“ROOKWOOD” Cuckfield Place, acknowledged by Harrison Ainsworth to be the original of his “Rookwood,” stands immediately outside the town, and is visible, in midst of the park, from the road. That romantic home of ghostly tradition is fittingly approached by a long and lofty avenue of limes, where stands the clock-tower entrance-gate, removed from Slaugham Place. Beyond it the picturesquely broken surface of the park stretches, beautifully wooded and populated with herds of deer, the grey, many-gabled mansion looking down upon the whole. AINSWORTH “Rookwood,” the fantastic and gory tale that first gave Harrison Ainsworth a vogue, was commenced in 1831, but not completed until 1834. Ainsworth died at Reigate, January 3, 1882. Thus in his preface he acknowledges his model: “The supernatural occurrence forming the groundwork of one of the ballads which I have made the harbinger of doom to the house of Rookwood, is ascribed by popular superstition to a family resident in Sussex, upon whose estate the fatal tree (a gigantic lime, with mighty arms and huge girth of trunk, as described in the song) is still carefully preserved. Cuckfield Place, to which this singular piece of timber is attached, is, I may state for the benefit of the curious, the real Rookwood Hall; for I have not drawn upon imagination, but upon memory in describing the seat and domains of that fated family. The general CUCKFIELD PLACE. “Like Mrs. Radcliffe!” That romance is indeed written in the peculiar convention which obtained with her, with Horace Walpole, with Maturin, and “Monk” Lewis; a convention of Gothic gloom and superstition, delighting in gore and apparitions, responsible for the “Mysteries of Udolpho,” “The Italian,” “The Monk,” and other highly seasoned reading of the early years of the nineteenth century. Ainsworth deliberately modelled his manner upon Mrs. Radcliffe, changing the scenes of his desperate deeds from her favourite Italy to our own land. His pages abound in apparitions, death-watches, highwaymen, “pistols for two and breakfasts for one,” daggers, poison-bowls, and burials alive, and, with a little literary ability added to his horribles, his would be a really hair-raising romance. But the blood he ladles out so plentifully is only coloured water; his spectres are only illuminated turnips on broomsticks; his verses so deplorable, his witticisms so hobnailed that even schoolboys refuse any longer to be thrilled. He “wants to make yer blood run cold,” but he not infrequently raises a hearty laugh instead. It would be impossible to burlesque “Rookwood”; it burlesques itself, and shall be allowed to do so here, from the point where Alan Rookwood visits the family vault, to his tragic end: THE CLOCK-TOWER AND HAUNTED AVENUE, HARRISON AINSWORTH. THE CHURCHYARD YEW. “His ditty concluded, Alan entered the church, taking care to leave the door slightly ajar, in order to facilitate his grandson’s entrance. For an instant he lingered in the chancel. The yellow moonlight fell upon the monuments of his race; and, directed by the instinct of hate, Alan’s eye rested upon the gilded entablature of his perfidious brother Reginald, and muttering curses, ‘not loud, but deep,’ he passed on. Having lighted his lantern in no tranquil mood, he descended into the vault, observing a similar caution with respect to the portal of the cemetery, which he left partially unclosed, with the key in the lock. Here he resolved to abide Luke’s coming. The reader knows what probability there was of his expectations being realised. “At length a sound, like the sudden shutting of the church door, broke upon the profound stillness of the holy edifice. In the hush that succeeded a footstep was distinctly heard threading the aisle. “‘He comes—he comes!’ exclaimed Alan joyfully; adding, an instant after, in an altered voice, ‘but he comes alone.’ “The footstep drew near to the mouth of the vault—it was upon the stairs. Alan stepped forward to greet, as he supposed, his grandson, but started back in astonishment and dismay as he encountered in his stead Lady Rookwood. Alan retreated, while “‘What doth Lady Rookwood in the abode of the dead?’ asked he at length. “She started at the sound of his voice, but still kept her eye fixed upon the vacancy. “‘Hast thou not beckoned me hither, and am I not come?’ returned she, in a hollow tone. ‘And now thou askest wherefore I am here. I am here because, as in thy life I feared thee not, neither in death do I fear thee. I am here because——’ “‘What seest thou?’ interrupted Alan, with ill-suppressed terror. “‘What see I—ha—ha!’ shouted Lady Rookwood, amidst discordant laughter; ‘that which might appal a heart less stout than mine—a figure anguish-writhen, with veins that glow as with a subtle and consuming flame. A substance, yet a shadow, in thy living likeness. Ha—frown if thou wilt; I can return thy glances.’ MELODRAMA POUR RIRE “‘Where?’ echoed Lady Rookwood, becoming for the first time sensible of the presence of a stranger. ‘Ha—who are you that question me?—what are you?—speak!’ “‘No matter who or what I am,’ returned Alan; ‘I ask you what you behold?’ “‘Can you see nothing?’ “‘Nothing,’ replied Alan. “‘You knew Sir Piers Rookwood?’ “‘Is it he?’ asked Alan, drawing near her. “‘It is,’ replied Lady Rookwood; ‘I have followed him hither, and I will follow him whithersoever he leads me, were it to——’ “‘What doth he now?’ asked Alan; ‘do you see him still?’ “‘The figure points to that sarcophagus,’ returned Lady Rookwood—‘can you raise up the lid?’ “‘No,’ replied Alan; ‘my strength will not avail to lift it.’ “‘Yet let the trial be made,’ said Lady Rookwood; ‘the figure points there still—my own arm shall aid you.’ “Alan watched her in dumb wonder. She advanced towards the marble monument, and beckoned him to follow. He reluctantly complied. Without any expectation of being able to move the ponderous lid of the sarcophagus, at Lady Rookwood’s renewed request he applied himself to the task. What was his surprise when, beneath their united efforts, he found the ponderous slab slowly revolve upon its vast hinges, and, with little further difficulty, it was completely elevated, though it still required the exertion of all Alan’s strength to prop it open and prevent its falling back. “‘What does it contain?’ asked Lady Rookwood. “‘A warrior’s ashes,’ returned Alan. “‘There is a rusty dagger upon a fold of faded linen,’ cried Lady Rookwood, holding down the light. ‘Which whoso findeth in the tomb So saith the rhyme. Have you seen enough?’ “‘No,’ said Lady Rookwood, precipitating herself into the marble coffin. ‘That weapon shall be mine.’ “‘Come forth—come forth,’ cried Alan. ‘My arm trembles—I cannot support the lid.’ “‘I will have it, though I grasp it to eternity,’ shrieked Lady Rookwood, vainly endeavouring to wrest away the dagger, which was fastened, together with the linen upon which it lay, by some adhesive substance to the bottom of the shell. “At this moment Alan Rookwood happened to cast his eye upward, and he then beheld what filled him with new terror. The axe of the sable statue was poised above its head, as in the act to strike him. Some secret machinery, it was evident, existed between the sarcophagus lid and this mysterious image. But in the first impulse of his alarm Alan abandoned his hold of the slab, and it sunk slowly downwards. He uttered a loud cry as it moved. Lady Rookwood heard this cry. She raised herself at the same moment—the dagger was in her hand—she pressed it against the lid, but its downward force was too great to be withstood. The light was within the sarcophagus and Alan could discern her features. The expression was terrible. She uttered one shriek, and the lid closed for ever. “Alan was in total darkness. The light had been enclosed with Lady Rookwood. There was something so horrible in her probable fate that even he shuddered as he thought upon it. Exerting all his remaining strength, he essayed to raise the lid; but now it was more firmly closed than ever. It defied all his power. FRENZY “He now turned his attention to his own situation, which had become sufficiently alarming. An hour must have elapsed, yet Luke had not arrived. The door of the vault was closed—the key was in the lock, and on the outside. He was himself a prisoner within the tomb. What if Luke should not return? What if he were slain, as it might chance, in the enterprise? That thought flashed across his brain like an electric shock. None knew of his retreat but his grandson. He might perish of famine within this desolate vault. “He checked this notion as soon as it was formed—it was too dreadful to be indulged in. A thousand circumstances might conspire to detain Luke. He was sure to come. Yet the solitude, the darkness, was awful, almost intolerable. The dying and the dead were around him. He dared not stir. “Another hour—an age it seemed to him—had passed. Still Luke came not. Horrible forebodings crossed him; but he would not surrender himself to them. He rose, and crawled in the direction, as he supposed, of the door—fearful even of the stealthy sound of his own footsteps. He reached it, and his heart once more throbbed with hope. He bent his ear to the key; he drew in his breath; he listened for some sound, but nothing was to be heard. A groan would have been almost music in his ears. “Another hour was gone! He was now a prey to the most frightful apprehensions, agitated in turns by the wildest emotions of rage and terror. He at one moment imagined that Luke had abandoned him, and “Alan now abandoned himself wholly to despair. He could no longer anticipate his grandson’s coming—no longer hope for deliverance. His fate was sealed. Death awaited him. He must anticipate his slow but inevitable stroke, enduring all the grinding horrors of starvation. The contemplation of such an end was madness, but he was forced to contemplate it now; and so appalling did it appear to his imagination, that he half resolved to dash out his brains against the walls of the sepulchre, and put an end at once to his tortures; and nothing, except a doubt whether he might not, by imperfectly accomplishing his purpose, increase his own suffering, prevented him from putting this dreadful idea into execution. His dagger was gone, and he had no other weapon. Terrors of a new kind now assailed him. The dead, he fancied, were bursting from their coffins, and he peopled the darkness with grisly phantoms. They were round about him on each side, whirling and rustling, gibbering, groaning, shrieking, laughing, and lamenting. He was stunned, stifled. The air seemed to grow suffocating, pestilential; the wild laughter was redoubled; the horrible troop assailed him; they dragged him along the tomb, and amid their howls he fell, and became insensible. TORMENT “When he returned to himself, it was some time before he could collect his scattered faculties; and when the agonising consciousness of his terrible situation forced itself upon his mind, he had nigh relapsed into oblivion. He arose. He rushed towards the door: he knocked against it with his knuckles till the blood streamed from them; he scratched against it with his nails till they were torn off by the “He again essayed the lid of the sarcophagus. Despair nerved his strength. He raised the slab a few inches. He shouted, screamed, but no answer was returned; and again the lid fell. “‘She is dead!’ cried Alan. ‘Why have I not shared her fate? But mine is to come. And such a death!—oh, oh!’ And, frenzied at the thought, he again hurried to the door, and renewed his fruitless attempts to escape, till nature gave way, and he sank upon the floor, groaning and exhausted. “Physical suffering now began to take the place of his mental tortures. Parched and consumed with a fierce internal fever, he was tormented by unappeasable thirst—of all human ills the most unendurable. His tongue was dry and dusty, his throat inflamed; his lips had lost all moisture. He licked the humid floor; he sought to imbibe the nitrous drops from the walls; but, instead of allaying his thirst, they increased it. He would have given the world, had he possessed it, for a draught of cold spring-water. Oh, to have died with his lips upon some bubbling fountain’s marge! But to perish thus! “Nor were the pangs of hunger wanting. He had to endure all the horrors of famine as well as the agonies of quenchless thirst. “In this dreadful state three days and nights passed over Alan’s fated head. Nor night nor day had he. Time, with him, was only measured by its duration, and that seemed interminable. Each hour added to his suffering, and brought with it no relief. During this period of prolonged misery reason often tottered on her throne. Sometimes he was under the “At length he became sensible of his approaching dissolution. To him the thought of death might well be terrible; but he quailed not before it, or rather seemed, in his latest moments, to resume all his wonted firmness of character. Gathering together his remaining strength, he dragged himself towards the niche wherein his brother, Sir Reginald Rookwood, was deposited, and, placing his hand upon the coffin, solemnly exclaimed, ‘My curse—my dying curse—be upon thee evermore!’ “Falling with his face upon the coffin, Alan instantly expired. In this attitude his remains were discovered.” How to repress a smile at the picture conjured up of Lady Rookwood “precipitating herself into the marble coffin”! How not to refrain from laughing at the fantastic description of Alan piling up coffins in the vault and jumping upon them! |