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Irving, Washington, 1783-1859 [1819], The sketch book of Geoffrey Crayon, gent. [Pseud], volume 4 (C. S. Van Winkle, New York) [word count] [eaf214v4].
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Front matter Covers, Edges and Spine

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Preliminaries

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Title Page THE
SKETCH BOOK
OF
GEOFFREY CRAYON, Gent.

“I have no wife nor children, good or bad, to provide for. A mere spectator of
other men's fortunes and adventures, and how they play their parts; which methinks
are diversely presented unto me, as from a common theatre or scene.”

Burton.
NEW-YORK:
PRINTED BY C. S. VAN WINKLE,
101 Greenwich Street.

1819.

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Acknowledgment

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Southern District of New-York, ss.

BE IT REMEMBERED, that on the twelfth day of October, in the
forty-fourth year of the Independence of the United States of America,
C. S. Van Winkle, of the said district, hath deposited in this office the
title of a book, the right whereof he claims as proprietor, in the words
and figures following, to wit:

“The Sketch Book of Geoffrey Crayon, Gent. No. IV. `I have no
wife nor children, good or bad, to provide for. A mere spectator of other
men's fortunes and adventures, and how they play their parts; which
methinks are diversely presented unto me, as from a common theatre or
scene.'—Burton.”

In conformity to the act of Congress of the United States, entitled, “An
“act for the encouragement of learning, by securing the copies of maps,
“charts, and books, to the authors and proprietors of such copies, during
“the times therein mentioned;” and also, to an act, entitled, “An act
“supplementary to an act, entitled, an act for the encouragement of
“learning, by securing the copies of maps, charts, and books, to the
“authors and proprietors of such copies, during the times therein men
“tioned, and extending the benefits thereof to the arts and others prints.” arts of designing, engra
“ving, and etching historical an

GILBERT LIVINGSTON THOMPSON,
Clerk of the Southern District of New-York.
Main text

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THE MUTABILITY OF LITERATURE.

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A COLLOQUY IN WESTMINSTER ABBEY.

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I know that all beneath the moon decays,
And what by mortals in this world is brought,
In time's great periods shall return to nought.
I know that all the muses' heavenly layes,
With toil of sprite which are so dearly bought,
As idle sounds of few or none are sought,
That there is nothing lighter than mere praise.
Drummond of Hawthornden.

There are certain half-dreaming moods of
mind, in which we naturally steal away from
noise and glare, and seek some quiet haunt,
where we may indulge our reveries and build
our air castles undisturbed. In such a mood I
was loitering about the old gray cloisters of
Westminster Abbey, enjoying that luxury of

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wandering thought which one is apt to dignify
with the name of reflection, when suddenly
an irruption of madcap boys from Westminster
school, playing at foot-ball, broke in
upon the monastic stillness of the place, making
the vaulted passages and mouldering
tombs echo with their merriment. I sought to
take refuge from their noise by penetrating still
deeper into the solitudes of the pile, and applied
to one of the vergers for admission to the
library. He conducted me through a portal
rich with the crumbling sculpture of former
ages, which opened upon a gloomy passage
leading to the chapter house and the chamber
where doomsday book is deposited. Just
within the passage is a small door on the left.
To this the verger applied a key; it was double
locked, and opened with some difficulty, as if
seldom used. We now ascended a dark narrow
staircase, and passing through a second
door, entered the library.

I found myself in a lofty antique hall, the
roof supported by massive joists of old English

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oak. It was soberly lighted by a row of Gothic
windows at a considerable height from the
floor, and which apparently opened upon the
roofs of the cloisters. An ancient picture of
some reverend dignitary of the church in his
robes hung over the fire place. Around the
hall and in a small gallery were the books, arranged
in carved oaken cases. They consisted
principally of old polemical writers, and were
much more worn by time than use. In the
centre of the library was a solitary table with
two or three books on it; an inkstand without
ink, and a few pens parched by long disuse.
The place seemed fitted for quiet study and
profound meditation. It was buried deep
among the massive walls of the abbey, and
shut up from the tumult of the world. I
could only hear now and then the shouts of the
schoolboys faintly swelling from the cloister,
and the sound of a bell tolling for prayers, that
soberly echoed along the roofs of the abbey.
By degrees the shouts of merriment grew fainter
and fainter, and at length died away. The

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bell ceased to toll, and the most profound silence
reigned through the dusky hall.

I had taken down a little thick quarto, curiously
bound in parchment, with brass clasps,
and seated myself at the table in a venerable
elbow chair. Instead of reading, however, I
was beguiled by the solemn monastic air, and
noiseless quiet of the place, into a train of musing.
As I looked around upon the old volumes
in their mouldering covers, thus ranged on the
shelves, and apparently never disturbed in their
repose, I could not but consider the library a
kind of literary catacomb, where authors, like
mummies, are piously entombed, and left to
blacken and moulder in dusty oblivion.

How much, thought I, has each of these
volumes, now thrust aside with such indifference,
cost some aching head; how many weary
days—how many sleepless nights. How have
their authors buried themselves in the solitude
of cells and cloisters; shut themselves up from
the face of man, and the still more blessed face
of nature, and devoted themselves to painful

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research and intense reflection. And all for
what! to occupy an inch of dusty shelf—to
have the title of their works read now and then
in a future age, by some drowsy churchman,
or casual straggler like myself; and in another
age to be lost, even to remembrance. Such is
the amount of this boasted immortality.—A
mere temporary rumour, a local sound, like the
tone of that bell which has just tolled among
these towers, filling the ear for a moment—
lingering transiently in echo—and then passing
away, like a thing that was not!

While I sat half murmuring, half meditating
these unprofitable speculations, with my head
resting on my hand, I was thrumming with the
other hand upon the quarto, until I accidentally
loosened the clasps, when, to my utter astonishment,
the little book gave two or three yawns,
like one awaking from a deep sleep; then a
husky hem, and at length began to talk. At
first its voice was very hoarse and broken,
being much troubled by a cobweb that some
studious spider had woven across it; and

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having probably contracted a cold from long exposure
to the chills and damps of the abbey.
In a short time, however, it became more distinct,
and I soon found it an exceedingly fluent
conversable little tome. Its language, to be
sure, was rather quaint and obsolete, and its
pronunciation, what, in the present day, would
be deemed barbarous; but I shall endeavour, as
far as I am able, to render it in modern parlance.

It began with railings about the neglect of
the world—merit being suffered to languish in
obscurity, and other such common place topics
of literary repining, and complained bitterly
that it had not been opened for more than two
centuries. That the Dean only looked now
and then into the library, sometimes took down
a volume or two, trifled with them for a few
moments, and then returned them to their
shelves. “What a plague do they mean,” said
the little quarto, which I began to perceive was
somewhat choleric, “what a plague do they
mean by keeping several thousand volumes of

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us shut up here, and watched by a set of old vergers
like so many beauties in a harem, merely
to be looked at now and then by the Dean.
Books were written to give pleasure and to be
enjoyed; and I would have a rule passed that
the Dean should pay each of us a visit at least
once a year; or if he is not equal to the task,
let them once in a while turn loose the whole
school of Westminster among us, that at any
rate we may now and then have an airing.”

“Softly, my worthy friend,” replied I, “you
are not aware how much better you are off
than most books of your generation. By being
stored away in this ancient library, you are
like the treasured remains of those saints and
monarchs which lie enshrined in the adjoining
chapels, while the remains of their contemporary
mortals, left to the ordinary course of nature,
have long since returned to dust.”

“Sir,” said the little tome, ruffling his
leaves and looking big, “I was written for all
the world, not for the bookworms of an abbey.
I was intended to circulate from hand to hand,

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like other great contemporary works; but here
have I been clasped up for more than two centuries,
and might have silently fallen a prey to
these worms that are playing the very vengeance
with my intestines, if you had not by
chance given me an opportunity of uttering a
few last words before I go to pieces.”

“My good friend,” rejoined I, “had you
been left to the circulation of which you speak,
you would long ere this have been no more.
To judge from your physiognomy, you are now
well stricken in years: very few of your contemporaries
can be at present in existence; and
those few owe it to being immured like yourself
in old libraries; which, suffer me to add, instead
of likening to harams, you might more
properly and gratefully have compared to those
infirmaries attached to religious establishments,
for the benefit of the old and decrepid, and
where, by quiet fostering and no employment,
they often endure to an amazingly good for nothing
old age. You talk of your contemporaries
as if in circulation—where do we meet with

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their works? what do we hear of Robert Grosteste
of Lincoln? No one could have toiled
harder than he for immortality. He is said to
have written nearly two hundred volumes. He
built, as it were, a pyramid of books to perpetuate
his name: but, alas! the pyramid has long
since fallen, and only a few fragments are scattered
in various libraries, where they are
scarcely disturbed even by the antiquarian.
What do we hear of Gyraldus Cambrensis, the
historian, antiquary, philosopher, theologian,
and poet? He declined two bishopries that he
might shut himself up and write for posterity;
but posterity never inquires after his labours.
What of Henry of Huntingdon, who, beside a
learned history of England, wrote a treatise on
the contempt of the world, which the world
has revenged by forgetting him. What is quoted
of Joseph of Exeter, styled the miracle of
his age in classical composition? Of his three
great heroic poems one is lost forever, excepting
a mere fragment; the others are known only
to a few of the curious in literature, and as to

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his love verses and epigrams, they have entirely
disappeared. What is in current use of John
Wallis, the franciscan, who acquired the name
of the tree of life? Of William of Malmsbury;—
of Simeon of Durham; of Benedict of
Petersborough; of John Hanvill of St. Albans;
of —”

“Prithee, friend,” cried the quarto in a testy
tone, “how old do you think me? You are talking
of authors that lived long before my time,
and wrote either in Latin or French, so that
they in a manner expatriated themselves, and
deserved to be forgotten;[1] but I, sir, was ushered
into the world from the press of the renowned
Wynkyn de Worde. I was written in
my own native tongue at a time when the language
had become fixed, and indeed I was considered
a model of pure and elegant English.

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(I should observe that these remarks were
couched in such intolerably antiquated terms,
that I had infinite difficulty to render them into
modern phraseology.)

“I cry you mercy,” said I, “for mistaking
your age; but it matters little; almost all the
writers of your time have likewise passed into
forgetfulness; and De Worde's publications
are mere literary rarities among book-collectors.
The purity and stability of language, too,
on which you found your claims to perpetuity,
have been the fallacious dependence of authors
of every age, even back to the times of the
worthy Robert of Gloucester, who wrote his
history in rhymes of mongrel Saxon.[2] Even,
now, many talk of Spenser's “well of pure

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English undefiled,” as if the language ever
sprang from a well or fountain head, and was
not rather a mere confluence of various tongues,
perpetually subject to changes and intermixtures.
It is this which has made English
literature so extremely mutable, and the reputation
built upon it so fleeting. Unless
thought can be committed to something more
permanent and unchangeable than such a medium,
even thought must share the fate of
every thing else, and fall into decay. This
should serve as a check upon the vanity and
exultation of the most popular writer. He
finds the language in which he has embarked
his fame gradually altering, and subject to the
dilapidations of time and the caprice of fashion.
He looks back and beholds the early authors
of his country, once the favourites of their
day, supplanted by modern writers. A few
short ages have covered them with obscurity,
and their merits can only be relished by the
quaint taste of the bookworm. And such he
anticipates, will be the fate of his work.

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which, however it may be admired in its day,
and held up as a model of purity, will in the
course of years grow antiquated and obsolete,
until it becomes almost as unintelligible in its
native land as an Egyptian obelisk, or one of
those Runic inscriptions said to exist in the
deserts of Tartary. I declare,” added I with
some emotion, “when I contemplate a modern
library, filled with new works in all the bravery
of rich gilding and binding, I feel disposed to
sit down and weep, like the good Xerxes when
he surveyed his army, pranked out in all the
splendour of military array, and reflected that
in one hundred years not one of them would
be in existence!”

“Ah,” said the little quarto, with a heavy
sigh, “I see how it is; these modern scribblers
have superseded all the good old authors. I
suppose nothing is read now-a-days but Sir
Philip Sidney's Arcadia, Sackville's stately
plays, and Mirror for Magistrates, or the finespun
euphuisms of the “unparraleld John
Lyly.”

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“There you are again mistaken,” said I,
“the writers whom you suppose in vogue, because
they happened to be so when you were
last in circulation, have long since had their
day. Sir Philip Sydney's Arcadia, the immortality
of which was so fondly predicted by his
admirers,[3] and which, in truth, is full of noble
thoughts, delicate images, and graceful turns of
language, is now scarcely ever mentioned.
Sackville has strutted into obscurity; and even
Lyly, though his writings were once the delight
of a court, and apparently perpetuated by
a proverb, is now scarcely known even by name.
A whole crowd of authors who wrote and wrangled
at the time, have likewise gone down with
all their writings and their controversies. Wave
after wave of succeeding literature has rolled

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over them, until they are buried so deep, that
it is only now and then some industrious diver
after the fragments of antiquity brings up a specimen
for the gratification of the curious.”

“For my part,” I continued, “I consider this
mutability of language a wise precaution of Providence
for the benefit of the world at large,
and authors in particular. To reason from analogy,
we daily behold the varied and beautiful
tribes of vegetables springing up, flourishing,
adorning the fields for a short time, and then
fading into dust, to make way for their successors.
Were not this the case, the fecundity of
nature would be a grievance instead of a blessing.
The earth would groan with rank and
excessive vegetation, and its surface become a
tangled wilderness. In like manner, the works
of genius and learning decline and make way
for subsequent productions. Language gradually
varies, and with it fade away the writings
of authors who have flourished their allotted
time; otherwise the creative powers of genius
would overwhelm the world with productions

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and the mind would be completely bewildered
in the endless mazes of literature. Formerly
there were some restraints on this excessive
multiplication. Works had to be transcribed
by hand, which was a slow and laborious
operation; they were written either on
parchment, which was expensive, so that one
work was often erased to make way for another;
or on papyrus, which was fragile and extremely
perishable. Authorship was a limited and unprofitable
craft, and pursued chiefly by monks
in the leisure and solitude of their cloisters.
The accumulation of manuscripts was slow and
costly, and confined almost entirely to monasteries.
To these circumstances it may in some
measure be owing that we have not been inundated
by the intellect of antiquity; that the
fountains of thought have not been broken up,
and modern genius drowned in the deluge. But
the inventions of paper and the press have put
an end to all these restraints. They have made
every one a writer, and enabled every mind to
pour itself into print, and diffuse itself over the

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whole intellectual world. The consequences
are alarming. The stream of literature has
swoln into a torrent—grown into a river—expanded
into a sea. A few centuries since, five
or six hundred manuscripts constituted a great
library; but what would you say to libraries,
such as actually exist, containing three and four
hundred thousand volumes; legions of authors
at the same time busy, and a press going on with
fearfully increasing activity, to double and
quadruple the number. Unless some unforseen
mortality should break out among the progeny
of the muse, now that she has become so prolific,
I tremble for posterity. I fear the mere fluctuation
of language will not be sufficient. Criticism
may do much; it increases with the increase
of literature, and resembles one of those
salutary checks on population spoken of by economists.
All possible encouragement, therefore,
should be given to the growth of critics, good
or bad. But I fear all will be in vain; let criticism
do what it may, writers will write, printers
will print, and the world will inevitably be

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overstocked with good books. It will soon be
the employment of a life time merely to learn
their names. Many a man of passable information
at the present day reads scarce any thing
but reviews, and before long a man of erudition
will be little better than a mere walking catalogue.”

“My very good sir,” said the little quarto,
yawning most drearily in my face, “excuse my
interrupting you, but I perceive you are rather
given to prose. I would ask the fate of an author
who was making some noise just as I left
the world. His reputation, however, was considered
quite temporary. The learned shook
their heads at him, for he was a poor half educated
varlet, that knew little of Latin, and nothing
of Greek, and had been obliged to run the
country for deer stealing. I think his name was
Shakspeare. I presume he soon sunk into oblivion.”

“On the contrary,” said I, “it is owing to
that very man that the literature of his period
has experienced a duration beyond the ordinary

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term of English literature. There arise authors
now and then, who seem proof against
the mutability of language, because they have
rooted themselves in the unchanging principles
of human nature. They are like gigantic trees
that we sometimes see on the banks of a stream;
which, by their vast and deep roots, penetrating
through the mere surface, and laying hold on
the very foundations of the earth, preserve the
soil around them from being swept away by the
everflowing current, and hold up many a neighbouring
plant, and, perhaps, worthless weed, to
perpetuity. Such is the case with Shakspeare,
whom we behold, defying the encroachments of
time, retaining in modern use the language and
literature of his day, and giving duration to many
an indifferent author, merely from having flourished
in his vicinity. But even he, I grieve to
say, is gradually assuming the tint of age, and
his whole form is overrun by a profusion of
commentators, who, like clambering vines and
creepers, almost bury the noble plant that upholds
them.”

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Here the little quarto began to heave his sides
and chuckle, until at length he broke out into
a short plethoric fit of laughter that had well
nigh choked him, by reason of his excessive
corpulency. “Mighty well!” cried he, as
soon as he could recover breath, “mighty well!
and so you would persuade me that the literature
of an age is to be perpetuated by a vagabond
deer stealer! by a man without learning!
by a poet, forsooth—a poet!” And here he
wheezed forth another fit of laughter.

I confess I felt somewhat nettled at this rudeness,
which I ascribed to his having flourished
in a less polished age. I determined, nevertheless,
not to give up my point.

“Yes,” resumed I positively, “a poet; for
of all writers he has the best chance for immortality.
Others may write from the head, but
he writes from the heart, and the heart will always
understand him. He is the faithful portrayer
of nature, whose features are always the
same, and always interesting. Prose writers
are voluminous and unwieldy; their pages

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crowded with common places, and their thoughts
expanded into tediousness. But with the true
poet every thing is terse, touching, or brilliant.
He gives the choicest thoughts in the choicest
language. He illustrates them by every thing
that he sees most striking in nature and art.
He enriches them by pictures of human life,
such as it is passing before him. His writings,
therefore, contain the spirit, the aroma, if I may
use the phrase, of the age in which he lives.
They are caskets which inclose within a small
compass the wealth of the language—its family
jewels, which are thus transmitted in a portable
form to posterity. The setting may occasionally
be antiquated, and require now and then to
be renewed, as in the case of Chaucer; but the
brilliancy and intrinsic value of the gems continue
unaltered. Cast a look back over the long
reach of literary history. What vast valleys of
dulness, filled with monkish legends and academical
controversies. What bogs of theological
speculations; what dreary wastes of metaphysics.
Here and there only we behold the

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heaven-illumined bards, elevated like beacons
on their widely-separated heights, to transmit
the pure light of poetical intelligence from age
to age.”[4]

I was just about to launch forth into eulogiums
upon the poets of the day, when the sudden
opening of the door caused me to turn my
head. It was the verger, who came to inform
me that it was time to close the library. I
sought to have a parting word with the quarto,
but the worthy little tome was silent; the
clasps were closed, and it looked perfectly unconscious
of all that had passed. I have been
to the library two or three times since, and

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endeavoured to draw it into farther conversation,
but in vain. And whether all this rambling
colloquy actually took place, or whether it was
another of those odd day dreams to which I am
subject, I have never, to this moment, been able
to discover.

eaf214v4.n1

[1] In Latin and French hath many soueraine wittes had great delyte
to endite, and have many noble thinges fulfilde, but certes there
ben some that speaken their poisye in French, of which speche the
French men have as good a fantasye as we have in heryng of Frenchemen's
Englishe.

Chaucer's Testament of Love.

eaf214v4.n2

[2] Holinshed, in his Chronicle, observes, “afterward, also, by diligent
travell of Geffray Chaucer and John Gowre, in the time of Richard
the second, and after them of John Scogan and John Lydgate, monke
of Berrie, our said toong was brought to an excellent passe, notwithstanding
that it never came unto the type of perfection until the time
of Queen Elizabeth, wherein John Jewell, Bishop of Sarum, John
Fox, and sundrie learned and excellent writers, have fully accomplished
the ornature of the same, to their great praise and immortal commendation.”

eaf214v4.n3

[3] Live ever sweete booke; the silver image of his gentle witt, and
the golden pillar of his noble courage; and ever notify unto the
world that thy writer was the secretary of eloquence, the breath of
the muses, the honey bee of the dayntiest flowers of witt and arte, the
pith of morale and intellectual virtues, the arme of Bellona in the
field, the tongue of Suada in the chamber, the spirite of Practise in
esse, and the paragon of excellency in print.

Harvey's Pierce's Supererogation.

eaf214v4.n4

[4]

Thorow earth, and waters deepe,
The pen by skill doth passe:
And featly nyps the worldes abuse,
And shoes us in a glasse,
The vertu and the vice
Of every wight alyve;
The honey combe that bee doth make,
Is not so sweete in hyve,
As are the golden leves
That drops from poets head:
Which doth surmount our common talke
As farre as dros doth lead.
Churchyard.

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RURAL FUNERALS.

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Here's a few flowers; but about midnight more:
The herbs that have on them cold dew o' the night
Are strewings fitt'st for graves.—
You were as flowers now wither'd: even so
These herb'lets shall, which we upon you strow.
Cymbeline.

Among the beautiful and simple-hearted customs
of rural life which still linger in some parts
of England, are those of strewing flowers before
the funerals, and planting them at the
graves, of departed friends. These, it is said,
are the remains of some of the rites of the
primitive church; but they are of still higher
antiquity, being mentioned in the classic writers,
and no doubt were the spontaneous tributes
of unlettered affection, originating long

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before art had tasked itself to modulate sorrow
into song, or story it on the monument. They
are now only to be met with in the most distant
and retired places of the kingdom, where
fashion and innovation have not been able to
throng in, and trample out all the curious and
interesting traces of the olden time.

In Glamorganshire, we are told, the bed
whereon the corpse lies, is covered with flowers,
a custom alluded to in one of the wild and
plaintive ditties of Ophelia:


White his shroud as the mountain snow
Larded all with sweet flowers;
Which be-wept to the grave did go,
With true-love showers.

There is also a most delicate and beautiful
rite observed in some of the remote villages of
the south, at the funeral of a female who has
died young and unmarried. A chaplet of white
flowers is borne before the corpse by a young
girl nearest in age, size, and resemblance, and
is afterwards hung up in the church over the

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accustomed seat of the deceased. These chaplets
are sometimes made of white paper, in
imitation of flowers, and inside of them is generally
a pair of white gloves. They are intended
as emblems of the purity of the deceased,
and the crown of glory which she has
received in heaven.

In some parts of the country, also, the dead
are carried to the grave with the singing of
psalms and hymns: a kind of triumph, “to
show,” says Bourne, “that they have finished
their course with joy, and are become conquerors.”
This, I am informed, is observed in some of
the northern counties, particularly in Northumberland,
and it has a pleasing, though melancholy
effect, to hear, of a still evening, in some
lonely country scene, the mournful melody of
a funeral dirge swelling from a distance, and
to see the train slowly moving along the landscape.
There is also a solemn respect paid by
the traveller to the passing funeral in these sequestered
places, for such spectacles, occurring
among the quiet abodes of nature, sink deep

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into the soul. As the mourning train approaches,
he pauses, uncovered, to let it go
by; he then follows silently in the rear; sometimes
quite to the grave, at other times for a
few hundred yards, and having paid this tribute
of respect to the deceased, turns and resumes
his journey.

The rich vein of melancholy which runs
through the English character, and gives it
some of its most touching and ennobling graces,
is finely evidenced in these pathetic customs,
and in the solicitude shown by the common
people for an honoured and a peaceful grave.
The humblest peasant, whatever may be his
lowly lot while living, is anxious that some
little respect may be paid to his remains. Sir
Thomas Overbury, describing the “faire and
happy milkmaid,” observes, “thus lives she,
and all her care is, that she may die in the
spring time, to have store of flowers stucke
upon her winding sheet.” The poets, too, who
always breathe the feeling of a nation, continually
advert to this fond solicitude about the

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grave. In “The Maid's Tragedy,” by Beaumont
and Fletcher, there is a beautiful instance
of the kind, describing the capricious melancholy
of a broken-hearted girl:


When she sees a bank
Stuck full of flowers, she, with a sigh, will tell
Her servants, what a pretty place it were
To bury lovers in; and make her maids
Pluck 'em, and strew her over like a corse.

The custom of decorating graves was once
universally prevalent: osiers were carefully
bent over them to keep the turf uninjured,
and evergreens and flowers were planted about
them. This has now become extremely rare,
but it may occasionally be met with in the
church yards of the little retired villages
among the Welsh mountains; and I recollect
an instance of it in the small town of Ruthen,
that lies at the head of the beautiful vale of
Clewyd.

There was a melancholy fancy in the arrangement
of these rustic offerings that had
something in it exquisitely poetical. The

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nature and colour of the flowers, and of the ribbands
with which they were tied, were emblematical
of the qualities or story of the deceased,
or the feelings of the mourner. In an
old poem, entitled “Corydon's Doleful Knell,”
a lover specifies the decorations he intends to
use:


A garland shall be framed
By art and nature's skill,
Of sundry-coloured flowers,
In token of good will.
And sundry-coloured ribbands
On it I will bestow;
But chiefly blacke and yellowe
With her to grave shall go.
I'll deck her tomb with flowers
The rarest ever seen;
And with my tears as showers
I'll keepe them fresh and green.

The white rose, we are told, was planted at
the grave of a virgin; her chaplet was tied
with white ribbands, in token of her spotless
innocence, though sometimes black ribbands
were intermingled, to bespeak the grief of the
survivors. The red rose was occasionally used
in remembrance of such as had been

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remarkable for benevolence; but roses in general were
appropriated to the graves of lovers. Those
who had been unhappy in their loves had emblems
of a more gloomy character, such as the
yew, the cypress, and flowers of melancholy
colour. Thus, in poems by Thomas Stanley,
Esq. (published in 1651) is the following
stanza:


Yet strew
Upon my dismall grave
Such offerings as you have,
Forsaken cypresse and sad ewe;
For kinder flowers can take no birth
Or growth from such unhappy earth.

In “The Maid's Tragedy,” also, is introduced
a pathetic little air, illustrative of the mode
of decorating the funerals of females who had
been disappointed in love:



Lay a garland on my hearse
Of the dismall yew,
Maidens willow branches wear,
Say I died true.
My love was false, but I was firm
From my hour of birth,
Upon my buried body lie
Lightly, gentle earth.

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The natural effect of sorrow over the dead
is to refine and elevate the mind, and we have
a proof of it in the purity of sentiment that
pervades the whole of these funereal observances,
though confined to the inferior classes of
society. Thus, it was an especial precaution,
that none but sweet-scented evergreens and
flowers should be used on these occasions.
The object seems to have been to soften the
horrors of the tomb, to beguile the mind from
brooding over the disgraces of perishing mortality,
and to associate the memory of the deceased
with what is most delicate and beautiful
in nature. There is a dismal process going on
in the grave, ere dust can return to its kindred
dust, which the imagination shrinks from contemplating;
and we seek still to think of the
form we have loved, with the associations of
refinement which it awakened when blooming
before us in youth and beauty. “Lay her
i'the earth,” says Laertes of his virgin sister,



And from her fair and unpolluted flesh
May violets spring!

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I might crowd my pages with extracts from
the older British poets, who wrote when these
rites were more prevalent, and delighted frequently
to allude to them; but I have already
quoted more than is necessary; and yet I cannot
refrain from giving a passage from Shakspeare,
even though it should appear trite, which
illustrates the emblematical meaning often conveyed
in these floral tributes, and which possesses
that magic of language and appositeness
of imagery for which he stands pre-eminent:


With fairest flowers,
Whilst summer lasts, and I live here, Fidele,
I'll sweeten thy sad grave; thou shalt not lack
The flower that's like thy face, pale primrose; nor
The azur'd harebell like thy veins; no, nor
The leaf of eglantine; whom not to slander,
Outsweetened not thy breath.

There is certainly something more affecting
in these prompt and spontaneous offerings of
nature, than in the most costly monuments of
art; the hand strews the flower while the heart
is warm, and the tear falls on the grave as affection
is binding the osier around the sod; but

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pathos expires under the slow labour of the
chisel, and is chilled among the cold conceits
of sculptured marble.

It is greatly to be regretted, that a custom
so truly elegant and touching should have disappeared
from general use, and exist only in
the most remote and insignificant villages. But
it seems as if poetical custom always shuns the
walks of cultivated society. In proportion as
people grow polite they cease to be poetical.
They talk of poetry, but they have learnt to
check its free impulses, to distrust its sallying
emotions, and to supply its most affecting and
picturesque usages, by studied form and pompous
ceremonial. Few pageants can be more
stately and frigid than an English funeral in
town. It is made up of show and gloomy parade:
mourning carriages, mourning horses,
mourning plumes, and hireling mourners, who
make a mockery of grief. “There is a grave
digged,” says Jeremy Taylor, “and a solemn
mourning, and a great talk in the neighbourhood,
and when the daies are finished, they

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shall be, and they shall be remembered no
more.” The associate in the gay and crowded
city is soon forgotten; the hurrying succession
of new intimates and new pleasures efface him
from our minds, and the very scenes and circles
in which he moved are incessantly fluctuating.
But funerals in the country are always
more impressive. The stroke of death makes
a wider space in the village circle, and is an
awful event in the tranquil uniformity of rural
life. The death bell tolls its knell in every ear;
it steals with its pervading melancholy over
every hill and vale, and saddens all the landscape.

The fixed and unchanging features of the
country also, perpetuate the memory of the
friend with whom we once enjoyed them, who
was the companion of our most retired walks,
and gave animation to every lonely scene. His
idea is associated with every charm of nature;
we hear his voice in the echo which he once
delighted to awaken; his spirit haunts every

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grove which he once frequented; we think of
him in the wild upland solitude, or amidst the
pensive beauty of the valley. In the freshness
of joyous morning, we remember his beaming
smiles and bounding gayety; and when sober
evening returns with its gathering shadows and
subduing quiet, we call to mind many a twilight
hour of gentle talk and sweet-souled melancholy.



Each lonely place shall him restore,
For him the tear be duly shed,
Belov'd till life can charm no more,
And mourn'd, till pity's self be dead.

Another cause that perpetuates the memory
of the deceased in the country, is, that the
grave is more immediately in sight of the survivors.
They pass it on their way to prayer;
it meets their eyes when their hearts are softened
by the exercises of devotion; they linger about
it on the sabbath, when the mind is disengaged
from worldly cares, and most disposed to turn
aside from present pleasures and present loves,

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and to sit down among the solemn mementos
of the past. In North Wales the peasantry
kneel and pray over the graves of their deceased
friends for several Sundays after the interment;
and where the tender rite of strewing and planting
flowers is still practised, it is always renewed
on Easter, Whitsuntide, and other festivals,
when the season brings the companion of former
festivity more vividly to mind. It is also invariably
performed by the nearest relatives and
friends; no menials nor hirelings are employed,
and if a neighbour yields assistance, it would be
deemed an insult to offer compensation.

I have dwelt upon this beautiful rural custom,
because, as it is one of the last, so it is one
of the holiest offices of love. The grave is the
ordeal of truly human affection. It is there
that the divine passion of the soul shows its superiority
to the instinctive attachment of the
brute; for the love of the animal must be continually
refreshed by the presence of its object,
but the love of the human soul can live on long
remembrance!

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The sorrow for the dead is the only sorrow
from which we refuse to be divorced. Every
other wound we seek to heal—every other affliction
to forget; but this wound we consider it
a duty to keep open—this affliction we cherish
and brood over in solitude. Where is the mother
that would willingly forget the infant that
perished like a blossom from her arms, though
every recollection is a pang? Where is the
child that would willingly forget the most tender
of parents, though to remember be but to
lament? Who, even in the hour of agony,
would forget the friend over whom he mourns?
Who, even when the tomb is closing upon the
remains of her he most loved, and he feels his
heart, as it were, crushed in the closing of its
portal, would accept consolation that was to be
bought by forgetfulness?—No, the love which
survives the tomb is one of the noblest attributes
of the soul. If it has its woes, it has likewise
its delights; and when the overwhelming
burst of grief is calmed into the gentle tear of
recollection; when the sudden anguish and the

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convulsive agony over the present ruins of all
that we most loved, is softened away into pensive
meditation on all that it was in the days of
its loveliness—who would root out such a sorrow
from the heart? Though it may sometimes
throw a passing cloud even over the bright
hour of gayety; or spread a deeper sadness
over the hour of gloom; yet who would exchange
it even for the song of pleasure, or the
burst of revelry? No, there is a voice from the
tomb sweeter than song. There is a recollection
of the dead to which we turn even from
the charms of the living. Oh the grave!—the
grave!—It buries every error—covers every defect—
extinguishes every resentment. From its
peaceful bosom spring none but fond regrets
and tender recollections. Who can look down
upon the grave even of an enemy, and not feel
a compunctious throb, that ever he should have
warred with the poor handful of earth that lies
mouldering before him!

But the grave of those we loved—what a

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place for meditation! Then it is that we call
up in long review the whole history of virtue
and gentleness, and the thousand endearments
lavished upon us almost unheeded in the daily
intercourse of intimacy;—then it is that we
dwell upon the tenderness, the solemn, awful
tenderness of the parting scene—the bed of
death, with all its stifled griefs, its noiseless
attendance, its mute, watchful assiduities—the
last testimonies of expiring love—the feeble,
fluttering, thrilling, oh! how thrilling! pressure
of the hand—the last fond look of the glazing
eye, turning upon us even from the threshold
of existence—the faint, faltering accents struggling
in death to give one more assurance of
affection!

Aye, go to the grave of buried love, and
meditate! There settle the account with thy
conscience for every past benefit unrequited—
every past endearment unregarded, of that departed
being, who can never—never—never
return to be soothed by thy contrition!

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If thou art a child, and hast ever added a
sorrow to the soul, or a furrow to the silvered
brow of an affectionate parent—if thou art a
husband, and hast ever caused the fond bosom
that ventured its whole happiness in thy arms,
to doubt one moment of thy kindness or thy
truth—if thou art a friend, and hast ever
wronged, in thought, or word, or deed, the
spirit that generously confided in thee—if thou
art a lover, and hast ever given one unmerited
pang to that true heart that now lies cold and
still beneath thy feet;—then be sure that every
unkind look, every ungracious word, every ungentle
action, will come thronging back upon
thy memory, and knocking dolefully at thy
soul—then be sure that thou wilt lie down
sorrowing and repentant on the grave, and
utter the unheard groan, and pour the unavailing
tear, more deep, more bitter, because unheard
and unavailing.

Then weave thy chaplet of flowers, and
strew the beauties of nature about the grave;

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console thy broken spirit, if thou canst, with
these tender, yet futile tributes of regret;—but
take warning by the bitterness of this thy contrite
affliction over the dead, and be more faithful
and affectionate in the discharge of thy duties
to the living.

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In writing the preceding article, there was
no intention of giving a full detail of the funeral
customs of the English peasantry, but
merely to furnish a few hints and quotations
illustrative of particular rites; to be appended,
by way of note, to another paper, which has
been withheld. The article insensibly swelled
into its present form, and this is mentioned as
an apology for so brief and casual a notice of
these customs, after they have been amply and
learnedly investigated in other works.

I must observe, also, that I am well aware
of the prevalence of the custom of adorning
graves with flowers, in other countries besides
England. Indeed, in some it is much more
general, and is observed by the rich and fashionable,
but then it is apt to lose its simplicity,
and degenerate into affectation. Bright, in his
travels in Lower Hungary, tells of monuments
of marble, with recesses formed for retirement,
with seats placed among bowers of green-house

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plants; and that the graves generally are
covered with the gayest flowers of the season.
He gives a casual picture of filial piety, which
I cannot but transcribe; for I trust it is as useful
as it is delightful to illustrate the amiable
virtues of the sex. “When I was at Berlin,”
says he, “I followed the celebrated Iffland to
the grave. Mingled with some pomp, you
might trace much real feeling. In the midst of
the ceremony, my attention was attracted by a
young woman who stood on a mound of earth,
newly covered with turf, which she anxiously
protected from the feet of the passing crowd.
It was the tomb of her parent; and the figure
of this affectionate daughter presented a monument
more striking than the most costly work
of art.”

I will barely add an instance of sepulchral
decoration which I once met with among the
mountains of Switzerland. It was at the village
of Gersau, which stands on the borders of
the lake of Lucerne, at the foot of Mount Rigi.
It was once the capital of a miniature republic,

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shut up between the Alps and the lake, and accessible
on the land side only by foot paths.
The whole force of the republic did not exceed
six hundred fighting men; and a few miles of
circumference, scooped out as it were from the
bosom of the mountains, comprised its territory.
The village of Gersau seemed separated from
the rest of the world, and retained the golden
simplicity of a purer age. It had a small church,
with a burying ground adjoining. At the heads
of the graves were placed crosses of wood or
iron. On some were affixed miniatures, rudely
executed, but evidently attempts at likenesses
of the deceased. On the crosses were hung
chaplets of flowers, some withering, others
fresh, as if occasionally renewed. I paused
with interest at this scene; I felt that I was at
the source of poetical description, for these were
the beautiful but unaffected offerings of the
heart which poets are fain to record. In a gayer
and more populous place, I should have suspected
them to have been suggested by factitious
sentiment, derived from books; but the good

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people of Gersau knew little of books; there
was not a novel nor a love poem in the village;
and I question whether any peasant of the place
dreamt, while he was twining a fresh chaplet
for the grave of his mistress, that he was fulfilling
one of the most fanciful rites of poetical
devotion, and that he was practically a poet.

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THE INN KITCHEN.

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[figure description] Page 297.[end figure description]

Shall I not take mine ease in mine inn?

Falstaff.

During a journey that I once made through
the Netherlands, I had arrived one evening at
the Pomme d'Or, the principal inn of a small
Flemish village. It was after the hour of
the table d'hote, so that I was obliged to
make a solitary supper from the reliques of
its ampler board. The weather was chilly;
I was seated alone in one end of a great
gloomy dining room, and my repast being over;
I had the prospect before me of a long dull
evening, without any visible means of

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enlivening it. I summoned mine host, and requested
something to read; he brought me the whole
literary stock of his household, a Dutch family
bible, an almanack in the same language, and a
number of old Paris newspapers. As I sat
dozing over one of the latter, reading old news
and stale criticisms, my ear was now and then
struck with bursts of laughter that seemed to
proceed from the kitchen. Every one that has
travelled on the continent, must know how favourite
a resort the kitchen of a country inn is
to the middle and inferior order of travellers,
particularly in that equivocal kind of weather,
when a fire becomes agreeable toward evening.
I threw aside the newspaper, and explored
my way to the kitchen, to take a peep at
the group that appeared to be so merry. It was
composed partly of travellers who had arrived
some hours before in a diligence, and partly of
the usual attendants and hangers-on of inns.
They were seated around a great burnished
stove, that might have been mistaken for an
altar, at which they were worshipping. It was

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covered with various kitchen vessels of resplendent
brightness; among which steamed and
hissed a huge copper tea-kettle. A large lamp
threw a strong mass of light upon the group,
bringing out many odd features in strong relief.
Its yellow rays partially illumined the spacious
kitchen, dying duskily away into remote corners,
except where they settled in mellow radiance
on the broad side of a flitch of bacon, or
were reflected back from well-scoured utensils,
that gleamed from the midst of obscurity. A
strapping Flemish lass, with long gold pendants
in her ears, and a necklace with a golden heart
suspended to it, was the presiding priestess of
the temple.

Many of the company were furnished with
pipes, and most of them with some kind of evening
potation. I found their mirth was occasioned
by a long history which a little swarthy
Frenchman, with a dry weazen face and large
whiskers, was giving of his love adventures; at
the end of each of which there was one of those
bursts of honest unceremonious laughter, in

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which a man indulges in that temple of true
liberty, an Inn.

As I had no better mode of getting through
a tedious blustering evening, I took my seat
near the stove, and listened to a variety of travellers'
tales, some very extravagant, and most
very dull. All of them, however, have faded
from my treacherous memory except one, which
I will endeavour to relate. I fear, however, it
derived its chief zest from the manner in which
it was told, and the peculiar air and appearance
of the narrator. He was a corpulent old Swiss,
who had the look of a veteran traveller. He
was dressed in a tarnished green travelling
jacket, with a broad belt round his waist, and
a pair of overalls, with buttons from the hips to
the ankles. He was of a full, rubicund countenance,
with a double chin, aquiline nose, and a
pleasant twinkling eye. His hair was light,
and curled from under an old green velvet travelling
cap stuck on one side of his head. He
was interrupted more than once by the arrival
of guests, or the remarks of his auditors; and

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paused now and then to replenish his pipe; at
which times he had generally a roguish leer, and
a sly joke for the buxom kitchen maid.

I wish my reader could imagine the old fellow
lolling in a huge arm chair, one arm
a-kimbo, the other holding a curiously twisted
tobacco pipe, formed of genuine écume de mer,
decorated with silver chain and silken tassel—
his head cocked on one side, and a whimsical
cut of the eye occasionally, as he related the
following story.

-- --

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-- --

THE SPECTRE BRIDEGROOM.

[figure description] Page 301.[end figure description]

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A TRAVELLER'S TALE.[5]



He that supper for is dight,
He lyes full cold, I trow, this night!
Yestreen to chamber I him led,
This night Gray-steel has made his bed!
Sir Eger, Sir Grahame, and Sir Gray-steel.

On the summit of one of the heights of the
Odenwald, a wild and romantic tract of upper
Germany, that lies not far from the confluence
of the Maine and the Rhine, there stood,
many, many years since, the Castle of the Baron
Von Landshort. It is now quite fallen to

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decay, and almost buried among beech trees
and dark firs, above which, however, its old
watch-tower may still be seen struggling, like
the former possessor I have mentioned, to carry
a high head, and look down upon the neighbouring
country.

The Baron was a dry branch of the great family
of Katzenellenbogen,[6] and inherited the
reliques of the property, and all the pride of
his ancestors. Though the warlike disposition
of his predecessors had much impaired the family
possessions, yet the Baron still endeavoured
to keep up some show of former state. The
times were peaceable, and the German nobles,
in general, had abandoned their inconvenient
old castles, perched like eagle's nests among the
mountains, and had built more convenient residences
in the valleys: still the Baron remained
proudly drawn up in his little fortress, cherishing
with hereditary inveteracy, all the old family
feuds; so that he was on ill terms with some

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[figure description] Page 305.[end figure description]

of his nearest neighbours, on account of disputes
that had happened between their great
great grandfathers.

The Baron had but one child, a daughter;
but nature, when she grants but one child, always
compensates by making it a prodigy; and
so it was with the daughter of the Baron. All
the nurses, gossips, and country cousins, assured
her father that she had not her equal for beauty
in all Germany; and who should know better
than they. She had, moreover, been brought up
with great care under the superintendance of
two maiden aunts, who had spent some years
of their early life at one of the little German
courts, and were skilled in all the branches of
knowledge necessary to the education of a fine
lady. Under their instructions, she became a
miracle of accomplishments. By the time she
was eighteen she could embroider to admiration,
and had worked whole histories of the saints
in tapestry, with such strength of expression in
their countenances, that they looked like so
many souls in purgatory. She could read

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without great difficulty, and had spelled her way
through several church legends, and almost all
the chivalric wonders of the Heldenbuch. She
had even made considerable proficiiency in
writing, could sign her own name without missing
a letter, and so legibly, that her aunts could
read it without spectacles. She excelled in
making little elegant good-for-nothing lady
like nick-nacks of all kinds; was versed in the
most abstruse dancing of the day; played a
number of airs on the harp and guitar; and
knew all the tender ballads of the Minne-lieders
by heart.

Her aunts, too, having been great flirts and coquettes
in their younger days, were admirably
calculated to be vigilant guardians and strict
censors of the conduct of their niece; for there is
no duenna so rigidly prudent, and inexorably
decorous, as a superannuated coquette. She was
rarely suffered out of their sight; never went beyond
the domains of the castle, unless well attended,
or rather, well watched; had continual
lectures read to her about strict decorum and

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implicit obedience; and, as to the men—pah!—
she was taught to hold them at such distance
and distrust, that, unless properly authorized,
she would not have cast a glance upon the handsomest
cavalier in the world—no, not if he
were even dying at her feet!

The good effects of this system were wonderfully
apparent. The young lady was a pattern
of docility and correctness. While others were
wasting their sweetness in the glare of the
world, and liable to be plucked and thrown
aside by every hand, she was coyly blooming
into fresh and lovely womanhood under the
protection of those immaculate spinsters, like a
rose-bud blushing forth among guardian thorns.
Her aunts looked upon her with pride and exultation,
and vaunted that all the other young
ladies in the world might go astray, yet thanked
heaven, nothing of the kind could happen to
the heiress of Katzenellenbogen.

But, however scantily the Baron Von Landshort
might be provided with children, his
household was by no means a small one, for

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providence had enriched him with abundance
of poor relations. They, one and all, possessed
the affectionate disposition common to humble
relatives: were wonderfully attached to the Bacon,
and took every possible occasion to come
in swarms and enliven the castle. All family
festivals were commemorated by these good
people at the Baron's expense; and when they
were filled with good cheer, they would declare
that there was nothing on earth so delightful as
these family meetings, these jubilees of the
heart.

The Baron, though a small man, had a large
soul, and it swelled with satisfaction at the consciousness
of being the greatest man in the little
world about him. He loved to tell long stories
about the stark old warriors whose portraits
looked grimly down from the walls around, and
he found no listeners equal to those who fed at
his expense. He was much given to the marvellous,
and a firm believer in all those supernatural
tales with which every mountain and
valley in Germany abounds. The faith of his
guests even exceeded his own: they listened to

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every tale of wonder with open eyes and mouth,
and never failed to be astonished, even though
repeated for the hundredth time. Thus lived
the Baron Von Landshort, the oracle of his table,
the absolute monarch of his little territory,
and happy above all things, in the persuasion
that he was the wisest man of the age.

At the time of which my story treats, there
was a great family gathering at the Castle, on
an affair of the utmost importance. It was to
receive the destined bridegroom of the Baron's
daughter. A negotiation had been carried on
between the father, and an old nobleman of Bavaria,
to unite the dignity of their houses by
the marriage of their children. The preliminaries
had been conducted with proper punctilio.
The young people were betrothed without seeing
each other, and the time appointed for the
marriage ceremony. The young Count Von
Altenburg had been recalled from the army for
the purpose, and was actually on his way to the
Baron's to receive his bride. Missives had
been received from him, from Wurtzburg, where

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he was accidentally detained, mentioning the
day and hour he might be expected to arrive.

The castle was in a tumult of preparation to
give him a suitable welcome. The fair bride
had been decked out with uncommon care.
The two aunts had superintended her toilet,
and quarrelled the whole morning about every
article of her dress. The young lady had taken
advantage of their contest to follow the bent of
her own taste; and fortunately it was a good
one. She looked as lovely as youthful bridegroom
could desire; and the flutter of expectation
heightened the lustre of her charms.

The suffusions that mantled her face and
neck, the gentle heaving of the bosom, the eye
now and then lost in reverie, all betrayed the
soft tumult that was going on in her little heart.
The aunts were continually hovering around
her; for maiden aunts are apt to take great interest
in affairs of this nature. They were giving
her a world of staid counsel how to deport
herself, what to say, and in what manner to receive
the expected lover.

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The Baron was no less busied in preparations.
He had, in truth, nothing exactly to do; but he
was naturally a fuming, bustling little man, and
could not remain passive when all the world
was in a hurry. He worried from top to bottom
of the castle, with an air of infinite anxiety;
he continually called the servants from
their work to exhort them to be diligent, and
buzzed about every hall and chamber, as idly
restless and importunate as a blue bottle fly of
a warm summer's day.

In the mean time, the fatted calf had been
killed; the forests had rung with the clamour of
the huntsmen; the kitchen was crowded with
good cheer; the cellars had yielded up whole
oceans of Rhein-wein and Ferne-wein, and even
the great Heidelberg tun had been laid under
contribution. Every thing was ready to receive
the distinguished guest with Saus und Braus
in the true spirit of German hospitality—but the
guest delayed to make his appearance. Hour
rolled after hour. The sun that had poured his
downward rays upon the rich forests of the

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Odenwald, now just gleamed along the summits
of the mountains. The Baron mounted the
highest tower, and strained his eyes in hopes of
catching a distant sight of the Count and his attendants.
Once he thought he beheld them; the
sound of horns came floating from the valley,
prolonged by the mountain echoes. A number
of horsemen were seen far below, slowly advancing
along the road; but when they had nearly
reached the foot of the mountain, they suddenly
struck off in a different direction. The last ray
of sunshine departed—the bats began to flit by in
the twilight—the road grew dimmer and dimmer
to the view; and nothing appeared stirring
in it, but now and then a peasant lagging homeward
from his labour.

While the old castle of Landshort was in
this state of perplexity, a very interesting scene
was transacting in a different part of the
Odenwald.

The young Count Von Altenburg was tranquilly
pursuing his route in that sober jog-trot
way in which a man travels towards matrimony,

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when his friends have taken all the trouble and
uncertainty of courtship off his hands, and a
bride is waiting for him, as—certainly as a dinner,
at the end of his journey. He had encountered,
at Wurtzburg, a youthful companion in
arms, with whom he had seen some service on
the frontiers; Hermon Von Starkenfaust, one
of the stoutest hands, and worthiest hearts, of
German chivalry, who was now returning from
the army. His father's castle was not far distant
from the old fortress of Landshort, although
a hereditary feud rendered the families hostile,
and strangers to each other.

In the warm-hearted moment of recognition,
the young friends related all their past adventures
and fortunes, and the count gave the whole history
of his intended nuptials with a young lady
whom he had never seen, but of whose charms
he had received the most enrapturing descriptions.

As the route of the friends lay in the same
direction, they agreed to perform the rest of
their journey together; and that they might do

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it the more leisurely, sat off from Wurtzburg at
an early hour, the count having given directions
for his retinue to follow and overtake him.

They beguiled their wayfaring with recollections
of their military scenes and adventures;
but the count was apt to be a little tedious, now
and then, about the reputed charms of his bride,
and the felicity that awaited him.

In this way they had entered among the
mountains of the Odenwald, and were traversing
one of its most lonely and thickly wooded
passes. It is well known that the forests of
Germany have always been as much infested
by robbers as its castles by spectres; and, at this
time, the former were particularly numerous
from the hordes of disbanded soldiers wandering
about the country. It will not appear extraordinary,
therefore, that the cavaliers were
attacked by a gang of these stragglers, in the
depth of the forest. They defended themselves
with bravery, but were nearly overpowered,
when the count's retinue arrived to their assistance.
At sight of them the robbers fled, but

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not until the count had received a mortal wound.
He was slowly and carefully conveyed back to
the city of Wurtzburg, and a friar summoned from
a neighbouring convent, who was famous for
his skill in administering to both soul and body.
But half of his skill was superfluous; the moments
of the unfortunate count were numbered.

With his dying breath he entreated his friend
to repair instantly to the castle of Landshort,
and explain the fatal cause of his not keeping
his appointment with his bride. Though not
the most ardent of lovers, he was one of the
most punctilious of men; and appeared earnestly
solicitous that this mission should be speedily
and courteously executed. “Unless this is
done,” said he, “I shall not sleep quietly in my
grave!” He repeated these last words with peculiar
solemnity. A request, at a moment so
solemn, admitted no hesitation. Starkenfaust
endeavoured to soothe him to calmness, promised
faithfully to execute his wish, and gave him
his hand in solemn pledge. The dying man
pressed it in acknowledgment, but soon lapsed

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into delirium—raved about his bride—his engagement—
his plighted word; ordered his
horse, that he might ride to the castle of Landshort,
and expired in the fancied act of vaulting
into the saddle.

Starkenfaust bestowed a sigh, and a soldier's
tear, on the untimely fate of his comrade; and
then pondered on the awkward mission he had
undertaken. His heart was heavy, and his
head perplexed; for he was to present himself
an unbidden guest among hostile people, and to
damp their festivity with tidings fatal to their
hopes. Still there were certain whisperings of
curiosity in his bosom to see this far-famed
beauty of Katzenellenbogen, so cautiously shut
up from the world; for he was a passionate admirer
of the sex, and there was a dash of eccentricity
and enterprize in his character that made
him fond of all singular adventure.

Previous to his departure, he made all due arrangements
with the holy fraternity of the convent
for the funeral solemnities of his friend,
who was to be buried in the cathedral of

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Wurtzburg, near some of his illustrious relatives;
and the mourning retinue of the count took
charge of his remains.

It is now high time that we should return
to the ancient family of Katzenellenbogen, who
were impatient for their guest, and still more
for their dinner; and to the worthy little Baron,
whom we left airing himself on the watchtower.

Night closed in, but still no guest arrived.
The Baron descended from the tower in despair.
The banquet, which had been delayed from hour
to hour could no longer be postponed. The meats
were already overdone; the cook in an agony;
and the whole household had the look of a garrison
that had been reduced by famine. The
Baron was obliged reluctantly to give orders for
the feast without the presence of the guest.
All were seated at table, and just on the point
of commencing, when the sound of a horn from
without the gate gave notice of the approach of
a stranger. Another long blast filled the old
courts of the castle with its echoes, and was

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answered by the warder from the walls. The
Baron hastened to receive his future son-in-law.

The drawbridge had been let down, and the
stranger was before the gate. He was a tall
gallant cavalier, mounted on a black steed. His
countenance was pale, but he had a beaming,
romantic eye, and an air of stately melancholy.
The Baron was a little mortified that he should
have come in this simple, solitary style. His
dignity for a moment was ruffled, and he felt
disposed to consider it a want of proper respect
for the important occasion, and the important
family with which he was to be connected. He,
however, pacified himself with the conclusion
that it must have been youthful impatience
which had induced him thus to spur on sooner
than his attendants.

“I am sorry,” said the stranger, “to break in
upon you thus unseasonably—”

Here the Baron interrupted him with a
world of compliments and greetings; for, to
tell the truth, he prided himself upon his courtesy
and his eloquence. The stranger

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attempted, once or twice, to stem the torrent of words,
but in vain, so he bowed his head and suffered
it to flow on. By the time the Baron had come
to a pause, they had reached the inner court of
the castle; and the stranger was again about to
speak, when he was once more interrupted by
the appearance of the female part of the family,
leading forth the shrinking and blushing bride.
He gazed on her for a moment as one entranced;
it seemed as if his whole soul beamed forth in
the gaze, and rested upon that lovely form.
One of the maiden aunts whispered something
in her ear; she made an effort to speak; her
moist blue eye was timidly raised, gave a shy
glance of inquiry on the stranger, and was cast
again to the ground. The words died away;
but there was a sweet smile playing about her
lips, and a soft dimpling of the cheek, that showed
her glance had not been unsatisfactory. It
was impossible for a girl of the fond age of
eighteen, highly predisposed for love and matrimony,
not to be pleased with so gallant a cavalier.

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The late hour at which the guest had arrived,
left no time for parley. The baron was peremptory,
and deferred all particular conversation
until the morning, and led the way to the
untasted banquet.

It was served up in the great hall of the castle.
Around the walls hung the hard-favoured portraits
of the heroes of the house of Katzenellenbogen,
and the trophies which they had gained in
the field and in the chase. Hacked corslets;
splintered jousting spears, and tattered banners,
were mingled with the spoils of sylvan warfare:
the jaws of the wolf, and the tusks of the boar,
grinned horribly among cross-bows and battleaxes,
and a huge pair of antlers branched
accidentally over the head of the youthful
bridegroom.

The cavalier took but little notice of the company,
or the entertainment. He scarce tasted
the banquet, but seemed absorbed in admiration
of his bride. He conversed in a low tone
that could not be overheard—for the language of
love is never loud; but where is the female ear

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so dull that it cannot catch the softest whisper
of the lover? There was a mingled tenderness
and earnestness in his manner, that appeared to
have a powerful effect upon the young lady.
Her colour came and went as she listened with
deep attention. Now and then she made some
blushing reply, and when his eye was turned
away, she would steal a side-long glance at his
romantic countenance, and heave a gentle sigh
of tender happiness. It was evident the young
couple were completely enamoured. The aunts,
who were deeply versed in the mysteries of the
heart, declared that they had fallen in love with
each other at first sight.

The feast went on merrily, or at least noisily,
for the guests were all blessed with those
keen appetites that attend upon light purses and
mountain air. The Baron told his best and
longest stories, and never had he told them so
well, or with such great effect. If there was
any thing marvellous, his auditors were lost in
astonishment; and if any thing facetious, they
were sure to laugh exactly in the right place.

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[figure description] Page 322.[end figure description]

The Baron, it is true, like most great men, was
too dignified to utter any joke except a dull one,
but then it was always enforced by a bumper
of excellent Hoch-heimer; and even a dull joke
at one's own table, served up with jolly old
wine, is irresistible. Many good things were
said by poorer and keener wits, that would not
bear repeating, except on similar occasions;
many sly speeches whispered in ladies' ears,
that almost convulsed them with suppressed
laughter; and a song or two roared out by a
poor, but merry and broad-faced cousin of the
Baron, that absolutely made the maiden aunts
hold up their fans.

Amidst all this revelry, the stranger guest
maintained a most singular and unseasonable
gravity. His countenance assumed a deeper
cast of dejection as the evening advanced, and,
strange as it may seem, even the Baron's jokes
only seemed to render him the more melancholy.
At times he was lost in thought, and at
times there was a perturbed and restless wandering
of the eye that bespoke a mind but ill at

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[figure description] Page 323.[end figure description]

ease. His conversations with the bride became
more and more earnest and mysterious. Lowering
clouds began to steal over the fair serenity
of her brow, and tremors to run through her
tender frame.

All this could not escape the notice of the
company. Their gayety was chilled by the
unaccountable gloom of the bridegroom; their
spirits were infected; whispers and glances
were interchanged, accompanied by shrugs and
dubious shakes of the head. The song and the
laugh grew less and less frequent; there were
dreary pauses in the conversation, which were
at length succeeded by wild tales, and supernatural
legends. One dismal story produced another
still more dismal, and the Baron nearly
frightened some of the ladies into hysterics with
the history of the goblin horseman that carried
away the fair Leonora; a dreadful, but true
story, that has since been put into excellent
verse, and is read and believed by all the
world.

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[figure description] Page 324.[end figure description]

The bridegroom listened to this tale with
profound attention. He kept his eyes steadily
fixed on the Baron, and as the story drew to a
close, began gradually to rise from his seat,
growing taller and taller, until, in the Baron's
entranced eye, he seemed almost to tower into
a giant. The moment the tale was finished, he
heaved a deep sigh, and took a solemn farewell
of the company. They were all amazement.
The Baron was perfectly thunderstruck.

“What! going to leave the castle at midnight?
why, every thing was prepared for his
reception: a chamber was ready for him if he
wished to retire.”

The stranger shook his head mournfully, and
mysteriously; “I must lay my head in a different
chamber to night!”

There was something in this reply, and the
tone in which it was uttered, that made the Baron's
heart misgive him; but he rallied his forces
and repeated his hospitable entreaties. The
stranger shook his head silently, but positively,
at every offer, and waving his farewell to the

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company, stalked slowly out of the hall. The
maiden aunts were absolutely petrified—the
bride hung her head, and a tear stole to her
eye.

The Baron followed the stranger to the great
court of the castle, where the black charger
stood pawing the earth, and snorting with impatience.
When they had reached the portal,
whose deep archway was dimly lighted by a
cresset, the stranger paused, and addressed the
baron in a deep voice, which the vaulted roof
rendered still more sepulchral. “Now that we
are alone,” said he, “I will impart to you the
reason of my going. I have a solemn, an indispensable
engagement—”

“Why,” said the Baron, “cannot you send
some one in your place?”

“It admits of no substitute—I must attend it
in person—I must away to Wurtzburg cathedral—”

“Aye,” said the Baron, plucking up spirit,
“but not until to-morrow—to-morrow you shall
take your bride there.”

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[figure description] Page 326.[end figure description]

“No! no!” replied the stranger, with tenfold
solemnity, “my engagement is with no bride—
the worms! the worms expect me! I am a dead
man—I have been slain by robbers—my body
lies at Wurtzburg—at midnight I am to be
buried—the grave is waiting for me—I must
keep my appointment!”

He sprang on his black charger, dashed over
the draw-bridge, and the clattering of his
horse's hoofs were lost in the whistling of the
night blast.

The Baron returned to the hall in the utmost
consternation, and related what had passed.
Two ladies fainted outright, others sickened at
the idea of having banquetted with a spectre.
It was the opinion of some, that this might be
the wild huntsman famous in German legend.
Some talked of mountain sprites, wooddemons,
and other supernatural beings, with
which the good people of Germany have been
so grievously harassed since time immemorial.
One of the poor relations ventured to suggest
that it might be some sportive evasion of the

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young cavalier's, and that the very gloominess
of the caprice seemed to accord with so melancholy
a personage. This, however, drew on
him the indignation of the whole company, and
especially of the Baron, who looked upon him
as little better than an infidel; so that he was
fain to abjure his heresy as speedily as possible,
and come into the faith of the true believers.

But, whatever doubts might have been entertained,
they were completely put to an end by
the arrival, next day, of regular missives, confirming
the intelligence of the young Count's
murder, and his interment in Wurtzburg cathedral.

The dismay at the castle may well be imagined.
The Baron shut himself up in his chamber.
The guests who had come to rejoice with
him, could not think of abandoning him in his
distress. They wandered about the courts, or
collected in groupes in the hall, shaking their
heads and shrugging their shoulders, at the
troubles of so good a man; and sat longer than

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[figure description] Page 328.[end figure description]

ever at table, and ate and drank more stoutly
than ever, by way of keeping up their spirits.
But the situation of the widowed bride was
the most pitiable. To have lost a husband
before she had even embraced him—and such
a husband! if the very spectre could be so gracious
and noble, what must have been the
living man! She filled the house with lamentations.

On the night of the second day of her widowhood
she had retired to her chamber, accompanied
by one of her aunts, who insisted on sleeping
with her. The aunt, who was one of the
best tellers of ghost stories in all Germany, had
just been recounting one of her longest, and had
fallen asleep in the very midst of it. The chamber
was remote, and overlooked a small garden.
The niece lay pensively gazing at the beams
of the rising moon, as they trembled on the
leaves of an aspen tree before the lattice. The
castle clock had just tolled midnight, when a
soft strain of music stole up from the garden.
She rose hastily from her bed, and

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stepped-lightly to the window. A tall figure stood
among the shadows of the trees. As it raised
its head, a beam of moonlight fell upon the
countenance. Heaven and earth! she beheld
the Spectre Bridegroom! A loud shriek at that
moment burst upon her ear, and her aunt, who
had been awakened by the music, and followed
her silently to the window, fell into her arms.
When she looked again, the spectre had disappeared.

Of the two females, the aunt now required
the most soothing, for she was perfectly beside
herself with terror. As to the young lady, there
was something, even in the spectre of her lover,
that seemed endearing. There was still the
semblance of manly beauty; and though the
shadow of a man is but little calculated to satisfy
the affections of a love-sick girl, yet, where
the substance is not to be had, even that is consoling.
The aunt declared she would never sleep
in that chamber again; the niece, for once, was
refractory, and declared as strongly that she
would sleep in no other in the castle: the

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consequence was, that she had to sleep in it alone;
but she drew a promise from her aunt not to relate
the story of the spectre, lest she should be
denied the only melancholy pleasure left her on
earth—that of inhabiting the chamber over
which the guardian shade of her lover kept its
nightly vigils.

How long the good old lady would have observed
this promise is uncertain, for she dearly
loved to talk of the marvellous, and there is a
triumph in being the first to tell a frightful story;
it is, however, still quoted in the neighbourhood,
as a memorable instance of female secrecy, that
she kept it to herself for a whole week, when she
was suddenly absolved from all further restraint,
by intelligence brought to the breakfast table
one morning, that the young lady was not to be
found. Her room was empty—the bed had
not been slept in—the window was open, and
the bird flown!

The astonishment and concern with which
the intelligence was received, can only be imagined
by those who have witnessed the

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[figure description] Page 331.[end figure description]

agitation which the mishaps of a great man causes
among his friends. Even the poor relations
paused for a moment from the indefatigable labours
of the trencher; when the aunt, who had
at first been struck speechless, wrung her hands,
and shrieked out, “the goblin! the goblin! she's
carried away by the goblin!”

In a few words, she related the fearful scene
of the garden, and concluded that the spectre
must have carried off his bride. Two of the
domestics corroborated the opinion, for they had
heard the clattering of a horse's hoofs down the
mountain about midnight, and had no doubt that
it was the spectre on his black charger, bearing
her away to the tomb. All present were struck
with the direful probability; for events of the
kind are extremely common in Germany, as
many histories bear witness.

What a lamentable situation was that of the
poor Baron! What a heart-rending dilemma
for a fond father, and a member of the great
family of Katzenellenbogen! His only daughter
had either been rapt away to the tomb, or he

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[figure description] Page 332.[end figure description]

was to have some wood-demon for a son-in-law,
and, perchance, a troop of goblin grand-children.
As usual, he was completely bewildered,
and all the castle in an uproar. The men were
ordered to take horse, and to scour every road,
and path, and glen of the Odenwald. The Baron
himself had just drawn on his jack-boots,
girded on his sword, and was about to mount
his steed to sally forth on the doubtful quest,
when he was brought to a pause by a new apparition.
A lady was seen approaching the
castle, mounted on a palfrey, attended by a cavalier
on horseback. She galloped up to the
gate, sprang from her horse, and falling at his
feet, embraced his knees. It was his lost daughter,
and her companion—the Spectre Bridegroom!
The Baron was astounded. He looked
at his daughter, then at the Spectre, and
almost doubted the evidence of his senses. The
latter, too, was wonderfully improved in his appearance,
since his visit to the world of spirits.
His dress was splendid, and set off a noble figure
of manly symmetry. He was no longer pale

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[figure description] Page 333.[end figure description]

and melancholy. His fine countenance was
flushed with the glow of youth, and joy rioted
in his large dark eye.

The mystery was soon cleared up. The cavalier
(for in truth, as you must have known all
the while, he was no goblin) announced himself
as Sir Herman Von Starkenfaust. He related
his adventure with the young Count. How
that he had hastened to the castle to deliver the
unwelcome tidings, but that the eloquence of
the Baron had interrupted him in every attempt
to tell his tale. How the sight of the bride had
completely captivated him, and that to pass a
few hours near her, he had tacitly suffered the
mistake to continue. How he had been sorely
perplexed in what way to make a decent retreat,
until the Baron's goblin stories had suggested
his eccentric exit. How, fearing the
feudal hostility of the family, he had repeated
his visits by stealth—had haunted the garden
beneath the young lady's window—had wooed—
had won—had borne away in triumph—and,
in a word, had wedded the fair.

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Under any other circumstances, the Baron
would have been inflexible, for he was tenacious
of paternal authority, and devoutly obstinate
in all family feuds; but he loved his daughter;
he had lamented her as lost; he rejoiced to
find her still alive; and, though her husband
was of a hostile house, yet, thank heaven, he
was not a goblin. There was something, it
must be acknowledged, that did not exactly accord
with his notions of strict veracity, in the
joke the knight had passed upon him of his being
a dead man; but several old friends present,
who had served in the wars, assured him that
every stratagem was excusable in love, and that
the cavalier was entitled to especial privilege,
having lately served as a trooper.

Matters, therefore, were happily arranged.
The Baron pardoned the young couple on the
spot. The revels at the castle were resumed.
The poor relations overwhelmed this new member
of the family with loving kindness; he was
so gallant, so generous, and so rich. The aunts,
it is true, were somewhat scandalized that their

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[figure description] Page 335.[end figure description]

system of strict seclusion, and passive obedience,
should be so badly exemplified, but attributed
it all to their negligence in not having the windows
grated. One of them was particularly
mortified to have her marvellous story marred,
and that the only spectre she had ever seen
should turn out a counterfeit; but the niece
seemed perfectly happy at having found him
substantial flesh and blood—and so the story
ends.

eaf214v4.n5

[5] The erudite reader, well versed in good for nothing lore, will perceive
that the above tale must have been suggested to the old Swiss
by a little French anecdote, of a circumstance said to have taken place
at Paris.

eaf214v4.n6

[6] i. e. Catselbow. The name of a family of these parts very powerful
in former times.

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Irving, Washington, 1783-1859 [1819], The sketch book of Geoffrey Crayon, gent. [Pseud], volume 4 (C. S. Van Winkle, New York) [word count] [eaf214v4].
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