glad to get rid of our poor, and the fees into his pocket, is not very particular about names. If it were one of our 'first families,' the old fellow would be so obsequious about having the name down square--"

Mr. Snivel frets his fingers through his beard, and bows with an easy grace.

"Our first families!" repeats Madame Montford.

"Yes, indeed! He is extremely correct over their funerals. They are of a fas.h.i.+onable sort, you see. Well, while I was musing over the decaying dead, and the distinction between poor dead and rich dead, there came along one Graves, a sort of wayward, half simpleton, who goes about among churchyards, makes graves a study, knows where every one who has died for the last century is tucked away, and is worth six s.e.xtons at pointing out graves. He never knows anything about the living, for the living, he says, won't let him live; and that being the case, he only wants to keep up his acquaintance with the dead. He never has a hat to his head, nor a shoe to his foot; and where, and how he lives, no one can tell. He has been at the whipping-post a dozen times or more, but I'm not so sure that the poor wretch ever did anything to merit such punishment. Just as the crabbed old s.e.xton was going to drive him out of the gate with a big stick, I says, more in the way of a joke than anything else: 'Graves, come here!--I want a word or two with you.' He came up, looking shy and suspicious, and saying he wasn't going to harm anybody, but there was some fresh graves he was thinking over."

"Some fresh graves!" repeats Madame Montford, nervously.

"Bless you!--a very common thing," rejoins Mr. Snivel, with a bow.

"Well, this lean simpleton said they (the graves) were made while he was sick. That being the case, he was deprived-and he lamented it bitterly-of being present at the funerals, and getting the names of the deceased. He is a great favorite with the grave-digger, lends him a willing hand on all occasions, and is extremely useful when the yellow fever rages. But to the s.e.xton he is a perfect pest, for if a grave be made during his absence he will importune until he get the name of the departed. 'Graves,' says I, 'where do they bury these unfortunate women who die off so, here in Charleston?' 'Bless you, my friend,' says Graves, accompanying his words with an idiotic laugh, 'why, there's three stacks of them, yonder. They s.h.i.+p them from New York in lots, poor things; they dies here in droves, poor things; and we buries them yonder in piles, poor things. They go-yes, sir, I have thought a deal of this thing-fast through life; but they dies, and n.o.body cares for them-you see how they are buried.' I inquired if he knew all their names. He said of course he did. If he didn't, n.o.body else would. In order to try him, I desired he would show me the grave of Mag Munday. He shook his head, smiled, muttered the name incoherently, and said he thought it sounded like a dead name. 'I'll get my thinking right,' he pursued, and brightening up all at once, his vacant eyes flashed, then he touched me cunningly on the arm, and with a wink and nod of the head there was no mistaking, led the way to a great mound located in an obscure part of the graveyard--"

"A great mound! I thought it would come to that," sighs Madame Montford, impatiently.

"We bury these wretched creatures in an obscure place. Indeed, Madame, I hold it unnecessary to have anything to distinguish them when once they are dead. Well, this poor forlorn simpleton then sat down on a grave, and bid me sit beside him. I did as he bid me, and soon he went into a deep study, muttering the name of Mag Munday the while, until I thought he never would stop. So wild and wandering did the poor fellow seem, that I began to think it a pity we had not a place, an insane hospital, or some sort of benevolent inst.i.tution, where such poor creatures could be placed and cared for. It would be much better than sending them to the whipping-post--"

"I am indeed of your opinion-of your way of thinking, most certainly," interpolates Madame Montford, a shadow of melancholy darkening her countenance.

"At length, he went at it, and repeated over an infinite quant.i.ty of names. It was wonderful to see how he could keep them all in his head. 'Well, now,' says he, turning to me with an inoffensive laugh, 'she ben't dead. You may bet on that. There now!' he spoke, as if suddenly becoming conscious of a recently-made discovery. 'Why, she runned wild about here, as I does, for a time; was abused and knocked about by everybody. Oh, she had a hard time enough, G.o.d knows that.' 'But that is not disclosing to me what became of her,'

says I; 'come, be serious, Graves.' (We call him this, you see, Madame, for the reason that he is always among graveyards.) Then he went into a singing mood, sang two plaintive songs, and had sung a third and fourth, if I had not stopped him. 'Well,' he says, 'that woman ain't dead, for I've called up in my mind the whole graveyard of names, and her's is not among them. Why not, good gentleman, (he seized me by the arm as he said this,) inquire of Milman Mingle, the vote-cribber? He is a great politician, never thinks of poor Graves, and wouldn't look into a graveyard for the world. The vote-cribber used to live with her, and several times he threatened to hang her, and would a hanged her-yes, he would, sir-if it hadn't a been for the neighbors. I don't take much interest in the living, you know. But I pitied her, poor thing, for she was to be pitied, and there was n.o.body but me to do it. Just inquire of the vote-cribber.' I knew the simpleton never told an untruth, being in no way connected with our political parties."

"Never told an untruth, being in no way connected with our political parties!" repeats Madame Montford, who has become more calm.

"I gave him a few s.h.i.+llings, he followed me to the gate, and left me muttering, 'Go, inquire of the vote-cribber.'"

"And have you found this man?" inquires the anxious lady.

"I forthwith set about it," replies Mr. Snivel, "but as yet, am unsuccessful. Nine months during the year his residence is the jail--"

"The jail!"