登陆注册
5437300000034

第34章 CHAPTER XII(1)

THE DISASTERS OF MRS. VAN BRANDT

A MAN who passes his evening as I had passed mine, may go to bed afterward if he has nothing better to do. But he must not rank among the number of his reasonable anticipations the expectation of getting a night's rest. The morning was well advanced, and the hotel was astir, before I at last closed my eyes in slumber. When I awoke, my watch informed me that it was close on noon. I rang the bell. My servant appeared with a letter in his hand. It had been left for me, three hours since, by a lady who had driven to the hotel door in a carriage, and had then driven away again. The man had found me sleeping when he entered my bed-chamber, and, having received no orders to wake me overnight, had left the letter on the sitting-room table until he heard my bell. Easily guessing who my correspondent was, I opened the letter. An inclosure fell out of it--to which, for the moment, I paid no attention. I turned eagerly to the first lines. They announced that the writer had escaped me for the second time: early that morning she had left Edinburgh. The paper inclosed proved to be my letter of introduction to the dressmaker returned to me. I was more than angry with her--I felt her second flight from me as a downright outrage. In five minutes I had hurried on my clothes and was on my way to the inn in the Canongate as fast as a horse could draw me. The servants could give me no information. Her escape had been effected without their knowledge. The landlady, to whom I next addressed myself, deliberately declined to assist me in any way whatever.

"I have given the lady my promise," said this obstinate person, "to answer not one word to any question that you may ask me about her. In my belief, she is acting as becomes an honest woman in removing herself from any further communication with you. I saw you through the keyhole last night, sir. I wish you good-morning." Returning to my hotel, I left no attempt to discover her untried. I traced the coachman who had driven her. He had set her down at a shop, and had then been dismissed. I questioned the shop-keeper. He remembered that he had sold some articles of linen to a lady with her veil down and a traveling-bag in her hand, and he remembered no more. I circulated a description of her in the different coach offices. Three "elegant young ladies, with their veils down, and with traveling-bags in their hands," answered to the description; and which of the three was the fugitive of whom I was in search, it was impossible to discover. In the days of railways and electric telegraphs I might have succeeded in tracing her. In the days of which I am now writing, she set investigation at defiance. I read and reread her letter, on the chance that some slip of the pen might furnish the clew which I had failed to find in any other way. Here is the narrative that she addressed to me, copied from the original, word for word:

"DEAR SIR--Forgive me for leaving you again as I left you in Perthshire. After what took place last night, I have no other choice (knowing my own weakness, and the influence that you seem to have over me) than to thank you gratefully for your kindness, and to bid you farewell. My sad position must be my excuse for separating myself from you in this rude manner, and for venturing to send you back your letter of introduction. If I use the letter, I only offer you a means of communicating with me. For your sake, as well as for mine, this mu st not be. I must never give you a second opportunity of saying that you love me; I must go away, leaving no trace behind by which you can possibly discover me.

"But I cannot forget that I owe my poor life to your compassion and your courage. You, who saved me, have a right to know what the provocation was that drove me to drowning myself, and what my situation is, now that I am (thanks to you) still a living woman. You shall hear my sad story, sir; and I will try to tell it as briefly as possible.

"I was married, not very long since, to a Dutch gentleman, whose name is Van Brandt. Please excuse my entering into family particulars. I have endeavored to write and tell you about my dear lost father and my old home. But the tears come into my eyes when I think of my happy past life. I really cannot see the lines as I try to write them.

"Let me, then, only say that Mr. Van Brandt was well recommended to my good father before I married. I have only now discovered that he obtained these recommendations from his friends under a false pretense, which it is needless to trouble you by mentioning in detail. Ignorant of what he had done, I lived with him happily. I cannot truly declare that he was the object of my first love, but he was the one person in the world whom I had to look up to after my father's death. I esteemed him and respected him, and, if I may say so without vanity, I did indeed make him a good wife.

"So the time went on, sir, prosperously enough, until the evening came when you and I met on the bridge.

"I was out alone in our garden, trimming the shrubs, when the maid-servant came and told me there was a foreign lady in a carriage at the door who desired to say a word to Mrs. Van Brandt. I sent the maid on before to show her into the sitting-room, and I followed to receive my visitor as soon as I had made myself tidy. She was a dreadful woman, with a flushed, fiery face and impudent, bright eyes. 'Are you Mrs. Van Brandt?' she said. I answered, 'Yes.' 'Are you really married to him?' she asked me. That question (naturally enough, I think) upset my temper. I said, 'How dare you doubt it?' She laughed in my face.

'Send for Van Brandt,' she said. I went out into the passage and called him down from the room upstairs in which he was writing.

同类推荐
热门推荐
  • 妖修门

    妖修门

    你管我们怎么修?谁说一群智商低的小妖不能成功?就算命运会改变,也无法染指我们的二的属性。开山立祖,建立门派悬壶济世,解救苍生有些妖比人更懂情有些人比妖更嗜血
  • 丰子恺话人生

    丰子恺话人生

    丰子恺,中国现代文化艺术大舞台上一个响亮的名字。本书是丰子恺幼女丰一吟老师从丰子恺著述中精选出来的语录,内容涉及丰子恺谈艺术、谈文学、谈诗词、谈儿童、谈书法与金石、谈人生哲理与闲情……就艺术与人生而言,实可谓无所不谈了。比如丰子恺谈艺术:“大艺术家的少年时代必然有艺术的素养。倒转来说:少年时代必须充分具有艺术的环境与教养,长大起来才能成为大艺术家。”再比如他谈人生:“做人不能全为实利打算……而人就变成枯燥、死板、冷酷、无情的一种动物。这就不是‘生活’,而仅是一种‘生存’了。”如此等等,丰子恺的人生与艺术语录,充满着人生睿智和艺术真谛。
  • 奥运腾飞:2008年的中国

    奥运腾飞:2008年的中国

    研究国史是神圣的事业,一定要投入真感情。也就是说,不仅仅要把研究国史看成是一项工作,有科学严谨的研究方法和研究态度,更要把研究国史看成是一份神圣的事业,一份值得投入精力、倾注感情的事业。有了这份深厚的感情,才能有研究的动力和出发点,也才能取得经得住时间检验的科研成果。《读点国史:辉煌年代国史丛书》由一批国史研究领域的专家担纲撰写,他们有专业背景,曾承担过国家级重大课题,也都有个人的研究著述,形成学风严谨、功力扎实的品格。我相信这套丛书是他们用心写就的。
  • 一个人的哨卡

    一个人的哨卡

    18月31日晚上,天堂湾边防连连部通信员凌五斗终于下了决心,要对连长说,他不想当这个通信员了,他想去干点别的。小小的营区很静。军犬不时无聊地吠叫两声,声音散漫。发情的军马的嘶鸣让人心碎。军医程德全的二胡催人泪下。他小时候学过二胡演奏,开山时让人带了一把上来。他第一次拉《二泉映月》时把兵们眼睛拉潮了,指导员批评他“霏(靡)霏之音,扰乱军心”。他就只拉些革命的曲子了,全像火车吭哧吭哧勇往直前的那种。但不管什么曲子,只要用二胡拉出来,总带着哭音。如果说前一次拉的曲子像女人在呜呜咽咽伤心哭泣的话,其他的就像是一个男人在激昂地哭诉了。
  • 快穿攻略女主大人

    快穿攻略女主大人

    系统:#我家宿主太辣鸡了怎么办?在线等,挺急的#宿主:……呵祈柒自从绑定了自家辣鸡系统,腰不疼了,腿不酸了,就是要每天要攻略女主大人是怎么肥四?!(快穿1v1)
  • 妃逃不可:腹黑王爷惹不得

    妃逃不可:腹黑王爷惹不得

    一朝穿越,现代金牌律师殷荃成了爹不疼娘不爱的将门庶女,不仅是个生活不能自理的草包,更是个胸无点墨任人欺凌的赔钱货!什么?叫她嫁给那个连续死了七个老婆的端王冲喜?她连夜出逃,邂逅嫡仙美男,随他到他府中,他浅笑:“本王就是奉旨与你成婚的端王夏侯婴!”--情节虚构,请勿模仿
  • 开心休夫

    开心休夫

    她堂堂二十一世纪特警精英,医学世家传人,只因遭人陷害才命归黄泉,不幸穿越到一名柔弱的和亲公主身上,最可恨的是被当成替王妃冲喜的小妾,还在洞房当晚被王爷推得撞死过去,再次醒过来时,她的柔弱换成了强势,外加冷漠腹黑.既然他们兄弟不仁,将她拉进这皇权的争夺中,就别怪她不义,她可不是好捏的软柿子!凭着特警的敏锐和高超的医术,抽丝剥茧揭开层层面纱,方才知从一开始自己便入了局,一切只不过是一场阴谋!
  • 长剑同路

    长剑同路

    出生江湖,恰逢乱世初起。时隔二十多年,一场恩怨情仇再次浮出水面。所谓事实,却看不透真假,后知身边之人皆是带有目的的接近。这一场看不透的游戏中,谁又是胜者谁又是败者……
  • 东宫霸情:枭女杠上皇太子

    东宫霸情:枭女杠上皇太子

    她,楚晚幽。十五岁,古家家主众多的侍妾之一,家族以她为荣。十七岁,她是被谴散的侍妾之一,家族以她为耻。十九岁,她是身份卑贱如泥的家妓子。家族的鄙弃,命运的不公,让她无力负荷,以死解脱!当她被路过的人解救下来,再度睁开眼的时候,她已不再是原来的她,而是一抹来自异世的幽魂………命运在这一刻改变!谁又曾知道这个身份如泥,拥有不堪过往的女人会掀起了一场腥风血雨!她,纤手染血,不分正邪,不惧生死,冷睨天地间。原以为是个过客,冷看世间种种变迁。世事无常,不知不觉中,她已然入世!有情,无情,是谁让她眉间染上轻愁?是爱,是恨,是谁让她笑中隐藏血泪?爱!被爱!众多强势霸气的男人中,纠缠不休。谁?在繁华落尽的时候,与她默默相视,浅浅一笑,往事如风……新的故事,不一样的人物,不一样的人生,亲们,请支持,求收!求票!求评!谢谢支持!!!推荐自己已完结文《七夫人》已完结《盲妃待嫁》已完结推荐(非常好友)文文唐若梦影《弃妇也逍遥》无意宝宝《绝色锋芒》唐若梦影《懒妃要休夫》皇焱儿《师叔个个很狂野》浅绿《爱上芳邻》鹦鹉晒月《笑看妃乱》闲听冷雨《离婚吧我们》风染白《逢场作戏》天下归元《负春风》慕瑶《蛇王的妹妹皇后》紫夜霜影《逃妃八夫》风行烈《无双》懒离婚《重生-豪门妖女》醉舞狂歌《强欢》风之孤鸿《主母无害》简思的系列婚姻文《痒婚》吴笑笑《天价皇后》女强文寒子夜《第一夫人》阴笑《皇女》月夜留香《本宫有毒》闲听冷雨《相公我要废了你》雪藏玄琴《火夫人》陌上柳絮《特警傻后要休夫》
  • 十里春风不如你,柔柔暖暖的元曲

    十里春风不如你,柔柔暖暖的元曲

    对于这个时代,元朝的文人倾诉着一切:有离开故国的悲伤,与往日的浮生盛世告别的不甘;有羁旅在外、离愁别绪的难抑;有对人生和恋爱的情殇;有对生不逢时的愤恨;也有对整个时代灰暗背景的不满;亦有不断挣扎在社会边缘的可怜人。他们之中不乏潇洒之人,但满腹牢骚却总是不在少数。对他们而言,一生苦苦寻觅,苦苦把握,苦苦追求,把义愤难纾的情感捧在掌心,终日凝望,他们直言不讳对统治者的不满,却并没有因此获罪。由于元王朝的专制性并不如明、清两代,特别是在文化政策上,蒙古人无意间摧毁了宋代以前的文化硕果,而其无意识的包容令文人们敢于倾吐不满,这也间接造就了元曲文化的繁盛。