The Woman in White - 69

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"Mr. Hartright—Monsieur Rubelle," said the Count, introducing us. He took the agent (a foreign spy, in every line of his face, if ever there was one yet) into a corner of the room, whispered some directions to him, and then left us together. "Monsieur Rubelle," as soon as we were alone, suggested with great politeness that I should favour him with his instructions. I wrote two lines to Pesca, authorising him to deliver my sealed letter "to the bearer," directed the note, and handed it to Monsieur Rubelle.

The agent waited with me till his employer returned, equipped in travelling costume. The Count examined the address of my letter before he dismissed the agent. "I thought so!" he said, turning on me with a dark look, and altering again in his manner from that moment.

He completed his packing, and then sat consulting a travelling map, making entries in his pocket-book, and looking every now and then impatiently at his watch. Not another word, addressed to myself, passed his lips. The near approach of the hour for his departure, and the proof he had seen of the communication established between Pesca and myself, had plainly recalled his whole attention to the measures that were necessary for securing his escape.

A little before eight o'clock, Monsieur Rubelle came back with my unopened letter in his hand. The Count looked carefully at the superscription and the seal, lit a candle, and burnt the letter. "I perform my promise," he said, "but this matter, Mr. Hartright, shall not end here."

The agent had kept at the door the cab in which he had returned. He and the maid-servant now busied themselves in removing the luggage. Madame Fosco came downstairs, thickly veiled, with the travelling cage of the white mice in her hand. She neither spoke to me nor looked towards me. Her husband escorted her to the cab. "Follow me as far as the passage," he whispered in my ear; "I may want to speak to you at the last moment."

I went out to the door, the agent standing below me in the front garden. The Count came back alone, and drew me a few steps inside the passage.

"Remember the Third condition!" he whispered. "You shall hear from me, Mr. Hartright—I may claim from you the satisfaction of a gentleman sooner than you think for." He caught my hand before I was aware of him, and wrung it hard—then turned to the door, stopped, and came back to me again.

"One word more," he said confidentially. "When I last saw Miss Halcombe, she looked thin and ill. I am anxious about that admirable woman. Take care of her, sir! With my hand on my heart, I solemnly implore you, take care of Miss Halcombe!"

Those were the last words he said to me before he squeezed his huge body into the cab and drove off.

The agent and I waited at the door a few moments looking after him. While we were standing together, a second cab appeared from a turning a little way down the road. It followed the direction previously taken by the Count's cab, and as it passed the house and the open garden gate, a person inside looked at us out of the window. The stranger at the Opera again!—the foreigner with a scar on his left cheek.

 

"You wait here with me, sir, for half an hour more!" said Monsieur Rubelle.

"I do."

We returned to the sitting-room. I was in no humour to speak to the agent, or to allow him to speak to me. I took out the papers which the Count had placed in my hands, and read the terrible story of the conspiracy told by the man who had planned and perpetrated it.




THE STORY CONTINUED BY ISIDOR, OTTAVIO, BALDASSARE FOSCO

(Count of the Holy Roman Empire, Knight Grand Cross of the Order of the Brazen Crown, Perpetual Arch-Master of the Rosicrucian Masons of Mesopotamia; Attached (in Honorary Capacities) to Societies Musical, Societies Medical, Societies Philosophical, and Societies General Benevolent, throughout Europe; etc. etc. etc.)

 

THE COUNT'S NARRATIVE

In the summer of eighteen hundred and fifty I arrived in England, charged with a delicate political mission from abroad. Confidential persons were semi-officially connected with me, whose exertions I was authorised to direct, Monsieur and Madame Rubelle being among the number. Some weeks of spare time were at my disposal, before I entered on my functions by establishing myself in the suburbs of London. Curiosity may stop here to ask for some explanation of those functions on my part. I entirely sympathise with the request. I also regret that diplomatic reserve forbids me to comply with it.

I arranged to pass the preliminary period of repose, to which I have just referred, in the superb mansion of my late lamented friend, Sir Percival Glyde. He arrived from the Continent with his wife. I arrived from the Continent with mine. England is the land of domestic happiness—how appropriately we entered it under these domestic circumstances!

The bond of friendship which united Percival and myself was strengthened, on this occasion, by a touching similarity in the pecuniary position on his side and on mine. We both wanted money. Immense necessity! Universal want! Is there a civilised human being who does not feel for us? How insensible must that man be! Or how rich!

I enter into no sordid particulars, in discussing this part of the subject. My mind recoils from them. With a Roman austerity, I show my empty purse and Percival's to the shrinking public gaze. Let us allow the deplorable fact to assert itself, once for all, in that manner, and pass on.

We were received at the mansion by the magnificent creature who is inscribed on my heart as "Marian," who is known in the colder atmosphere of society as "Miss Halcombe."

Just Heaven! with what inconceivable rapidity I learnt to adore that woman. At sixty, I worshipped her with the volcanic ardour of eighteen. All the gold of my rich nature was poured hopelessly at her feet. My wife—poor angel!—my wife, who adores me, got nothing but the shillings and the pennies. Such is the World, such Man, such Love. What are we (I ask) but puppets in a show-box? Oh, omnipotent Destiny, pull our strings gently! Dance us mercifully off our miserable little stage!

The preceding lines, rightly understood, express an entire system of philosophy. It is mine.

I resume.

 

The domestic position at the commencement of our residence at Blackwater Park has been drawn with amazing accuracy, with profound mental insight, by the hand of Marian herself. (Pass me the intoxicating familiarity of mentioning this sublime creature by her Christian name.) Accurate knowledge of the contents of her journal—to which I obtained access by clandestine means, unspeakably precious to me in the remembrance—warns my eager pen from topics which this essentially exhaustive woman has already made her own.

The interests—interests, breathless and immense!—with which I am here concerned, begin with the deplorable calamity of Marian's illness.

The situation at this period was emphatically a serious one. Large sums of money, due at a certain time, were wanted by Percival (I say nothing of the modicum equally necessary to myself), and the one source to look to for supplying them was the fortune of his wife, of which not one farthing was at his disposal until her death. Bad so far, and worse still farther on. My lamented friend had private troubles of his own, into which the delicacy of my disinterested attachment to him forbade me from inquiring too curiously. I knew nothing but that a woman, named Anne Catherick, was hidden in the neighbourhood, that she was in communication with Lady Glyde, and that the disclosure of a secret, which would be the certain ruin of Percival, might be the result. He had told me himself that he was a lost man, unless his wife was silenced, and unless Anne Catherick was found. If he was a lost man, what would become of our pecuniary interests? Courageous as I am by nature, I absolutely trembled at the idea!

The whole force of my intelligence was now directed to the finding of Anne Catherick. Our money affairs, important as they were, admitted of delay—but the necessity of discovering the woman admitted of none. I only knew her by description, as presenting an extraordinary personal resemblance to Lady Glyde. The statement of this curious fact—intended merely to assist me in identifying the person of whom we were in search—when coupled with the additional information that Anne Catherick had escaped from a mad-house, started the first immense conception in my mind, which subsequently led to such amazing results. That conception involved nothing less than the complete transformation of two separate identities. Lady Glyde and Anne Catherick were to change names, places, and destinies, the one with the other—the prodigious consequences contemplated by the change being the gain of thirty thousand pounds, and the eternal preservation of Sir Percival's secret.

My instincts (which seldom err) suggested to me, on reviewing the circumstances, that our invisible Anne would, sooner or later, return to the boat-house at the Blackwater lake. There I posted myself, previously mentioning to Mrs. Michelson, the housekeeper, that I might be found when wanted, immersed in study, in that solitary place. It is my rule never to make unnecessary mysteries, and never to set people suspecting me for want of a little seasonable candour on my part. Mrs. Michelson believed in me from first to last. This ladylike person (widow of a Protestant priest) overflowed with faith. Touched by such superfluity of simple confidence in a woman of her mature years, I opened the ample reservoirs of my nature and absorbed it all.

I was rewarded for posting myself sentinel at the lake by the appearance—not of Anne Catherick herself, but of the person in charge of her. This individual also overflowed with simple faith, which I absorbed in myself, as in the case already mentioned. I leave her to describe the circumstances (if she has not done so already) under which she introduced me to the object of her maternal care. When I first saw Anne Catherick she was asleep. I was electrified by the likeness between this unhappy woman and Lady Glyde. The details of the grand scheme which had suggested themselves in outline only, up to that period, occurred to me, in all their masterly combination, at the sight of the sleeping face. At the same time, my heart, always accessible to tender influences, dissolved in tears at the spectacle of suffering before me. I instantly set myself to impart relief. In other words, I provided the necessary stimulant for strengthening Anne Catherick to perform the journey to London.

 

The best years of my life have been passed in the ardent study of medical and chemical science. Chemistry especially has always had irresistible attractions for me from the enormous, the illimitable power which the knowledge of it confers. Chemists—I assert it emphatically—might sway, if they pleased, the destinies of humanity. Let me explain this before I go further.

Mind, they say, rules the world. But what rules the mind? The body (follow me closely here) lies at the mercy of the most omnipotent of all potentates—the Chemist. Give me—Fosco—chemistry; and when Shakespeare has conceived Hamlet, and sits down to execute the conception—with a few grains of powder dropped into his daily food, I will reduce his mind, by the action of his body, till his pen pours out the most abject drivel that has ever degraded paper. Under similar circumstances, revive me the illustrious Newton. I guarantee that when he sees the apple fall he shall eat it, instead of discovering the principle of gravitation. Nero's dinner shall transform Nero into the mildest of men before he has done digesting it, and the morning draught of Alexander the Great shall make Alexander run for his life at the first sight of the enemy the same afternoon. On my sacred word of honour it is lucky for Society that modern chemists are, by incomprehensible good fortune, the most harmless of mankind. The mass are worthy fathers of families, who keep shops. The few are philosophers besotted with admiration for the sound of their own lecturing voices, visionaries who waste their lives on fantastic impossibilities, or quacks whose ambition soars no higher than our corns. Thus Society escapes, and the illimitable power of Chemistry remains the slave of the most superficial and the most insignificant ends.

Why this outburst? Why this withering eloquence?

Because my conduct has been misrepresented, because my motives have been misunderstood. It has been assumed that I used my vast chemical resources against Anne Catherick, and that I would have used them if I could against the magnificent Marian herself. Odious insinuations both! All my interests were concerned (as will be seen presently) in the preservation of Anne Catherick's life. All my anxieties were concentrated on Marian's rescue from the hands of the licensed imbecile who attended her, and who found my advice confirmed from first to last by the physician from London. On two occasions only—both equally harmless to the individual on whom I practised—did I summon to myself the assistance of chemical knowledge. On the first of the two, after following Marian to the inn at Blackwater (studying, behind a convenient waggon which hid me from her, the poetry of motion, as embodied in her walk), I availed myself of the services of my invaluable wife, to copy one and to intercept the other of two letters which my adored enemy had entrusted to a discarded maid. In this case, the letters being in the bosom of the girl's dress, Madame Fosco could only open them, read them, perform her instructions, seal them, and put them back again by scientific assistance—which assistance I rendered in a half-ounce bottle. The second occasion, when the same means were employed, was the occasion (to which I shall soon refer) of Lady Glyde's arrival in London. Never at any other time was I indebted to my Art as distinguished from myself. To all other emergencies and complications my natural capacity for grappling, single-handed, with circumstances, was invariably equal. I affirm the all-pervading intelligence of that capacity. At the expense of the Chemist I vindicate the Man.

Respect this outburst of generous indignation. It has inexpressibly relieved me. En route! Let us proceed.

 

Having suggested to Mrs. Clement (or Clements, I am not sure which) that the best method of keeping Anne out of Percival's reach was to remove her to London—having found that my proposal was eagerly received, and having appointed a day to meet the travellers at the station and to see them leave it, I was at liberty to return to the house and to confront the difficulties which still remained to be met.

My first proceeding was to avail myself of the sublime devotion of my wife. I had arranged with Mrs. Clements that she should communicate her London address, in Anne's interests, to Lady Glyde. But this was not enough. Designing persons in my absence might shake the simple confidence of Mrs. Clements, and she might not write after all. Who could I find capable of travelling to London by the train she travelled by, and of privately seeing her home? I asked myself this question. The conjugal part of me immediately answered—Madame Fosco.

After deciding on my wife's mission to London, I arranged that the journey should serve a double purpose. A nurse for the suffering Marian, equally devoted to the patient and to myself, was a necessity of my position. One of the most eminently confidential and capable women in existence was by good fortune at my disposal. I refer to that respectable matron, Madame Rubelle, to whom I addressed a letter, at her residence in London, by the hands of my wife.

On the appointed day Mrs. Clements and Anne Catherick met me at the station. I politely saw them off, I politely saw Madame Fosco off by the same train. The last thing at night my wife returned to Blackwater, having followed her instructions with the most unimpeachable accuracy. She was accompanied by Madame Rubelle, and she brought me the London address of Mrs. Clements. After-events proved this last precaution to have been unnecessary. Mrs. Clements punctually informed Lady Glyde of her place of abode. With a wary eye on future emergencies, I kept the letter.

The same day I had a brief interview with the doctor, at which I protested, in the sacred interests of humanity, against his treatment of Marian's case. He was insolent, as all ignorant people are. I showed no resentment, I deferred quarrelling with him till it was necessary to quarrel to some purpose. My next proceeding was to leave Blackwater myself. I had my London residence to take in anticipation of coming events. I had also a little business of the domestic sort to transact with Mr. Frederick Fairlie. I found the house I wanted in St. John's Wood. I found Mr. Fairlie at Limmeridge, Cumberland.

My own private familiarity with the nature of Marian's correspondence had previously informed me that she had written to Mr. Fairlie, proposing, as a relief to Lady Glyde's matrimonial embarrassments, to take her on a visit to her uncle in Cumberland. This letter I had wisely allowed to reach its destination, feeling at the time that it could do no harm, and might do good. I now presented myself before Mr. Fairlie to support Marian's own proposal—with certain modifications which, happily for the success of my plans, were rendered really inevitable by her illness. It was necessary that Lady Glyde should leave Blackwater alone, by her uncle's invitation, and that she should rest a night on the journey at her aunt's house (the house I had in St. John's Wood) by her uncle's express advice. To achieve these results, and to secure a note of invitation which could be shown to Lady Glyde, were the objects of my visit to Mr. Fairlie. When I have mentioned that this gentleman was equally feeble in mind and body, and that I let loose the whole force of my character on him, I have said enough. I came, saw, and conquered Fairlie.

On my return to Blackwater Park (with the letter of invitation) I found that the doctor's imbecile treatment of Marian's case had led to the most alarming results. The fever had turned to typhus. Lady Glyde, on the day of my return, tried to force herself into the room to nurse her sister. She and I had no affinities of sympathy—she had committed the unpardonable outrage on my sensibilities of calling me a spy—she was a stumbling-block in my way and in Percival's—but, for all that, my magnanimity forbade me to put her in danger of infection with my own hand. At the same time I offered no hindrance to her putting herself in danger. If she had succeeded in doing so, the intricate knot which I was slowly and patiently operating on might perhaps have been cut by circumstances. As it was, the doctor interfered and she was kept out of the room.

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    Total number of unique words is 890
    66.3 of words are in the 2000 most common words
    85.5 of words are in the 5000 most common words
    91.5 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 43
    Total number of words is 3436
    Total number of unique words is 917
    61.1 of words are in the 2000 most common words
    81.6 of words are in the 5000 most common words
    88.2 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 44
    Total number of words is 3532
    Total number of unique words is 887
    69.0 of words are in the 2000 most common words
    85.2 of words are in the 5000 most common words
    91.2 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 45
    Total number of words is 3582
    Total number of unique words is 951
    62.8 of words are in the 2000 most common words
    81.1 of words are in the 5000 most common words
    88.2 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 46
    Total number of words is 3612
    Total number of unique words is 926
    68.2 of words are in the 2000 most common words
    84.4 of words are in the 5000 most common words
    88.7 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 47
    Total number of words is 3410
    Total number of unique words is 1024
    60.0 of words are in the 2000 most common words
    78.4 of words are in the 5000 most common words
    85.5 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 48
    Total number of words is 3365
    Total number of unique words is 962
    61.0 of words are in the 2000 most common words
    79.6 of words are in the 5000 most common words
    87.6 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 49
    Total number of words is 3404
    Total number of unique words is 999
    60.5 of words are in the 2000 most common words
    79.6 of words are in the 5000 most common words
    87.0 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 50
    Total number of words is 3494
    Total number of unique words is 978
    60.7 of words are in the 2000 most common words
    81.6 of words are in the 5000 most common words
    88.7 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 51
    Total number of words is 3477
    Total number of unique words is 942
    64.2 of words are in the 2000 most common words
    81.5 of words are in the 5000 most common words
    89.4 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 52
    Total number of words is 3477
    Total number of unique words is 967
    61.5 of words are in the 2000 most common words
    80.9 of words are in the 5000 most common words
    86.9 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 53
    Total number of words is 3639
    Total number of unique words is 890
    70.7 of words are in the 2000 most common words
    86.3 of words are in the 5000 most common words
    91.1 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 54
    Total number of words is 3501
    Total number of unique words is 871
    67.6 of words are in the 2000 most common words
    84.9 of words are in the 5000 most common words
    90.1 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 55
    Total number of words is 3370
    Total number of unique words is 984
    61.3 of words are in the 2000 most common words
    79.3 of words are in the 5000 most common words
    85.8 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 56
    Total number of words is 3510
    Total number of unique words is 985
    63.2 of words are in the 2000 most common words
    81.1 of words are in the 5000 most common words
    87.6 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 57
    Total number of words is 3447
    Total number of unique words is 955
    60.7 of words are in the 2000 most common words
    77.7 of words are in the 5000 most common words
    83.8 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 58
    Total number of words is 3569
    Total number of unique words is 1010
    60.2 of words are in the 2000 most common words
    78.4 of words are in the 5000 most common words
    85.5 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 59
    Total number of words is 3408
    Total number of unique words is 892
    59.6 of words are in the 2000 most common words
    76.9 of words are in the 5000 most common words
    84.3 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 60
    Total number of words is 3518
    Total number of unique words is 988
    60.7 of words are in the 2000 most common words
    79.1 of words are in the 5000 most common words
    85.7 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 61
    Total number of words is 3658
    Total number of unique words is 923
    66.2 of words are in the 2000 most common words
    82.4 of words are in the 5000 most common words
    88.7 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 62
    Total number of words is 3130
    Total number of unique words is 994
    61.3 of words are in the 2000 most common words
    79.8 of words are in the 5000 most common words
    87.7 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 63
    Total number of words is 3594
    Total number of unique words is 1018
    61.3 of words are in the 2000 most common words
    80.6 of words are in the 5000 most common words
    87.3 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 64
    Total number of words is 3499
    Total number of unique words is 1045
    59.9 of words are in the 2000 most common words
    79.0 of words are in the 5000 most common words
    85.8 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 65
    Total number of words is 3497
    Total number of unique words is 1074
    56.4 of words are in the 2000 most common words
    74.0 of words are in the 5000 most common words
    83.6 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 66
    Total number of words is 3548
    Total number of unique words is 925
    66.3 of words are in the 2000 most common words
    83.0 of words are in the 5000 most common words
    88.9 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 67
    Total number of words is 3481
    Total number of unique words is 930
    64.6 of words are in the 2000 most common words
    82.8 of words are in the 5000 most common words
    88.9 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 68
    Total number of words is 3398
    Total number of unique words is 1028
    57.6 of words are in the 2000 most common words
    76.6 of words are in the 5000 most common words
    84.1 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 69
    Total number of words is 3247
    Total number of unique words is 1087
    53.2 of words are in the 2000 most common words
    72.3 of words are in the 5000 most common words
    80.8 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 70
    Total number of words is 3422
    Total number of unique words is 1077
    55.1 of words are in the 2000 most common words
    75.5 of words are in the 5000 most common words
    83.7 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 71
    Total number of words is 3518
    Total number of unique words is 1048
    60.5 of words are in the 2000 most common words
    78.8 of words are in the 5000 most common words
    86.1 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.
  • The Woman in White - 72
    Total number of words is 1680
    Total number of unique words is 653
    65.4 of words are in the 2000 most common words
    79.3 of words are in the 5000 most common words
    86.5 of words are in the 8000 most common words
    Each bar represents the percentage of words per 1000 most common words.