There is somewhere in Lord Lytton’s writings—writings so numerous that I may be pardoned if I cannot remember where-a critical definition of the difference between dramatic and narrative art of story, instanced by that marvellous passage in the loftiest of Sir Walter Scott’s works, in which all the anguish of Ravenswood on the night before he has to meet Lucy’s brother in mortal combat is conveyed without the spoken words required in tragedy. It is only to be conjectured by the tramp of his heavy boots to and fro all the night long in his solitary chamber, heard below by the faithful Caleb. The drama could not have allowed that treatment; the drama must have put into words, as “soliloquy,” agonies which the non-dramatic narrator knows that no soliloquy can describe. Humbly do I imitate, then, the great master of narrative in declining to put into words the conflict between love and reason that tortured the heart of Graham Vane when, dropping noiselessly the letter I have just transcribed, he covered his face with his hands and remained—I know not how long—in the same position, his head bowed, not a sound escaping from his lips.

He did not stir from his rooms that day; and had there been a Caleb’s faithful ear to listen, his tread, too, might have been heard all that sleepless night passing to and fro, but pausing oft, along his solitary floors.

Possibly love would have borne down all opposing seasonings, doubts, and prejudices, but for incidents that occurred the following evening. On that evening Graham dined en famille with his cousins the Altons. After dinner, the Duke produced the design for a cenotaph inscribed to the memory of his aunt, Lady Janet King, which he proposed to place in the family chapel at Alton.

“I know,” said the Duke, kindly, “you would wish the old house from which she sprang to preserve some such record of her who loved you as her son; and even putting you out of the question, it gratifies me to attest the claim of our family to a daughter who continues to be famous for her goodness, and made the goodness so lovable that envy forgave it for being famous. It was a pang to me when poor Richard King decided on placing her tomb among strangers; but in conceding his rights as to her resting-place, I retain mine to her name,—Nostris liberis virtutis exemplar.”

Graham wrung his cousin’s hand-he could not speak, choked by suppressed tears.

The Duchess, who loved and honoured Lady Janet almost as much as did her husband, fairly sobbed aloud. She had, indeed, reason for grateful memories of the deceased: there had been some obstacles to her marriage with the man who had won her heart, arising from political differences and family feuds between their parents, which the gentle meditation of Lady Janet had smoothed away. And never did union founded on mutual and ardent love more belie the assertions of the great Bichat (esteemed by Dr. Buckle the finest intellect which practical philosophy has exhibited since Aristotle), that “Love is a sort of fever which does not last beyond two years,” than that between those eccentric specimens of a class denounced as frivolous and artless by philosophers, English and French, who have certainly never heard of Bichat.

When the emotion the Duke had exhibited was calmed down, his wife pushed towards Graham a sheet of paper, inscribed with the epitaph composed by his hand. “Is it not beautiful,” she said, falteringly—“not a word too much or too little?”

Graham read the inscription slowly, and with very dimmed eyes. It deserved the praise bestowed on it; for the Duke, though a shy and awkward speaker, was an incisive and graceful writer.

Yet, in his innermost self, Graham shivered when he read that epitaph, it expressed so emphatically the reverential nature of the love which Lady Janet had inspired—the genial influences which the holiness of a character so active in doing good had diffused around it. It brought vividly before Graham that image of perfect spotless womanhood. And a voice within him asked, “Would that cenotaph be placed amid the monuments of an illustrious lineage if the secret known to thee could transpire? What though the lost one were really as unsullied by sin as the world deems, would the name now treasured as an heirloom not be a memory of gall and a sound of shame?”

He remained so silent after putting down the inscription, that the Duke said modestly: “My dear Graham, I see that you do not like what I have written. Your pen is much more practised than mine. If I did not ask you to compose the epitaph, it was because I thought it would please you more in coming, as a spontaneous tribute due to her, from the representative of her family. But will you correct my sketch, or give me another according to your own ideas?”

“I see not a word to alter,” said Graham; “forgive me if my silence wronged my emotion; the truest eloquence is that which holds us too mute for applause.”

“I knew you would like it. Leopold is always so disposed to underrate himself,” said the duchess, whose hand was resting fondly on her husband’s shoulder. “Epitaphs are so difficult to write-especially epitaphs on women of whom in life the least said the better. Janet was the only woman I ever knew whom one could praise in safety.”

“Well expressed,” said the Duke, smiling: “and I wish you would make that safety clear to some lady friends of yours, to whom it might serve as a lesson. Proof against every breath of scandal herself, Janet King never uttered and never encouraged one ill-natured word against another. But I am afraid, my dear fellow, that I must leave you to a tete-a-tete with Eleanor. You know that I must be at the House this evening—I only paired till half-past nine.”

“I will walk down to the House with you, if you are going on foot.”

“No,” said the Duchess; “you must resign yourself to me for at least half an hour. I was looking over your aunt’s letters to-day, and I found one which I wish to show you; it is all about yourself, and written within the last few months of her life.” Here she put her arm into Graham’s, and led him into her own private drawing-room, which, though others might call it a boudoir, she dignified by the name of her study. The Duke remained for some minutes thoughtfully leaning his arm on the mantelpiece. It was no unimportant debate in the Lords that night, and on a subject in which he took great interest, and the details of which he had thoroughly mastered. He had been requested to speak, if only a few words, for his high character and his reputation for good sense gave weight to the mere utterance of his opinion. But though no one had more moral courage in action, the Duke had a terror at the very thought of addressing an audience, which made him despise himself.

“Ah!” he muttered, “if Graham Vane were but in Parliament, I could trust him to say exactly what I would rather be swallowed up by an earthquake than stand up and say for myself. But now he has got money he seems to think of nothing but saving it.”