The Dead Secret, Wilkie Collins [best historical biographies .TXT] 📗

her face, said plainly and sadly: I am the wreck of something that you might once have liked to see; a wreck that can never be repaired⁠—that must drift on through life unnoticed, unguided, unpitied⁠—drift till the fatal shore is touched, and the waves of Time have swallowed up these broken relics of me forever. This was the story that was told in Sarah Leeson’s face⁠—this, and no more.

No two men interpreting that story for themselves, would probably have agreed on the nature of the suffering which this woman had undergone. It was hard to say, at the outset, whether the past pain that had set its ineffaceable mark on her had been pain of the body or pain of the mind. But whatever the nature of the affliction she had suffered, the traces it had left were deeply and strikingly visible in every part of her face.

Her cheeks had lost their roundness and their natural color; her lips, singularly flexible in movement and delicate in form, had faded to an unhealthy paleness; her eyes, large and black and overshadowed by unusually thick lashes, had contracted an anxious startled look, which never left them, and which piteously expressed the painful acuteness of her sensibility, the inherent timidity of her disposition. So far, the marks which sorrow or sickness had set on her were the marks common to most victims of mental or physical suffering. The one extraordinary personal deterioration which she had undergone consisted in the unnatural change that had passed over the color of her hair. It was as thick and soft, it grew as gracefully, as the hair of a young girl; but it was as gray as the hair of an old woman. It seemed to contradict, in the most startling manner, every personal assertion of youth that still existed in her face. With all its haggardness and paleness, no one could have looked at it and supposed for a moment that it was the face of an elderly woman. Wan as they might be, there was not a wrinkle in her cheeks. Her eyes, viewed apart from their prevailing expression of uneasiness and timidity, still preserved that bright, clear moisture which is never seen in the eyes of the old. The skin about her temples was as delicately smooth as the skin of a child. These and other physical signs which never mislead, showed that she was still, as to years, in the very prime of her life. Sickly and sorrow-stricken as she was, she looked, from the eyes downward, a woman who had barely reached thirty years of age. From the eyes upward, the effect of her abundant gray hair, seen in connection with her face, was not simply incongruous⁠—it was absolutely startling; so startling as to make it no paradox to say that she would have looked most natural, most like herself, if her hair had been dyed. In her case, Art would have seemed to be the truth, because Nature looked like falsehood.

What shock had stricken her hair, in the very maturity of its luxuriance, with the hue of an unnatural old age? Was it a serious illness, or a dreadful grief, that had turned her gray in the prime of her womanhood? That question had often been agitated among her fellow-servants, who were all struck by the peculiarities of her personal appearance, and rendered a little suspicious of her, as well, by an inveterate habit that she had of talking to herself. Inquire as they might, however, their curiosity was always baffled. Nothing more could be discovered than that Sarah Leeson was, in the common phrase, touchy on the subject of her gray hair and her habit of talking to herself, and that Sarah Leeson’s mistress had long since forbidden everyone, from her husband downward, to ruffle her maid’s tranquillity by inquisitive questions.

She stood for an instant speechless, on that momentous morning of the twenty-third of August, before the servant who summoned her to her mistress’s deathbed⁠—the light of the candle flaring brightly over her large, startled, black eyes, and the luxuriant, unnatural gray hair above them. She stood a moment silent⁠—her hand trembling while she held the candlestick, so that the extinguisher lying loose in it rattled incessantly⁠—then thanked the servant for calling her. The trouble and fear in her voice, as she spoke, seemed to add to its sweetness; the agitation of her manner took nothing away from its habitual gentleness, its delicate, winning, feminine restraint. Mathew, who, like the other servants, secretly distrusted and disliked her for differing from the ordinary pattern of professed lady’s-maids, was, on this particular occasion, so subdued by her manner and her tone as she thanked him, that he offered to carry her candle for her to the door of her mistress’s bedchamber. She shook her head, and thanked him again, then passed before him quickly on her way out of the gallery.

The room in which Mrs. Treverton lay dying was on the floor beneath. Sarah hesitated twice before she knocked at the door. It was opened by Captain Treverton.

The instant she saw her master she started back from him. If she had dreaded a blow she could hardly have drawn away more suddenly, or with an expression of greater alarm. There was nothing in Captain Treverton’s face to warrant the suspicion of ill-treatment, or even of harsh words. His countenance was kind, hearty, and open; and the tears were still trickling down it which he had shed by his wife’s bedside.

“Go in,” he said, turning away his face. “She does not wish the nurse to attend; she only wishes for you. Call me if the doctor⁠—” His voice faltered, and he hurried away without attempting to finish the sentence.

Sarah Leeson, instead of entering her mistress’s room, stood looking after her master attentively, with her pale cheeks turned to a deathly whiteness⁠—with an eager, doubting, questioning terror in her eyes. When he had disappeared round the corner of the gallery, she listened for a moment