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Aurora Floyd
M. E. Braddon
This page copyright © 2002 Blackmask Online.
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CHAPTER I. HOW A RICH BANKER MARRIED AN ACTRESS.
CHAPTER II. AURORA.
CHAPTER III. WHAT BECAME OF THE DIAMOND BRACELET.
CHAPTER IV. AFTER THE BALL.
CHAPTER V. JOHN MELLISH.
CHAPTER VI. REJECTED AND ACCEPTED.
CHAPTER VII. AURORA'S STRANGE PENSIONER.
CHAPTER VIII. POOR JOHN MELLISH COMES BACK AGAIN.
CHAPTER IX. HOW TALBOT BULSTRODE SPENT HIS CHRISTMAS.
CHAPTER X. FIGHTING THE BATTLE.
CHAPTER XI. AT THE CHATEAU D'ARQUES.
CHAPTER XII. STEEVE HARGRAVES, "THE SOFTY."
CHAPTER XIII. THE SPRING MEETING.
CHAPTER XIV. "LOVE TOOK UP THE GLASS OF TIME AND TURNED IT IN HIS GLOWING HANDS."
CHAPTER XV. MR. PASTERN'S LETTER.
CHAPTER XVI. MR. JAMES CONYERS.
CHAPTER XVII. THE TRAINER'S MESSENGER.
CHAPTER XVIII. OUT IN THE RAIN.
CHAPTER XIX. MONEY MATTERS.
CHAPTER XX. CAPTAIN PRODDER.
CHAPTER XXI. "HE ONLY SAID I AM A-WEARY."
CHAPTER XXII. STILL CONSTANT.
CHAPTER XXIII. ON THE THRESHOLD OF DARKER MISERIES.
CHAPTER XXIV. CAPTAIN PRODDER CARRIES BAD NEWS TO HIS NIECE'S HOUSE.
CHAPTER XXV. THE DEED THAT HAD BEEN DONE IN THE WOOD.
CHAPTER XXVI. AT THE GOLDEN LION.
CHAPTER XXVII. "MY WIFE! MY WIFE! WHAT WIFE? I HAVE NO WIFE."
CHAPTER XXVIII. AURORA'S FLIGHT.
CHAPTER XXIX. JOHN MELLISH FINDS HIS HOME DESOLATE.
CHAPTER XXX. AN UNEXPECTED VISITOR.
CHAPTER XXXI. TALBOT BULSTRODE'S ADVICE.
CHAPTER XXXII. ON THE WATCH.
CHAPTER XXXIII. CAPTAIN PRODDER GOES BACK TO DONCASTER.
CHAPTER XXXIV. DISCOVERY OF THE WEAPON WITH WHICH JAMES CONYERS HAD BEEN SLAIN.
CHAPTER XXXV. UNDER A CLOUD.
CHAPTER XXXVI. REUNION.
CHAPTER XXXVII. THE BRASS BUTTON, BY CROSBY, BIRMINGHAM.
CHAPTER XXXVIII. OFF THE SCENT.
CHAPTER XXXIX. TALBOT BULSTRODE MAKES ATONEMENT FOR THE PAST.
L'ENVOI.
CHAPTER I. HOW A RICH BANKER MARRIED AN ACTRESS.
Faint streaks of crimson glimmer here and there amid the rich darkness of the Kentish woods. Autumn's red finger has been lightly laid upon the foliage—sparingly, as the artist puts the brighter tints into his picture; but the grandeur of an August sunset blazes upon the peaceful landscape, and lights all into glory.
The encircling woods and wide lawn-like meadows, the still ponds of limpid water, the trim hedges, and the smooth winding roads; undulating hill-tops, melting into the purple distance; laboring-men's cottages, gleaming white from the surrounding foliage; solitary roadside inns with brown thatched roofs and moss-grown stacks of lop-sided chimneys; noble mansions hiding behind ancestral oaks; tiny Gothic edifices; Swiss and rustic lodges; pillared gates surmounted by escutcheons hewn in stone, and festooned with green wreaths of clustering ivy; village churches and prim school-houses—every object in the fair English prospect is steeped in a luminous haze, as the twilight shadows steal slowly upward from the dim recesses of shady woodland and winding lane, and every outline of the landscape darkens against the deepening crimson of the sky.
Upon the broad façade of a mighty redbrick mansion, built in the favorite style of the early Georgian era, the sinking sun lingers long, making gorgeous illumination. The long rows of narrow windows are all aflame with the red light, and an honest homeward-tramping villager pauses once or twice in the roadway to glance across the smooth width of dewy lawn and tranquil lake, half fearful that there must be something more than natural in the glitter of those windows, and that may be Maister Floyd's house is afire.
The stately red-built mansion belongs to Maister Floyd, as he is called in the honest patois of the Kentish rustics; to Archibald Martin Floyd, of the great banking-house of Floyd, Floyd, and Floyd, Lombard street, City.
The Kentish rustics knew very little of this city banking-house, for Archibald Martin, the senior partner, has long retired from any active share in the business, which is carried on entirely by his nephews, Andrew and Alexander Floyd, both steady, middle-aged men, with families and country-houses; both owing their fortune to the rich uncle, who had found places in his counting-house for them some thirty years before, when they were tall, raw-boned, sandy-haired, red-complexioned Scottish youths, fresh from some unpronounceable village north of Aberdeen.
The young gentlemen signed their names M`Floyd when they first entered their uncle's counting-house; but they very soon followed that wise relative's example, and dropped the formidable prefix. "We've nae need to tell these Southeran bodies that we're Scotche," Alick remarked to his brother as he wrote his name for the first time A. Floyd, all short.
The Scottish banking-house had thriven wonderfully in the hospitable English capital. Unprecedented success had waited upon every enterprise undertaken by the old-established and respected firm of Floyd, Floyd, and Floyd. It had been Floyd, Floyd, and Floyd for upward of a century; for, as one member of the house dropped off, some greener branch shot out from the old tree; and there had never yet been any need to alter the treble repetition of the well-known name upon the brass plates that adorned the swinging mahogany doors of the banking-house. To this brass plate Archibald Martin Floyd pointed when, some thirty years before the August evening of which I write, he took his raw-boned nephews for the first time across the threshold of his house of business.
"See there, boys," he said: "look at the three names upon that brass plate. Your uncle George is over fifty, and a bachelor—that's the first name; our first cousin, Stephen Floyd, of Calcutta, is going to sell out of the business before long—that's the second name; the third is mine, and I'm thirty-seven years of age, remember, boys, and not likely to make a fool of myself by marrying. Your names will be wanted by and by to fill the blanks; see that you keep them bright in the meantime; for, let so much as one speck rest upon them, and they'll never be fit for that brass plate."
Perhaps the rugged Scottish youths took this lesson to heart, or perhaps honesty was a natural and inborn virtue in the house of Floyd. Be it as it might, neither Alick nor Andrew disgraced their ancestry; and when Stephen Floyd, the East-Indian merchant, sold out, and Uncle George grew tired of business, and took to building, as an elderly, bachelor-like hobby, the young men stepped into their relatives' shoes, and took the conduct of the business upon their broad Northern shoulders. Upon one point only Archibald Martin Floyd had misled his nephews, and that point regarded himself. Ten years after his address to the young men, at the sober age of seven-and-forty, the banker not only made a fool of himself by marrying, but, if indeed such things are foolish, sank still farther from the proud elevation of worldly wisdom by falling desperately in love with a beautiful but penniless woman, whom he brought home with him after a business tour through the manufacturing districts, and with but little ceremony introduced to his relations and the county families round his Kentish estate as his newly-wedded wife.
The whole affair was so sudden, that these very county families had scarcely recovered from their surprise at reading a certain paragraph in the left-hand column of the Times, announcing the marriage of "Archibald Martin Floyd, Banker, of Lombard street and Felden Woods, to Eliza, only surviving daughter of Captain Prodder," when the bridegroom's travelling carriage dashed past the Gothic lodge at the gates, along the avenue and under the great stone portico at the side of the house, and Eliza Floyd entered the banker's mansion, nodding good-naturedly to the bewild
ered servants, marshalled into the hall to receive their new mistress.
The banker's wife was a tall young woman of about thirty, with a dark complexion, and great flashing black eyes that lit up a face which might otherwise have been unnoticeable into the splendor of absolute beauty.
Let the reader recall one of those faces whose sole loveliness lies in the glorious light of a pair of magnificent eyes, and remember how far they surpass all others in their power of fascination. The same amount of beauty frittered away upon a well-shaped nose, rosy, pouting lips, symmetrical forehead, and delicate complexion, would make an ordinarily lovely woman; but concentrated in one nucleus, in the wondrous lustre of the eyes, it makes a divinity, a Circe. You may meet the first any day of your life; the second, once in a lifetime.
Mr. Floyd introduced his wife to the neighboring gentry at a dinner-party, which he gave soon after the lady's arrival at Felden Woods, as his country seat was called; and this ceremony very briefly despatched, he said no more about his choice either to his neighbors or his relations, who would have been very glad to hear how this unlooked-for marriage had come about, and who hinted the same to the happy bridegroom, but without effect.
Of course this very reticence on the part of Archibald Floyd himself only set the thousand tongues of rumor more busily to work. Round Beckenham and West Wickham, near which villages Felden Woods was situated, there was scarcely any one debased and degraded station of life from which Mrs. Floyd was not reported to have sprung. She was a factory-girl, and the silly old banker had seen her in the streets of Manchester, with a colored handkerchief on her head, a coral necklace round her throat, and shoeless and stockingless feet tramping in the mud: he had seen her thus, and had fallen incontinently in love with her, and offered to marry her there and then. She was an actress, and he had seen her on the Manchester stage; nay, lower still, she was some poor performer, decked in dirty white muslin, red cotton velvet, and spangles, who acted in a canvas booth, with a pitiful set of wandering vagabonds and a learned pig. Sometimes they said she was an equestrian, and it was at Astley's, and not in the manufacturing districts, that the banker had first seen her; nay, some there were ready to swear that they themselves had beheld her leaping through gilded hoops, and dancing the cachuca upon six barebacked steeds in that sawdust-strewn arena. There were whispered rumors that went even farther than these—rumors which I dare not even set down here, for the busy tongues that dealt so mercilessly with the name and fame of Eliza Floyd were not unbarbed by malice. It may be that some of the ladies had personal reasons for their spite against the bride, and that many a waning beauty, in those pleasant Kentish mansions, had speculated upon the banker's income, and the advantages attendant upon a union with the owner of Felden Woods.
The daring, disreputable creature, with not even beauty to recommend her—for the Kentish damsels scrupulously ignored Eliza's wonderful eyes, and were sternly critical with her low forehead, doubtful nose, and rather wide mouth—the artful, designing minx, who, at the mature age of nine-and-twenty, with her hair growing nearly down to her eyebrows, had contrived to secure to herself the hand and fortune of the richest man in Kent—the man who had been hitherto so impregnable to every assault from bright eyes and rosy lips, that the most indefatigable of manoeuvring mothers had given him up in despair, and ceased to make visionary and Alnaschar-like arrangements of the furniture in Mr. Floyd's great red-brick palace.
The female portion of the community wondered indignantly at the supineness of the two Scotch nephews, and the old bachelor brother, George Floyd. Why did not these people show a little spirit—institute a commission of lunacy, and shut their crazy relative in a mad-house? He deserved it.
The ruined noblesse of the Faubourg St. Germain, the faded duchesses and wornout vidames, could not have abused a wealthy Bonapartist with more vigorous rancor than these people employed in their ceaseless babble about the banker's wife. Whatever she did was a new subject for criticism; even at that first dinner-party, though Eliza had no more ventured to interfere with the arrangements of the man-cook and housekeeper than if she had been a visitor at Buckingham Palace, the angry guests found that everything had degenerated since "that woman" had entered the house. They hated the successful adventuress—hated her for her beautiful eyes and her gorgeous jewels, the extravagant gifts of an adoring husband—hated her for her stately figure and graceful movements, which never betrayed the rumored obscurity of her origin—hated her, above all, for her insolence in not appearing in the least afraid of the lofty members of that new circle in which she found herself.
If she had meekly eaten the ample dish of humble-pie which these county families were prepared to set before her—if she had licked the dust from their aristocratic shoes, courted their patronage, and submitted to be "taken up" by them—they might, perhaps, in time, have forgiven her. But she did none of this. If they called upon her, well and good; she was frankly and cheerfully glad to see them. They might find her in her gardening-gloves, with rumpled hair and a watering-pot in her hands, busy among her conservatories; and she would receive them as serenely as if she had been born in a palace, and used to homage from her very babyhood. Let them be as frigidly polite as they pleased, she was always easy, candid, gay, and good-natured. She would rattle away about her "dear old Archy," as she presumed to call her benefactor and husband; or she would show her guests some new picture he had bought, and would dare—the impudent, ignorant, pretentious creature!—to talk about Art, as if all the high-sounding jargon with which they tried to crush her was as familiar to her as to a Royal Academician. When etiquette demanded her returning these stately visits, she would drive boldly up to her neighbors' doors in a tiny basket carriage, drawn by one rough pony; for it was an affectation of this designing woman to affect simplicity in her tastes, and to abjure all display. She would take all the grandeur she met with as a thing of course, and chatter and laugh, with her flaunting theatrical animation, much to the admiration of misguided young men, who could not see the high-bred charms of her detractors, but who were never tired of talking of Mrs. Floyd's jolly manners and glorious eyes.
I wonder whether poor Eliza Floyd knew all or half the cruel things that were said of her. I shrewdly suspect that she contrived somehow or other to hear them all, and that she rather enjoyed the fun. She had been used to a life of excitement, and Felden Woods might have seemed dull to her but for these ever-fresh scandals. She took a malicious delight in the discomfiture of her enemies.
"How badly they must have wanted you for a husband, Archy," she said, "when they hate me so ferociously. Poor, portionless old maids, to think I should snatch their prey from them! I know they think it a hard thing that they can't have me hung for marrying a rich man."
But the banker was so deeply wounded when his adored wife repeated to him the gossip which she had heard from her maid, who was a stanch adherent to a kind, easy mistress, that Eliza ever after withheld these reports from him. They amused her, but they stung him to the quick. Proud and sensitive, like almost all very honest and conscientious men, he could not endure that any creature should dare to befoul the name of the woman he loved so tenderly. What was the obscurity from which he had taken her to him? Is a star less bright because it shines on a gutter as well as upon the purple bosom of the midnight sea? Is a virtuous and generous-hearted woman less worthy because you find her making a scanty living out of the only industry she can exercise, and acting Juliet to an audience of factory hands, who gave threepence apiece for the privilege of admiring and applauding her?
Yes, the murder must out; the malicious were not altogether wrong in their conjectures: Eliza Prodder was an actress; and it was on the dirty boards of a second-rate theatre in Lancashire that the wealthy banker had first beheld her. Archibald Floyd nourished a traditional, passive, but sincere admiration for the British Drama. Yes, the British Drama; for he had lived in a day when the drama was British, and when George Barnwell and Jane Shore were among the favorite works of art of a play-goi
ng public. How sad that we should have degenerated since those classic days, and that the graceful story of Milwood and her apprentice-admirer is now so rarely set before us! Imbued, therefore, with the solemnity of Shakespeare and the drama, Mr. Floyd, stopping for a night at this second-rate Lancashire town, dropped into the dusty boxes of the theatre to witness the performance of Romeo and Juliet—the heiress of the Capulets being represented by Miss Eliza Percival, alias Prodder.
I do not believe that Miss Percival was a good actress, or that she would ever become distinguished in her profession; but she had a deep, melodious voice, which rolled out the words of her author in a certain rich though rather monotonous music, pleasant to hear; and upon the stage she was very beautiful to look at, for her face lighted up the little theatre better than all the gas that the manager grudged to his scanty audiences.
It was not the fashion in those days to make "sensation" dramas of Shakespeare's plays. There was no Hamlet with the celebrated water-scene, and the Danish prince taking a "header" to save poor weak-witted Ophelia. In the little Lancashire theatre it would have been thought a terrible sin against all canons of dramatic art had Othello or his Ancient attempted to sit down during any part of the solemn performance. The hope of Denmark was no long-robed Norseman with flowing flaxen hair, but an individual who wore a short, rusty black cotton velvet garment, shaped like a child's frock and trimmed with bugles, which dropped off and were trodden upon at intervals throughout the performance. The simple actors held, that tragedy, to be tragedy, must be utterly unlike anything that ever happened beneath the sun. And Eliza Prodder patiently trod the old and beaten track, far too good-natured, light-hearted, and easy-going a creature to attempt any foolish interference with the crookedness of the times, which she was not born to set right.
What can I say, then, about her performance of the impassioned Italian girl? She wore white satin and spangles, the spangles sewn upon the dirty hem of her dress, in the firm belief, common to all provincial actresses, that spangles are an antidote to dirt. She was laughing and talking in the whitewashed little green-room the very minute before she ran on to the stage to wail for her murdered kinsman and her banished lover. They tell us that Macready began to be Richelieu at three o'clock in the afternoon, and that it was dangerous to approach or to speak to him between that hour and the close of the performance. So dangerous, indeed, that surely none but the daring and misguided gentleman who once met the great tragedian in a dark passage, and gave him "Good-morrow, 'Mac,' " would have had the temerity to attempt it. But Miss Percival did not take her profession very deeply to heart; the Lancashire salaries barely paid for the physical wear and tear of early rehearsals and long performances; how, then, for that mental exhaustion of the true artist who lives in the character he represents?
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