. . . . .
The narrative, when Melmoth was again able to trace its continuation, described Stanton, some years after, plunged in a state the most deplorable.
He had been always reckoned of a singular turn of mind, and the belief of this, aggravated by his constant talk of Melmoth, his wild pursuit of him, his strange behavior at the theater, and his dwelling on the various particulars of their extraordinary meetings, with all the intensity of the deepest conviction (while he never could impress them on any one's conviction but his own), suggested to some prudent people the idea that he was deranged. Their malignity probably took part with their prudence. The selfish Frenchman[3] says, we feel a pleasure even in the misfortunes of our friends,—a plus forte in those of our enemies; and as everyone is an enemy to a man of genius of course, the report of Stanton's malady was propagated with infernal and successful industry. Stanton's next relative, a needy unprincipled man, watched the report in its circulation, and saw the snares closing round his victim. He waited on him one morning, accompanied by a person of a grave, though somewhat repulsive appearance. Stanton was as usual abstracted and restless, and, after a few moments' conversation, he proposed a drive a few miles out of London, which he said would revive and refresh him. Stanton objected, on account of the difficulty of getting a hackney coach (for it is singular that at this period the number of private equipages, though infinitely fewer than they are now, exceeded the number of hired ones), and proposed going by water. This, however, did not suit the kinsman's views; and, after pretending to send for a carriage (which was in waiting at the end of the street), Stanton and his companions entered it, and drove about two miles out of London.
The carriage then stopped. Come, Cousin," said the younger Stanton,—"come and view a purchase I have made." Stanton absently alighted, and followed him across a small paved court; the other person followed. "In troth, Cousin," said Stanton, "your choice appears not to have been discreetly made; your house has somewhat of a gloomy aspect."—"Hold you content, Cousin," replied the other; "I shall take order that you like it better, when you have been some time a dweller therein." Some attendants of a mean appearance, and with most suspicious visages, awaited them on their entrance, and they ascended a narrow staircase, which led to a room meanly furnished. "Wait here," said the kinsman, to the man who accompanied them, "till I go for company to divertise my cousin in his loneliness." They were left alone. Stanton took no notice of his companion, but as usual seized the first book near him, and began to read. It was a volume in manuscript,—they were then much more common than now.
The first lines struck him as indicating insanity in the writer. It was a wild proposal (written apparently after the great fire of London) to rebuild it with stone, and attempting to prove, on a calculation wild, false, and yet sometimes plausible, that this could be done out of the colossal fragments of Stonehenge, which the writer proposed to remove for that purpose. Subjoined were several grotesque drawings of engines designed to remove those massive blocks, and in a corner of the page was a note,—"I would have drawn these more accurately, but was not allowed a KNIFE to mend my pen."
The next was entitled, "A modest proposal for the spreading of Christianity in foreign parts, whereby it is hoped its entertainment will become general all over the world."—This modest proposal was, to convert the Turkish ambassadors (who had been in London a few years before), by offering them their choice of being strangled on the spot, or becoming Christians. Of course the writer reckoned on their embracing the easier alternative, but even this was to be clogged with a heavy condition,—namely, that they must be bound before a magistrate to convert twenty Mussulmans a day, on their return to Turkey. The rest of the pamphlet was reasoned very much in the conclusive style of Captain Bobadil,— these twenty will convert twenty more apiece, and these two hundred converts, converting their due number in the same time, all Turkey would be converted before the Grand Signior knew where he was. Then comes the coup d'eclat,—one fine morning, every minaret in Constantinople was to ring out with bells, instead of the cry of the Muezzins; and the Imaum, coming out to see what was the matter, was to be encountered by the Archbishop of Canterbury, in pontificalibus, performing Cathedral service in the church of St. Sophia, which was to finish the business. Here an objection appeared to arise, which the ingenuity of the writer had anticipated.—"It may be redargued," saith he, "by those who have more spleen than brain, that forasmuch as the Archbishop preacheth in English, he will not thereby much edify the Turkish folk, who do altogether hold in a vain gabble of their own." But this (to use his own language) he "evites," by judiciously observing, that where service was performed in an unknown tongue, the devotion of the people was always observed to be much increased thereby; as, for instance, in the church of Rome,—that St. Augustine, with his monks, advanced to meet King Ethelbert singing litanies (in a language his majesty could not possibly have understood), and converted him and his whole court on the spot;—that the sybilline books. . . .
. . . . .
Cum multis aliis.
Between the pages were cut most exquisitely in paper the likenesses of some of these Turkish ambassadors; the hair of the beards, in particular, was feathered with a delicacy of touch that seemed the work of fairy fingers,—but the pages ended with a complaint of the operator, that his scissors had been taken from him. However, he consoled himself and the reader with the assurance, that he would that night catch a moonbeam as it entered through the grating, and, when he had whetted it on the iron knobs of his door, would do wonders with it. In the next page was found a melancholy proof of powerful but prostrated intellect. It contained some insane lines, ascribed to Lee the dramatic poet, commencing,
"O that my lungs could bleat like buttered pease," &c.
There is no proof whatever that these miserable lines were really written by Lee, except that the measure is the fashionable quatrain of the period. It is singular that Stanton read on without suspicion of his own danger, quite absorbed in the album of a madhouse, without ever reflecting on the place where he was, and which such compositions too manifestly designated.
It was after a long interval that he looked round, and perceived that his companion was gone. Bells were unusual then. He proceeded to the door,—it was fastened. He called aloud,—his voice was echoed in a moment by many others, but in tones so wild and discordant, that he desisted in involuntary terror. As the day advanced, and no one approached, he tried the window, and then perceived for the first time it was grated. It looked out on the narrow flagged yard, in which no human being was; and if there had, from such a being no human feeling could have been extracted.
Sickening with unspeakable horror, he sunk rather than sat down beside the miserable window, and "wished for day."
. . . . .
At midnight he started from a doze, half a swoon, half a sleep, which probably the hardness of his seat, and of the deal table on which he leaned, had not contributed to prolong.
He was in complete darkness; the horror of his situation struck him at once, and for a moment he was indeed almost qualified for an inmate of that dreadful mansion. He felt his way to the door, shook it with desperate strength, and uttered the most frightful cries, mixed with expostulations and commands. His cries were in a moment echoed by a hundred voices. In maniacs there is a peculiar malignity, accompanied by an extraordinary acuteness of some of the senses, particularly in distinguishing the voice of a stranger. The cries that he heard on every side seemed like a wild and infernal yell of joy, that their mansion of misery had obtained another tenant.
He paused, exhausted,—a quick and thundering step was heard in the passage. The door was opened, and a man of savage appearance stood at the entrance,—two more were seen indistinctly in the passage. "Release me, villain!"—"Stop, my fine fellow, what's all this noise for?" "Where am I?" "Where you ought to be." "Will you dare to detain me?"—"Yes, and a little more than that," answered the ruffian, applying a loaded horsewhip to his back and shoulders
, till the patient soon fell to the ground convulsed with rage and pain. "Now you see you are where you ought to be," repeated the ruffian, brandishing the horsewhip over him, "and now take the advice of a friend, and make no more noise. The lads are ready for you with the darbies, and they'll clink them on in the crack of this whip, unless you prefer another touch of it first." They then were advancing into the room as he spoke, with fetters in their hands (strait waistcoats being then little known or used), and showed, by their frightful countenances and gestures, no unwillingness to apply them. Their harsh rattle on the stone pavement made Stanton's blood run cold; the effect, however, was useful. He had the presence of mind to acknowledge his (supposed) miserable condition, to supplicate the forbearance of the ruthless keeper, and promise complete submission to his orders. This pacified the ruffian, and he retired.
Stanton collected all his resolution to encounter the horrible night; he saw all that was before him, and summoned himself to meet it. After much agitated deliberation, he conceived it best to continue the same appearance of submission and tranquillity, hoping that thus he might in time either propitiate the wretches in whose hands he was, or, by his apparent inoffensiveness, procure such opportunities of indulgence, as might perhaps ultimately facilitate his escape. He therefore determined to conduct himself with the utmost tranquillity, and never to let his voice be heard in the house; and he laid down several other resolutions with a degree of prudence which he already shuddered to think might be the cunning of incipient madness, or the beginning result of the horrid habits of the place.
These resolutions were put to desperate trial that very night. Just next to Stanton's apartment were lodged two most uncongenial neighbors. One of them was a puritanical weaver, who had been driven mad by a single sermon from the celebrated Hugh Peters, and was sent to the madhouse as full of election and reprobation as he could hold,—and fuller. He regularly repeated over the five points while daylight lasted, and imagined himself preaching in a conventicle with distinguished success; toward twilight his visions were more gloomy, and at midnight his blasphemies became horrible. In the opposite cell was lodged a loyalist tailor, who had been ruined by giving credit to the cavaliers and their ladies,—(for at this time, and much later, down to the reign of Anne, tailors were employed by females even to make and fit on their stays),—who had run mad with drink and loyalty on the burning of the Rump, and ever since had made the cells of the madhouse echo with fragments of the ill-fated Colonel Lovelace's song, scraps from Cowley's "Cutter of Coleman street," and some curious specimens from Mrs. Aphra Behn's plays, where the cavaliers are denominated the heroicks, and Lady Lambert and Lady Desborough represented as going to meeting, their large Bibles carried before them by their pages, and falling in love with two banished cavaliers by the way. The voice in which he shrieked out such words was powerfully horrible, but it was like the moan of an infant compared to the voice which took up and reechoed the cry, in a tone that made the building shake. It was the voice of a maniac, who had lost her husband, children, subsistence, and finally her reason, in the dreadful fire of London. The cry of fire never failed to operate with terrible punctuality on her associations. She had been in a disturbed sleep, and now started from it as suddenly as on that dreadful night. It was Saturday night too, and she was always observed to be particularly violent on that night,—it was the terrible weekly festival of insanity with her. She was awake, and busy in a moment escaping from the flames; and she dramatized the whole scene with such hideous fidelity, that Stanton's resolution was far more in danger from her than from the battle between his neighbors Testimony and Hothead. She began exclaiming she was suffocated by the smoke; then she sprung from her bed, calling for a light, and appeared to be struck by the sudden glare that burst through her casement.—"The last day," she shrieked, "The last day! The very heavens are on fire!"—"That will not come till the Man of Sin be first destroyed," cried the weaver; "thou ravest of light and fire, and yet thou art in utter darkness.—I pity thee, poor mad soul, I pity thee!" The maniac never heeded him; she appeared to be scrambling up a staircase to her children's room. She exclaimed she was scorched, singed, suffocated; her courage appeared to fail, and she retreated. "But my children are there!" she cried in a voice of unspeakable agony, as she seemed to make another effort; "here I am—here I am come to save you.—Oh God! They are all blazing!—Take this arm—no, not that, it is scorched and disabled— well, any arm—take hold of my clothes—no, they are blazing too!— Well, take me all on fire as I am!—And their hair, how it hisses!—Water, one drop of water for my youngest—he is but an infant—for my youngest, and let me burn!" She paused in horrid silence, to watch the fall of a blazing rafter that was about to shatter the staircase on which she stood.—"The roof has fallen on my head!" she exclaimed. "The earth is weak, and all the inhabitants thereof," chanted the weaver; "I bear up the pillars of it."
The maniac marked the destruction of the spot where she thought she stood by one desperate bound, accompanied by a wild shriek, and then calmly gazed on her infants as they rolled over the scorching fragments, and sunk into the abyss of fire below. "There they go,— one—two—three—all!" and her voice sunk into low mutterings, and her convulsions into faint, cold shudderings, like the sobbings of a spent storm, as she imagined herself to "stand in safety and despair," amid the thousand houseless wretches assembled in the suburbs of London on the dreadful nights after the fire, without food, roof, or raiment, all gazing on the burning ruins of their dwellings and their property. She seemed to listen to their complaints, and even repeated some of them very affectingly, but invariably answered them with the same words, "But I have lost all my children—all!" It was remarkable, that when this sufferer began to rave, all the others became silent. The cry of nature hushed every other cry,—she was the only patient in the house who was not mad from politics, religion, ebriety, or some perverted passion; and terrifying as the outbreak of her frenzy always was, Stanton used to await it as a kind of relief from the dissonant, melancholy, and ludicrous ravings of the others.
But the utmost efforts of his resolution began to sink under the continued horrors of the place. The impression on his senses began to defy the power of reason to resist them. He could not shut out these frightful cries nightly repeated, nor the frightful sound of the whip employed to still them. Hope began to fail him, as he observed, that the submissive tranquillity (which he had imagined, by obtaining increased indulgence, might contribute to his escape, or perhaps convince the keeper of his sanity) was interpreted by the callous ruffian, who was acquainted only with the varieties of MADNESS, as a more refined species of that cunning which he was well accustomed to watch and baffle.
On his first discovery of his situation, he had determined to take the utmost care of his health and intellect that the place allowed, as the sole basis of his hope of deliverance. But as that hope declined, he neglected the means of realizing it. He had at first risen early, walked incessantly about his cell, and availed himself of every opportunity of being in the open air. He took the strictest care of his person in point of cleanliness, and with or without appetite, regularly forced down his miserable meals; and all these efforts were even pleasant, as long as hope prompted them. But now he began to relax them all. He passed half the day in his wretched bed, in which he frequently took his meals, declined shaving or changing his linen, and, when the sun shone into his cell, he turned from it on his straw with a sigh of heartbroken despondency. Formerly, when the air breathed through his grating, he used to say, "Blessed air of heaven, I shall breathe you once more in freedom!—Reserve all your freshness for that delicious evening when I shall inhale you, and be as free as you myself." Now when he felt it, he sighed and said nothing. The twitter of the sparrows, the pattering of rain, or the moan of the wind, sounds that he used to sit up in his bed to catch with delight, as reminding him of nature, were now unheeded.
He began at times to listen with sullen and horrible pleasure to the cries of his miserable co
mpanions. He became squalid, listless, torpid, and disgusting in his appearance.
. . . . .
It was one of those dismal nights, that, as he tossed on his loathsome bed,—more loathsome from the impossibility to quit it without feeling more "unrest,"—he perceived the miserable light that burned in the hearth was obscured by the intervention of some dark object. He turned feebly toward the light, without curiosity, without excitement, but with a wish to diversify the monotony of his misery, by observing the slightest change made even accidentally in the dusky atmosphere of his cell. Between him and the light stood the figure of Melmoth, just as he had seen him from the first; the figure was the same; the expression of the face was the same,—cold, stony, and rigid; the eyes, with their infernal and dazzling luster, were still the same.
Stanton's ruling passion rushed on his soul; he felt this apparition like a summons to a high and fearful encounter. He heard his heart beat audibly, and could have exclaimed with Lee's unfortunate heroine,—"It pants as cowards do before a battle; Oh the great march has sounded!"
Melmoth approached him with that frightful calmness that mocks the terror it excites. "My prophecy has been fulfilled;—you rise to meet me rattling from your chains, and rustling from your straw—am I not a true prophet?" Stanton was silent. "Is not your situation very miserable?"—Still Stanton was silent; for he was beginning to believe this an illusion of madness. He thought to himself, "How could he have gained entrance here?"—"Would you not wish to be delivered from it?" Stanton tossed on his straw, and its rustling seemed to answer the question. "I have the power to deliver you from it." Melmoth spoke very slowly and very softly, and the melodious smoothness of his voice made a frightful contrast to the stony rigor of his features, and the fiendlike brilliancy of his eyes. "Who are you, and whence come you?" said Stanton, in a tone that was meant to be interrogatory and imperative, but which, from his habits of squalid debility, was at once feeble and querulous. His intellect had become affected by the gloom of his miserable habitation, as the wretched inmate of a similar mansion, when produced before a medical examiner, was reported to be a complete Albino.—His skin was bleached, his eyes turned white; he could not bear the light; and, when exposed to it, he turned away with a mixture of weakness and restlessness, more like the writhings of a sick infant than the struggles of a man.
Classic English Mystery and Detective Stories Page 21