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- Herausgeber: Musaicum Books
- Kategorie: Abenteuer, Thriller, Horror
- Sprache: Englisch
- Veröffentlichungsjahr: 2018
The Greatest Gothic Classics is a momentous anthology that showcases an exceptional array of literary styles and themes, encapsulating the darker contours of human experience and imagination. This collection spans the vivid terrains of terror, romance, and sublime mystery, characteristic of the Gothic tradition. From the ghostly echelons of haunted narratives to the twisted corridors of the uncanny, the anthology vibrantly oscillates between the supernatural and the psychological. Through tales of melancholy and madness, the works challenge the boundary between the real and surreal, while offering profound insights into societal anxieties and personal dilemmas of the times. This anthology brings together an illustrious roster of writers whose profound influence on Gothic literature is indelible. Figures like Edgar Allan Poe and Mary Shelley, alongside others such as Nathaniel Hawthorne and Bram Stoker, represent varied cultural and historical contexts, from the stormy cliffs of Britain to the burgeoning urban shadows of America. Each author contributes uniquely to the evolution of the genre, weaving their personal and cultural narratives into their works, thus enriching the genre's breadth and depth. The anthology not only reflects the era's literary movements but also acts as a mirror to the shifting societal landscapes and the universal quest for understanding the darker aspects of human nature. For aficionados of literature and first-time explorers alike, The Greatest Gothic Classics offers a rare opportunity to immerse into a multifaceted world. Readers are invited to traverse through this meticulously curated collection, which promises an enriching exploration of the grotesque and the sublime. The anthology serves not merely as a reflection of fears and imaginations of yesteryears but also as a significant educational tool that fosters deeper appreciation for the genre's complexity and its enduring relevance in exploring the ambiguities of life and human emotions. Engage with this collection to experience a rich dialogue among some of the most hauntingly profound voices in literary history.
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The Greatest Gothic Classics
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Table of Contents
Horace Walpole
The Castle of Otranto
A Gothic Story
Horace Walpole
Horace Walpole, the fourth son of Sir Robert Walpole, was born at 17 Arlington Street on 24 September, 1717. He spent the greater part of his boyhood at his father’s house in Chelsea, a building that is now part of the Hospital. At Eton, Walpole did not distinguish himself in any way. After leaving Cambridge in 1737, his father appointed him Inspector of Imports and Exports in the Customs House, and, in the following year, Usher to the Exchequer. In 1739 he began the usual “grand tour” on the Continent, where he developed a passion for antiquities. He returned to England at the end of 1741. His father died in March 1745, and in 1747 Walpole settled in the neighbourhood of Twickenham at Strawberry Hill. The transforming of this house into “a little Gothic castle” and museum was the chief occupation of the greater part of his life. Here he erected a private printing press on which he printed many of his own works as well as some poems of Gray. Although never really interested in politics, in 1754 Walpole entered Parliament as member for Castle Rising in Norfolk, vacating this seat three years later for that of Lynn. About this time, too, he made an unsuccessful attempt to save the unfortunate Admiral Byng. He went to Paris in 1765, where he formed a friendship with Madame du Deffand which lasted until her death in 1780. But from 1769 until his death, his life, apart from intermittent literary work and adding to his museum, was comparatively uneventful. In 1773, however, his comedy Nature Will Prevail was acted at the Haymarket with considerable success. In 1791, on the death of his brother, he acceded to the Earldom of Orford. He died at what was then 40 Berkeley Square on 2 March, 1797.
Preface To The First Edition
The following work was found in the library of an ancient Catholic family in the north of England. It was printed at Naples, in the black letter, in the year 1529. How much sooner it was written does not appear. The principal incidents are such as were believed in the darkest ages of Christianity; but the language and conduct have nothing that savours of barbarism. The style is of the purest Italian. If the story was written near the time when it is supposed to have happened, it must have been between 1095, the era of the first crusade, and 1243, the date of the last, or not long afterwards. There is no other circumstance in the work that can lead us to guess at the period in which the scene is laid; the names of the actors are evidently fictitious, and probably disguised on purpose; yet the Spanish names of the domestics seem to indicate, that this work was not composed until the establishment of the Arragonian kings in Naples had made Spanish appellations familiar in that country. The beauty of the diction, and the zeal of the author (moderated, however, by singular judgment), concur to make me think that the date of the composition was little antecedent to that of the impression. Letters were then in the most flourishing state in Italy, and contributed to dispel the empire of superstition, at that time so forcibly attacked by the reformers. It is not unlikely that an artful priest might endeavour to turn their own arms on the innovators; and might avail himself of his abilities as an author to confirm the populace in their ancient errors and superstitions. If this was his view, he has certainly acted with signal address. Such a work as the following would enslave a hundred vulgar minds beyond half the books of controversy that have been written from the days of Luther to the present hour.
This solution of the author’s motives is, however, offered as a mere conjecture. Whatever his views were, or whatever effects the execution of them might have, his work can only be laid before the public at present as a matter of entertainment. Even as such some apology for it is necessary. Miracles, visions, necromancies, dreams, and other preternatural events, are exploded now even from romances. That was not the case when our author wrote; much less when the story itself is supposed to have happened. Belief in every kind of prodigy was so established in those dark ages, that an author would not be faithful to the manners of the times who should omit all mention of them. He is not bound to believe them himself, but he must represent his actors as believing them.
If this air of the miraculous is excused, the reader will find nothing else unworthy of his perusal. Allow the possibility of the facts, and all the actors comport themselves as persons would do in their situation. There is no bombast, no similes, flowers, digressions, or unnecessary descriptions. Everything tends directly to the catastrophe. Never is the reader’s attention relaxed. The rules of the drama are almost observed throughout the conduct of the piece. The characters are well drawn, and still better maintained. Terror, the author’s principal engine, prevents the story from ever languishing; and it is so often contrasted by pity, that the mind is kept up in a constant vicissitude of interesting passions.
Some persons may, perhaps, think the characters of the domestics too little serious for the general cast of the story; but, besides their opposition to the principal personages, the art of the author is very observable in his conduct of the subalterns. They discover many passages essential to the story, which could not be well brought to light but by their naïveté and simplicity: in particular, the womanish terror and foibles of Bianca, in the last chapter, conduce essentially towards advancing the catastrophe.
It is natural for a translator to be prejudiced in favour of his adopted work. More impartial readers may not be so much struck with the beauties of this piece as I was. Yet I am not blind to my author’s defects. I could wish he had grounded his plan on a more useful moral than this; that the sins of the fathers are visited on their children to the third and fourth generation. I doubt whether, in his time, any more than at present, ambition curbed its appetite of dominion from the dread of so remote a punishment. And yet this moral is weakened by that less direct insinuation, that even such anathema may be diverted by devotion to St. Nicholas. Here the interest of the monk plainly gets the better of the judgment of the author. However, with all its faults, I have no doubt but the English reader will be pleased with a sight of this performance. The piety that reigns throughout, the lessons of virtue that are inculcated, and the rigid purity of the sentiments, exempt this work from the censure to which romances are but too liable. Should it meet with the success I hope for, I may be encouraged to reprint the original Italian, though it will tend to depreciate my own labour. Our language falls far short of the charms of the Italian, both for variety and harmony. The latter is peculiarly excellent for simple narrative. It is difficult in English to relate without falling too low or rising too high; a fault obviously occasioned by the little care taken to speak pure language in common conversation. Every Italian or Frenchman, of any rank, piques himself on speaking his own tongue correctly and with choice. I cannot flatter myself with having done justice to my author in this respect: his style is as elegant as his conduct of the passions is masterly. It is pity that he did not apply his talents to what they were evidently proper for—the theatre.
I will detain the reader no longer, but to make one short remark. Though the machinery is invention, and the names of the actors imaginary, I cannot but believe that the groundwork of the story is founded on truth. The scene is undoubtedly laid in some real castle. The author seems frequently, without design, to describe particular parts. The chamber, says he, on the right hand; the door on the left hand; the distance from the chapel to Conrad’s apartment: these, and other passages, are strong presumptions that the author had some certain building in his eye. Curious persons, who have leisure to employ in such researches, may possibly discover in the Italian writers the foundation on which our author has built. If a catastrophe, at all resembling that which he describes, is believed to have given rise to this work, it will contribute to interest the reader, and will make The Castle of Otranto a still more moving story.
Preface To The Second Edition
The favourable manner in which this little piece has been received by the public calls upon the author to explain the grounds on which he composed it. But before he opens those motives, it is fit that he should ask pardon of his readers for having offered his work to them under the borrowed personage of a translator. As diffidence of his own abilities, and the novelty of the attempt, were the sole inducements to assume that disguise, he flatters himself he shall appear excusable. He resigned his performance to the impartial judgment of the public; determined to let it perish in obscurity, if disapproved; nor meaning to avow such a trifle, unless better judges should pronounce that he might own it without a blush.
It was an attempt to blend the two kinds of romance: the ancient and the modern. In the former, all was imagination and improbability; in the latter, nature is always intended to be, and sometimes has been, copied with success. Invention has not been wanting; but the great resources of fancy have been dammed up, by a strict adherence to common life. But if in the latter species nature has cramped imagination, she did but take her revenge, having been totally excluded from old romances. The actions, sentiments, conversations, of the heroes and heroines of ancient days, were as unnatural as the machines employed to put them in motion.
The author of the following pages thought it possible to reconcile the two kinds. Desirous of leaving the powers of fancy at liberty to expatiate through the boundless realms of invention, and thence of creating more interesting situations, he wished to conduct the mortal agents in his drama according to the rules of probability; in short, to make them think, speak, and act, as it might be supposed mere men and women would do in extraordinary positions. He had observed, that in all inspired writings, the personages under the dispensation of miracles, and witnesses to the most stupendous phenomena, never lose sight of their human character; whereas, in the productions of romantic story, an improbable event never fails to be attended by an absurd dialogue. The actors seem to lose their senses, the moment the laws of nature have lost their tone. As the public have applauded the attempt, the author must not say he was entirely unequal to the task he had undertaken; yet if the new route he has struck out shall have paved a road for men of brighter talents, he shall own with pleasure and modesty, that he was sensible the plan was capable of receiving greater embellishments than his imagination or conduct of the passions could bestow on it.
With regard to the deportment of the domestics, on which I have touched in the former preface, I will beg leave to add a few words. The simplicity of their behaviour, almost tending to excite smiles, which at first seems not consonant to the serious cast of the work, appeared to me not only not improper, but was marked designedly in that manner. My rule was nature. However grave, important, or even melancholy, the sensations of princes and heroes may be, they do not stamp the same affections on their domestics; at least the latter do not, or should not be made to express their passions in the same dignified tone. In my humble opinion, the contrast between the sublime of the one and the naïveté of the other, sets the pathetic of the former in a stronger light. The very impatience which a reader feels while delayed by the coarse pleasantries of vulgar actors from arriving at the knowledge of the important catastrophe he expects, perhaps heightens, certainly proves, that he has been artfully interested in the depending event. But I had higher authority than my own opinion for this conduct. That great master of nature, Shakespeare, was the model I copied. Let me ask if his tragedies of Hamlet and Julius Cæsar would not lose a considerable share of their spirit and wonderful beauties, if the humour of the grave-diggers, the fooleries of Polonius, and the clumsy jests of the Roman citizens, were omitted, or vested in heroics? Is not the eloquence of Antony, the nobler and affectingly unaffected oration of Brutus, artificially exalted by the rude outbursts of nature from the mouths of their auditors? These touches remind one of the Grecian sculptor, who, to convey the idea of a Colossus within the dimensions of a seal, inserted a little boy measuring his thumb.
No, says Voltaire, in his edition of Corneille, this mixture of buffoonery and solemnity is intolerable.—Voltaire is a genius1—but not of Shakespeare’s magnitude. Without recurring to disputable authority, I appeal from Voltaire to himself. I shall not avail myself of his former encomiums on our mighty poet, though the French critic has twice translated the same speech in Hamlet, some years ago in admiration, latterly in derision; and I am sorry to find that his judgment grows weaker when it ought to be farther matured. But I shall make use of his own words, delivered on the general topic of the theatre, when he was neither thinking to recommend or decry Shakespeare’s practice; consequently at a moment when Voltaire was impartial. In the preface to his Enfant Prodigue, that exquisite piece, of which I declare my admiration, and which, should I live twenty years longer, I trust I shall never attempt to ridicule, he has these words, speaking of comedy (but equally applicable to tragedy, if tragedy is, as surely it ought to be, a picture of human life; nor can I conceive why occasional pleasantry ought more to be banished from the tragic scene, than pathetic seriousness from the comic): “On y voit un melange de serieux et de plaisanterie, de comique et de touchant; souvent meme une seule avanture produit tous ces contrastes. Rien n’est si commun qu’une maison dans laquelle un pere gronde, une fille occupée de sa passion pleure; le fils se moque des deux, et quelques parens prennent part differemment à la scene, etc. Nous n’inferons pas de là que toute comedie doive avoir des scenes de bouffonerie et des scenes attendrissantes: il y a beaucoup de tres bonnes pièces où il ne regne que de la gayeté; d’autres toutes serieuses; d’autres melangées: d’autres où l’attendrissement va jusqu’aux larmes: il ne faut donner l’exclusion à aucun genre: et si l’on me demandoit quel genre est le meilleur, je repondrois, celui qui est le mieux traité.”2 Surely if a comedy may be toute serieuse, tragedy may now and then, soberly, be indulged in a smile. Who shall proscribe it? shall the critic, who, in self-defence, declares that no kind ought to be excluded from comedy, give laws to Shakespeare?
I am aware that the preface from whence I have quoted these passages does not stand in Monsieur de Voltaire’s name, but in that of his editor; yet who doubts that the editor and author were the same person? or where is the editor who has so happily possessed himself of his author’s style and brilliant ease of argument? These passages were indubitably the genuine sentiments of that great writer. In his epistle to Maffei, prefixed to his Merope, he delivers almost the same opinion, though I doubt with a little irony. I will repeat his words, and then give my reason for quoting them. After translating a passage in Maffei’s Merope, Monsieur de Voltaire adds, “Tous ces traits sont naïfs: tout y est convenable à ceux que vous introduisez sur la scene, et aux mœurs que vous leur donnez. Ces familiarités naturelles eussent été, à ce que je crois, bien reçues dans Athenes; mais Paris et notre parterre veulent une autre espece de simplicité.”3 I doubt, I say, whether there is not a grain of sneer in this and other passages of that epistle; yet the force of truth is not damaged by being tinged with ridicule. Maffei was to represent a Grecian story: surely the Athenians were as competent judges of Grecian manners and of the propriety of introducing them, as the parterre of Paris. On the contrary, says Voltaire (and I cannot but admire his reasoning), there were but ten thousand citizens at Athens, and Paris has near eight hundred thousand inhabitants, among whom one may reckon thirty thousand judges of dramatic works.—Indeed! but, allowing so numerous a tribunal, I believe this is the only instance in which it was ever pretended, that thirty thousand persons, living near two thousand years after the era in question, were, upon the mere face of the poll, declared better judges than the Grecians themselves of what ought to be the manners of a tragedy written on a Grecian story.
I will not enter into a discussion of the espece de simplicité, which the parterre of Paris demands, nor of the shackles with which the thirty thousand judges have cramped their poetry, the chief merit of which, as I gather from repeated passages in The New Commentary on Corneille, consists in vaulting in spite of those fetters; a merit which, if true, would reduce poetry, from the lofty effort of imagination, to a puerile and most contemptible labour—difficiles nugæ with a witness! I cannot, however, help mentioning a couplet, which, to my English ears, always sounded as the flattest and most trifling instance of circumstantial propriety: but which Voltaire, who has dealt so severely with nine parts in ten of Corneille’s works, has singled out to defend in Racine:
De son appartement cette porte est prochaine,Et cette autre conduit dans celui de la reine.
In English:
To Cæsar’s closet through this door you come,And t’other leads to the queen’s drawing-room.
Unhappy Shakespeare! hadst thou made Rosencrantz inform his compeer, Guildenstern, of the ichnography of the palace of Copenhagen, instead of presenting us with a moral dialogue between the Prince of Denmark and the grave-digger, the illuminated pit of Paris would have been instructed a second time to adore thy talents.
The result of all I have said is, to shelter my own daring under the canon of the brightest genius this country, at least, has produced. I might have pleaded, that having created a new species of romance, I was at liberty to lay down what rules I thought fit for the conduct of it: but I should be more proud of having imitated, however faintly, weakly, and at a distance, so masterly a pattern, than to enjoy the entire merit of invention, unless I could have marked my work with genius as well as with originality. Such as it is, the public have honoured it sufficiently, whatever rank their suffrages allot to it.
SONNETTO THE RIGHT HONOURABLE LADY MARY COKE
The gentle maid, whose hapless taleThese melancholy pages speakSay, gracious lady, shall she failTo draw the tear adown thy cheek?
No; never was thy pitying breastInsensible to human woes;Tender, though firm, it melts distrestFor weaknesses it never knows.
Oh! guard the marvels I relateOf fell ambition scourg’d by fate,From reason’s peevish blame.Blest with thy smile, my dauntless sailI dare expand to fancy’s gale.For sure thy smiles are fame.
H. W.
1.The following remark is foreign to the present question, yet excusable in an Englishman, who is willing to think that the severe criticisms of so masterly a writer as Voltaire on our immortal countryman, may have been the effusions of wit and precipitation, rather than the result of judgment and attention. May not the critic's skill, in the force and powers of our language, have been as incorrect and incompetent as his knowledge of our history? of the latter, his own pen has dropped glaring evidence. In his preface to Thomas Corneille's Earl of Essex, Monsieur de Voltaire allows that the truth of history has been grossly perverted in that piece. In excuse he pleads, that when Corneille wrote, the noblesse of France were much unread in English story; but now, says the commentator, that they study it, such misrepresentations would not be suffered—yet forgetting that the period of ignorance is lapsed, and that it is not very necessary to instruct the knowing, he undertakes, from the overflowing of his own reading, to give the nobility of his own country a detail of Queen Elizabeth's favourites—of whom, says he, Robert Dudley was the first, and the Earl of Leicester the second. Could one have believed that it would be necessary to inform Monsieur de Voltaire himself, that Robert Dudley and the Earl of Leicester were the same person? "One sees there a mixture of the grave and the light, of the comic and the tragic; often even a single adventure exhibits all these contrasts. Nothing is more common than a house in which the father scolds, a girl occupied by her passions weeps, the son ridicules both, some relations take a differing part in the scene, etc. We do not infer from this that every comedy ought to have scenes of buffoonery and of gravity. Now there is gaiety, now seriousness, now a mixture. Then there are others in which tenderness moves one to tears. We must not exclude any type, and if I were asked which is the best I would answer, 'the one which is best made.'"
2."One sees there a mixture of the grave and the light, of the comic and the tragic; often even a single adventure exhibits all these contrasts. Nothing is more common than a house in which the father scolds, a girl occupied by her passions weeps, the son ridicules both, some relations take a differing part in the scene, etc. We do not infer from this that every comedy ought to have scenes of buffoonery and of gravity. Now there is gaiety, now seriousness, now a mixture. Then there are others in which tenderness moves one to tears. We must not exclude any type, and if I were asked which is the best I would answer, 'the one which is best made.'"
3."All of these characteristics are naive. Everything is convenient to those who introduce the scene and to the customs that you give them. These natural familiarities would, I think, have been well received in Athens, but Paris and our nation prefer another type of subtlety.
Chapter I
Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza’s daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad’s infirm state of health would permit. Manfred’s impatience for this ceremonial was remarked by his family and neighbours. The former, indeed, apprehending the severity of their prince’s disposition, did not dare to utter their surmises on this precipitation. Hippolita, his wife, an amiable lady, did sometimes venture to represent the danger of marrying their only son so early, considering his great youth, and greater infirmities; but she never received any other answer than reflections on her own sterility, who had given him but one heir. His tenants and subjects were less cautious in their discourses: they attributed this hasty wedding to the prince’s dread of seeing accomplished an ancient prophecy, which was said to have pronounced, that the castle and lordship of Otranto should pass from the present family, whenever the real owner should be grown too large to inhabit it. It was difficult to make any sense of this prophecy; and still less easy to conceive what it had to do with the marriage in question. Yet these mysteries, or contradictions, did not make the populace adhere the less to their opinion.
Young Conrad’s birthday was fixed for his espousals. The company was assembled in the chapel of the castle, and everything ready for beginning the divine office, when Conrad himself was missing. Manfred, impatient of the least delay, and who had not observed his son retire, dispatched one of his attendants to summon the young prince. The servant, who had not stayed long enough to have crossed the court to Conrad’s apartment, came running back breathless, in a frantic manner, his eyes staring, and foaming at the mouth. He said nothing, but pointed to the court. The company were struck with terror and amazement. The Princess Hippolita, without knowing what was the matter, but anxious for her son, swooned away. Manfred, less apprehensive than enraged at the procrastination of the nuptials, and at the folly of his domestic, asked imperiously what was the matter? The fellow made no answer, but continued pointing towards the court-yard; and, at last, after repeated questions put to him, cried out:
“Oh! the helmet! the helmet!”
In the mean time, some of the company had run into the court, from whence was heard a confused noise of shrieks, horror, and surprise. Manfred, who began to be alarmed at not seeing his son, went himself to get information of what occasioned this strange confusion. Matilda remained endeavouring to assist her mother, and Isabella stayed for the same purpose, and to avoid showing any impatience for the bridegroom, for whom, in truth, she had conceived little affection.
The first thing that struck Manfred’s eyes was a group of his servants endeavouring to raise something that appeared to him a mountain of sable plumes. He gazed without believing his sight. “What are ye doing?” cried Manfred, wrathfully. “Where is my son?”
A volley of voices replied, “Oh! my lord! the prince! the prince! the helmet! the helmet!”
Shocked with these lamentable sounds, and dreading he knew not what, he advanced hastily—but, what a sight for a father’s eyes!—he beheld his child dashed to pieces, and almost buried under an enormous helmet, a hundred times more large than any casque ever made for human being, and shaded with a proportionable quantity of black feathers.
The horror of the spectacle, the ignorance of all around how this misfortune had happened, and, above all, the tremendous phenomenon before him, took away the prince’s speech. Yet his silence lasted longer than even grief could occasion. He fixed his eyes on what he wished in vain to believe a vision; and seemed less attentive to his loss, than buried in meditation on the stupendous object that had occasioned it. He touched, he examined, the fatal casque; nor could even the bleeding, mangled remains of the young prince divert the eyes of Manfred from the portent before him. All who had known his partial fondness for young Conrad were as much surprised at their prince’s insensibility, as thunderstruck themselves at the miracle of the helmet. They conveyed the disfigured corpse into the hall, without receiving the least direction from Manfred. As little was he attentive to the ladies who remained in the chapel; on the contrary, without mentioning the unhappy princesses, his wife and daughter, the first sounds that dropped from Manfred’s lips were, “Take care of the Lady Isabella.”
The domestics, without observing the singularity of this direction, were guided by their affection to their mistress to consider it as peculiarly addressed to her situation, and flew to her assistance. They conveyed her to her chamber more dead than alive, and indifferent to all the strange circumstances she heard, except the death of her son. Matilda, who doted on her mother, smothered her own grief and amazement, and thought of nothing but assisting and comforting her afflicted parent. Isabella, who had been treated by Hippolita like a daughter, and who returned that tenderness with equal duty and affection, was scarce less assiduous about the princess; at the same time endeavouring to partake and lessen the weight of sorrow which she saw Matilda strove to suppress, for whom she had conceived the warmest sympathy of friendship. Yet her own situation could not help finding its place in her thoughts. She felt no concern for the death of young Conrad, except commiseration; and she was not sorry to be delivered from a marriage which had promised her little felicity, either from her destined bridegroom, or from the severe temper of Manfred, who, though he had distinguished her by great indulgence, had impressed her mind with terror, from his causeless rigour to such amiable princesses as Hippolita and Matilda.
While the ladies were conveying the wretched mother to her bed, Manfred remained in the court, gazing on the ominous casque, and regardless of the crowd which the strangeness of the event had now assembled around him. The few words he articulated tended solely to inquiries, whether any man knew from whence it could have come? Nobody could give him the least information. However, as it seemed to be the sole object of his curiosity, it soon became so to the rest of the spectators, whose conjectures were as absurd and improbable, as the catastrophe itself was unprecedented. In the midst of their senseless guesses, a young peasant, whom rumour had drawn thither from a neighbouring village, observed, that the miraculous helmet was exactly like that on the figure in black marble of Alfonso the Good, one of their former princes, in the church of St. Nicholas.
“Villain! what sayest thou?” cried Manfred, starting from his trance in a tempest of rage, and seizing the young man by the collar; “how darest thou utter such treason? thy life shall pay for it.”
The spectators, who as little comprehended the cause of the prince’s fury as all the rest they had seen, were at a loss to unravel this new circumstance. The young peasant himself was still more astonished, not conceiving how he had offended the prince; yet, recollecting himself, with a mixture of grace and humility, he disengaged himself from Manfred’s gripe, and then, with an obeisance which discovered more jealousy of innocence than dismay, he asked, with respect, of what he was guilty? Manfred, more enraged at the vigour, however decently exerted, with which the young man had shaken off his hold, than appeased by his submission, ordered his attendants to seize him, and, if he had not been withheld by his friends, whom he had invited to the nuptials, would have poniarded the peasant in their arms.
During this altercation, some of the vulgar spectators had run to the great church, which stood near the castle, and came back open-mouthed, declaring that the helmet was missing from Alfonso’s statue. Manfred, at this news, grew perfectly frantic; and, as if he sought a subject on which to vent the tempest within him, he rushed again on the young peasant, crying, “Villain! monster! sorcerer! ’tis thou hast done this! ’tis thou hast slain my son!”
The mob, who wanted some object within the scope of their capacities, on whom they might discharge their bewildered reasonings, caught the words from the mouth of their lord, and re-echoed, “Ay, ay; ’tis he, ’tis he! he has stolen the helmet from good Alfonso’s tomb, and dashed out the brains of our young prince with it,” never reflecting how enormous the disproportion was between the marble helmet that had been in the church, and that of steel before their eyes; nor how impossible it was for a youth, seemingly not twenty, to wield a piece of armour of so prodigious a weight.
The folly of these ejaculations brought Manfred to himself: yet, whether provoked at the peasant having observed the resemblance between the two helmets, and thereby led to the farther discovery of the absence of that in the church, or wishing to bury any fresh rumour under so impertinent a supposition, he gravely pronounced that the young man was certainly a necromancer; and that till the Church could take cognizance of the affair, he would have the magician, whom they had thus detected, kept prisoner under the helmet itself, which he ordered his attendants to raise, and place the young man under it; declaring he should be kept there without food, with which his own infernal art might furnish him.
It was in vain for the youth to represent against this preposterous sentence: in vain did Manfred’s friends endeavour to divert him from this savage and ill-grounded resolution. The generality were charmed with their lord’s decision, which to their apprehensions carried great appearance of justice, as the magician was to be punished by the very instrument with which he had offended; nor were they struck with the least compunction at the probability of the youth being starved, for they firmly believed that, by his diabolical skill, he could easily supply himself with nutriment.
Manfred thus saw his commands even cheerfully obeyed; and appointing a guard, with strict orders to prevent any food being conveyed to the prisoner, he dismissed his friends and attendants, and retired to his own chamber, after locking the gates of the castle, in which he suffered none but his domestics to remain.
In the meantime, the care and zeal of the young ladies had brought the Princess Hippolita to herself, who, amidst the transports of her own sorrow, frequently demanded news of her lord, would have dismissed her attendants to watch over him, and at last enjoined Matilda to leave her, and visit and comfort her father. Matilda, who wanted not affectionate duty to Manfred, though she trembled at his austerity, obeyed the orders of Hippolita, whom she tenderly recommended to Isabella; and inquiring of the domestics of her father, was informed that he was retired to his chamber, and had commanded that nobody should have admittance to him. Concluding that he was immersed in sorrow for the death of her brother, and fearing to renew his tears by the sight of his sole remaining child, she hesitated whether she should break in upon his affliction: yet solicitude for him, backed by the commands of her mother, encouraged her to venture disobeying the orders he had given; a fault she had never been guilty of before. The gentle timidity of her nature made her pause for some minutes at his door. She heard him traverse his chamber backwards and forwards with disordered steps; a mood which increased her apprehensions. She was however just going to beg admittance, when Manfred suddenly opened the door; and as it was now twilight, concurring with the disorder of his mind, he did not distinguish the person, but asked angrily, who it was? Matilda replied, trembling, “My dearest father, it is I, your daughter.”
Manfred, stepping back hastily, cried, “Begone, I do not want a daughter”; and, flinging back abruptly, clapped the door against the terrified Matilda.
She was too well acquainted with her father’s impetuosity to venture a second intrusion. When she had a little recovered the shock of so bitter a reception, she wiped away her tears, to prevent the additional stab that the knowledge of it would give to Hippolita, who questioned her in the most anxious terms on the health of Manfred, and how he bore his loss. Matilda assured her he was well, and supported his misfortune with manly fortitude.
“But will he not let me see him?” said Hippolita, mournfully; “will he not permit me to blend my tears with his, and shed a mother’s sorrows in the bosom of her lord? Or do you deceive me, Matilda? I know how Manfred doted on his son: is not the stroke too heavy for him? has he not sunk under it? You do not answer me:—alas! I dread the worst!—raise me, my maidens; I will, I will see my lord. Bear me to him instantly. He is dearer to me even than my children.”
Matilda made signs to Isabella to prevent Hippolita’s rising; and both those lovely young women were using their gentle violence to stop and calm the princess, when a servant, on the part of Manfred, arrived, and told Isabella that his lord demanded to speak with her.
“With me!” cried Isabella.
“Go,” said Hippolita, relieved by a message from her lord: “Manfred cannot support the sight of his own family. He thinks you less disordered than we are, and dreads the shock of my grief. Console him, dear Isabella, and tell him I will smother my own anguish rather than add to his.”
As it was now evening, the servant who conducted Isabella bore a torch before her. When they came to Manfred, who was walking impatiently about the gallery, he started, and said hastily:
“Take away that light, and begone.” Then shutting the door impetuously, he flung himself upon a bench against the wall, and bade Isabella sit by him. She obeyed trembling.
“I sent for you, lady,” said he, and then stopped, under great appearance of confusion.
“My lord!”
“Yes, I sent for you on a matter of great moment,” resumed he: “dry your tears, young lady:—you have lost your bridegroom. Yes, cruel fate! and I have lost the hopes of my race! but Conrad was not worthy of your beauty.”
“How! my lord,” said Isabella; “sure you do not suspect me of not feeling the concern I ought! my duty and affection would have always——”
“Think no more of him,” interrupted Manfred: “he was a sickly, puny child; and Heaven has perhaps taken him away, that I might not trust the honours of my house on so frail a foundation. The line of Manfred calls for numerous supports. My foolish fondness for that boy blinded the eyes of my prudence—but it is better as it is. I hope, in a few years, to have reason to rejoice at the death of Conrad.”
Words cannot paint the astonishment of Isabella. At first she apprehended that grief had disordered Manfred’s understanding. Her next thought suggested that this strange discourse was designed to ensnare her: she feared that Manfred had perceived her indifference for his son; and in consequence of that idea she replied:
“Good my lord, do not doubt my tenderness: my heart would have accompanied my hand. Conrad would have engrossed all my care; and wherever fate shall dispose of me, I shall always cherish his memory, and regard your highness and the virtuous Hippolita as my parents.”
“Curse on Hippolita!” cried Manfred: “forget her from this moment, as I do. In short, lady, you have missed a husband undeserving of your charms: they shall now be better disposed of. Instead of a sickly boy, you shall have a husband in the prime of his age, who will know how to value your beauties, and who may expect a numerous offspring.”
“Alas! my lord,” said Isabella, “my mind is too sadly engrossed by the recent catastrophe in your family to think of another marriage. If ever my father returns, and it shall be his pleasure, I shall obey, as I did when I consented to give my hand to your son; but, until his return, permit me to remain under your hospitable roof, and employ the melancholy hours in assuaging yours, Hippolita’s, and the fair Matilda’s affliction.”
“I desired you once before,” said Manfred, angrily, “not to name that woman: from this hour she must be a stranger to you, as she must be to me:—in short, Isabella, since I cannot give you my son, I offer you myself.”
“Heavens!” cried Isabella, waking from her delusion, “what do I hear? You, my lord! You! my father-in-law, the father of Conrad! the husband of the virtuous and tender Hippolita!”
“I tell you,” said Manfred imperiously, “Hippolita is no longer my wife; I divorce her from this hour. Too long has she cursed me by her unfruitfulness. My fate depends on having sons, and this night I trust will give a new date to my hopes.”
At those words he seized the cold hand of Isabella, who was half dead with fright and horror. She shrieked and started from him. Manfred rose to pursue her, when the moon, which was now up and gleamed in at the opposite casement, presented to his sight the plumes of the fatal helmet, which rose to the height of the windows, waving backwards and forwards in a tempestuous manner, and accompanied with a hollow and rustling sound. Isabella, who gathered courage from her situation, and who dreaded nothing so much as Manfred’s pursuit of his declaration, cried:
“Look, my lord! see, Heaven itself declares against your impious intentions!”
“Heaven nor hell shall impede my designs,” said Manfred, advancing again to seize the princess. At that instant the portrait of his grandfather, which hung over the bench where they had been sitting, uttered a deep sigh, and heaved its breast. Isabella, whose back was turned to the picture, saw not the motion, nor whence the sound came but started, and said:
“Hark, my lord! what sound was that?” and at the same time made towards the door. Manfred, distracted between the flight of Isabella, who had now reached the stairs, and yet unable to keep his eyes from the picture, which began to move, had, however, advanced some steps after her, still looking backwards on the portrait, when he saw it quit its panel, and descend on the floor with a grave and melancholy air.
“Do I dream?” cried Manfred, returning; “or are the devils themselves in league against me? Speak, infernal spectre! or, if thou art my grandsire, why dost thou, too, conspire against thy wretched descendant, who too dearly pays for——” Ere he could finish the sentence, the vision sighed again, and made a sign to Manfred to follow him.
“Lead on!” cried Manfred: “I will follow thee to the gulf of perdition.” The spectre marched sedately, but dejected, to the end of the gallery, and turned into a chamber on the right hand. Manfred accompanied him at a little distance, full of anxiety and horror, but resolved. As he would have entered the chamber, the door was clapped to with violence by an invisible hand. The prince, collecting courage from this delay, would have forcibly burst open the door with his foot, but found that it resisted his utmost efforts.
“Since hell will not satisfy my curiosity,” said Manfred, “I will use the human means in my power for preserving my race; Isabella shall not escape me.”
That lady, whose resolution had given way to terror the moment she had quitted Manfred, continued her flight to the bottom of the principal staircase. There she stopped, not knowing whither to direct her steps, nor how to escape from the impetuosity of the prince. The gates of the castle she knew were locked, and guards placed in the court. Should she, as her heart prompted her, go and prepare Hippolita for the cruel destiny that awaited her, she did not doubt but Manfred would seek her there, and that his violence would incite him to double the injury he meditated, without leaving room for them to avoid the impetuosity of his passions. Delay might give him time to reflect on the horrid measures he had conceived, or produce some circumstance in her favour, if she could, for that night at least, avoid his odious purpose. Yet where conceal herself? how avoid the pursuit he would infallibly make throughout the castle? As these thoughts passed rapidly through her mind, she recollected a subterraneous passage which led from the vaults of the castle to the church of St. Nicholas. Could she reach the altar before she was overtaken, she knew even Manfred’s violence would not dare to profane the sacredness of the place; and she determined, if no other means of deliverance offered, to shut herself up for ever among the holy virgins, whose convent was contiguous to the cathedral. In this resolution, she seized a lamp that burned at the foot of the staircase, and hurried towards the secret passage.
The lower part of the castle was hollowed into several intricate cloisters; and it was not easy for one under so much anxiety to find the door that opened into the cavern. An awful silence reigned throughout those subterraneous regions, except now and then some blasts of wind that shook the doors she had passed, and which, grating on the rusty hinges, were re-echoed through that long labyrinth of darkness. Every murmur struck her with new terror;—yet more she dreaded to hear the wrathful voice of Manfred urging his domestics to pursue her. She trod as softly as impatience would give her leave,—yet frequently stopped, and listened to hear if she was followed. In one of those moments she thought she heard a sigh. She shuddered, and recoiled a few paces. In a moment she thought she heard the step of some person. Her blood curdled: she concluded it was Manfred. Every suggestion that horror could inspire rushed into her mind. She condemned her rash flight, which had thus exposed her to his rage in a place where her cries were not likely to draw anybody to her assistance. Yet the sound seemed not to come from behind: if Manfred knew where she was, he must have followed her: she was still in one of the cloisters, and the steps she had heard were too distinct to proceed from the way she had come. Cheered with this reflection, and hoping to find a friend in whoever was not the prince, she was going to advance, when a door that stood ajar, at some distance to the left, was opened gently; but ere her lamp, which she held up, could discover who opened it, the person retreated precipitately on seeing the light.
Isabella, whom every incident was sufficient to dismay, hesitated whether she should proceed. Her dread of Manfred soon outweighed every other terror. The very circumstance of the person avoiding her, gave her a sort of courage. It could only be, she thought, some domestic belonging to the castle. Her gentleness had never raised her an enemy, and conscious innocence made her hope that, unless sent by the prince’s order to seek her, his servants would rather assist than prevent her flight. Fortifying herself with these reflections, and believing, by what she could observe, that she was near the mouth of the subterraneous cavern, she approached the door that had been opened; but a sudden gust of wind, that met her at the door, extinguished her lamp, and left her in total darkness.
Words cannot paint the horror of the princess’s situation. Alone, in so dismal a place, her mind impressed with all the terrible events of the day, hopeless of escaping, expecting every moment the arrival of Manfred, and far from tranquil on knowing she was within reach of somebody, she knew not whom, who for some cause seemed concealed thereabouts; all these thoughts crowded on her distracted mind, and she was ready to sink under her apprehensions. She addressed herself to every saint in heaven, and inwardly implored their assistance. For a considerable time she remained in an agony of despair. At last, as softly as was possible, she felt for the door, and having found it, entered trembling into the vault from whence she had heard the sigh and steps. It gave her a kind of momentary joy to perceive an imperfect ray of clouded moonshine gleam from the roof of the vault, which seemed to be fallen in, and from whence hung a fragment of earth or building, she could not distinguish which, that appeared to have been crushed inwards. She advanced eagerly towards this chasm, when she discerned a human form standing close against the wall.
She shrieked, believing it the ghost of her betrothed Conrad. The figure, advancing, said in a submissive voice, “Be not alarmed, lady, I will not injure you.”
Isabella, a little encouraged by the words and tone of voice of the stranger, and recollecting that this must be the person who had opened the door, recovered her spirits enough to reply, “Sir, whoever you are, take pity on a wretched princess, standing on the brink of destruction: assist me to escape from this fatal castle, or, in a few moments, I may be made miserable for ever.”
“Alas!” said the stranger, “what can I do to assist you? I will die in your defence; but I am unacquainted with the castle, and want——”
“Oh!” said Isabella, hastily interrupting him, “help me but to find a trap-door that must be hereabout, and it is the greatest service you can do me, for I have not a minute to lose.” Saying these words, she felt about on the pavement, and directed the stranger to search likewise, for a smooth piece of brass enclosed in one of the stones. “That,” said she, “is the lock which opens with a spring, of which I know the secret. If we can find that, I may escape; if not, alas! courteous stranger, I fear I shall have involved you in my misfortunes. Manfred will suspect you for the accomplice of my flight, and you will fall a victim to his resentment.”
“I value not my life,” said the stranger; “and it will be some comfort to lose it, in trying to deliver you from his tyranny.”
“Generous youth!” said Isabella, “how shall I ever requite——”
As she uttered these words, a ray of moonshine, streaming through a cranny of the ruin above, shone directly on the lock they sought.—“Oh! transport!” said Isabella, “here is the trap-door”; and, taking out the key, she touched the spring, which, starting aside, discovered an iron ring. “Lift up the door,” said the princess. The stranger obeyed; and beneath appeared some stone steps descending into a vault totally dark. “We must go down here,” said Isabella: “follow me; dark and dismal as it is, we cannot miss our way; it leads directly to the church of St. Nicholas—but, perhaps,” added the princess, modestly, “you have no reason to leave the castle, nor have I farther occasion for your service; in a few minutes I shall be safe from Manfred’s rage—only let me know to whom I am so much obliged.”
“I will never quit you,” said the stranger eagerly, “until I have placed you in safety—nor think me, princess, more generous than I am; though you are my principal care——”
The stranger was interrupted by a sudden noise of voices that seemed approaching, and they soon distinguished these words: “Talk not to me of necromancers; I tell you she must be in the castle; I will find her in spite of enchantment.”
“Oh, heavens!” cried Isabella, “it is the voice of Manfred; make haste, or we are ruined! and shut the trap-door after you.” Saying this, she descended the steps precipitately; and as the stranger hastened to follow her, he let the door slip out of his hands: it fell, and the spring closed over it. He tried in vain to open it, not having observed Isabella’s method of touching the spring; nor had he many moments to make an essay. The noise of the falling door had been heard by Manfred, who, directed by the sound, hastened thither, attended by his servants with torches.
“It must be Isabella,” cried Manfred, before he entered the vault: “she is escaping by the subterraneous passage, but she cannot have got far.” What was the astonishment of the prince, when, instead of Isabella, the light of the torches discovered to him the young peasant, whom he thought confined under the fatal helmet. “Traitor!” said Manfred, “how camest thou here? I thought thee in durance above in the court.”
“I am no traitor,” replied the young man boldly, “nor am I answerable for your thoughts.”
“Presumptuous villain!” cried Manfred, “dost thou provoke my wrath? Tell me; how hast thou escaped from above? Thou hast corrupted thy guards, and their lives shall answer it.”
“My poverty,” said the peasant calmly, “will disculpate them: though the ministers of a tyrant’s wrath, to thee they are faithful, and but too willing to execute the orders which you unjustly imposed upon them.”
“Art thou so hardy as to dare my vengeance?” said the prince; “but tortures shall force the truth from thee. Tell me; I will know thy accomplices.”
“There was my accomplice!” said the youth, smiling and pointing to the roof.
Manfred ordered the torches to be held up, and perceived that one of the cheeks of the enchanted casque had forced its way through the pavement of the court, as his servants had let it fall over the peasant, and had broken through into the vault, leaving a gap through which the peasant had pressed himself some minutes before he was found by Isabella. “Was that the way by which thou didst descend?” said Manfred.
“It was,” said the youth.
“But what noise was that,” said Manfred, “which I heard, as I entered the cloister?”
“A door clapped,” said the peasant; “I heard it as well as you.”
“What door?” said Manfred hastily.
“I am not acquainted with your castle,” said the peasant: “this is the first time I ever entered it; and this vault the only part of it within which I ever was.”
“But I tell thee,” said Manfred, wishing to find out if the youth had discovered the trap-door, “it was this way I heard the noise; my servants heard it too.”
“My lord,” interrupted one of them officiously, “to be sure it was the trap-door, and he was going to make his escape.”
“Peace! blockhead,” said the prince angrily; “if he was going to escape, how should he come on this side? I will know from his own mouth what noise it was I heard. Tell me truly, thy life depends on thy veracity.”
“My veracity is dearer to me than my life,” said the peasant; “nor would I purchase the one by forfeiting the other.”
“Indeed, young philosopher!” said Manfred, contemptuously; “tell me, then, what was that noise I heard?”
“Ask me, what I can answer,” said he, “and put me to death instantly, if I tell you a lie.”
Manfred, growing impatient at the steady valour and indifference of the youth, cried, “Well, then, thou man of truth! answer; was it the fall of the trap-door that I heard?”
“It was,” said the youth.
“It was!” said the prince; “and how didst thou come to know there was a trap-door here?”
“I saw the plate of brass by a gleam of moonshine,” replied he.
“But what told thee it was a lock?” said Manfred; “how didst thou discover the secret of opening it?”
“Providence, that delivered me from the helmet, was able to direct me to the spring of a lock,” said he.
“Providence should have gone a little farther, and have placed thee out of the reach of my resentment,” said Manfred: “when Providence had taught thee to open the lock, it abandoned thee for a fool, who did not know how to make use of its favours. Why didst thou not pursue the path pointed out for thy escape? Why didst thou shut the trap-door before thou hadst descended the steps?”
“I might ask you, my lord,” said the peasant, “how I, totally unacquainted with your castle, was to know that those steps led to any outlet? but I scorn to evade your questions. Wherever those steps led to, perhaps, I should have explored the way. I could not be in a worse situation than I was. But the truth is, I let the trap-door fall: your immediate arrival followed. I had given the alarm—what imported it to me whether I was seized a minute sooner or a minute later?”
“Thou art a resolute villain for thy years,” said Manfred; “yet, on reflection, I suspect thou dost but trifle with me: thou hast not yet told me how thou didst open the lock.”
“That I will show you, my lord,” said the peasant; and, taking up a fragment of stone that had fallen from above, he laid himself on the trap-door, and began to beat on the piece of brass that covered it; meaning to gain time for the escape of the princess. This presence of mind, joined to the frankness of the youth, staggered Manfred. He even felt a disposition towards pardoning one who had been guilty of no crime. Manfred was not one of those savage tyrants who wanton in cruelty unprovoked. The circumstances of his fortune had given an asperity to his temper, which was naturally humane; and his virtues were always ready to operate, when his passions did not obscure his reason.
