Thomas Love Peacock, from Nightmare Abbey

[Click on image to enlarge] Thomas Love Peacock, novelist, poet, and friend of Percy Shelley, published Nightmare Abbey in 1818, the third in a series of satirical romances poking gentle fun at the posturing and other excesses of his fellow Romantics. Nightmare Abbey provides sustained caricatures of Byron (Mr. Cypress), Coleridge (Mr. Flosky), and Shelley (Scythrop Glowry, son of the master of Nightmare Abbey), among others. In the extract given here, from chapter 3, the focus is on Scythrop's (and Shelley's) unsettled relationships with women: Scythrop has been rejected by Emily Girouette and now has a place in his heart for the divine Marionetta. The brief scene refers incidentally to several standard Gothic motifs: the abbey itself, Scythrop's secret room in a tower, and pursuit of a female amid — and in this case frustrated by — some of the architecture typically encountered in Gothic novels.

From Chapter 3

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Miss Marionetta Celestina O'Carroll was a very blooming and accomplished young lady. Being a compound of the Allegro Vivace of the O'Carrolls, and of the Andante Doloroso of the Glowrys, she exhibited in her own character all the diversities of an April sky. Her hair was light-brown: her eyes hazel, and sparkling with a mild but fluctuating light: her features regular: her lips full, and of equal size: and her person surpassingly graceful. She was a proficient in music. Her conversation was sprightly, but always on subjects light in their nature and limited in their interest: for moral sympathies, in any general sense, had no place in her mind. She had some coquetry, and more caprice, liking and disliking almost in the same moment; pursuing an object with earnestness while it seemed unattainable, and rejecting it when in her power as not worth the trouble of possession.

Whether she was touched with a penchant for her cousin Scythrop, or was merely curious to see what effect the tender passion would have on so outré >> note 1 a person, she had not been three days in the Abbey before she threw out all the lures of her beauty and accomplishments to make a prize of his heart. Scythrop proved an easy conquest. The image of Miss Emily Girouette was already sufficiently dimmed by the power of philosophy and the exercise of reason: for to these influences, or to any influence but the true one, are usually ascribed the mental cures performed by the great physician Time. Scythrop's romantic dreams had indeed given him many pure anticipated cognitions of combinations of beauty and intelligence, which, he had some misgivings, were not exactly realised in his cousin Marionetta; but, in spite of these misgivings, he soon became distractedly in love; which when the young lady clearly perceived, she altered her tactics, and assumed as much coldness and reserve as she had before shewn ardent and ingenuous attachment. Scythrop was confounded at the sudden change; but, instead of falling at her feet and requesting an explanation, he retreated to his tower, muffled himself in his night-cap, seated himself in the president's chair of his imaginary secret tribunal, summoned Marionetta with all terrible formalities, frightened her out of her wits, disclosed himself, and clasped the beautiful penitent to his bosom.

While he was acting this reverie — in the moment in which the awful president of the secret tribunal was throwing back his cowl and his mantle, and discovering himself to the lovely culprit as her adoring and magnanimous lover — the door of the study opened, and the real Marionetta appeared.

The motives which had led her to the tower were a little penitence, a little concern, a little affection, and a little fear as to what the sudden secession of Scythrop, occasioned by her sudden change of manner, might portend. She had tapped several times unheard, and of course unanswered; and at length, timidly and cautiously opening the door, she discovered him standing up before a black velvet chair, which was mounted on an old oak table, in the act of throwing open his striped calico dressing-gown, and flinging away his night-cap, — which is what the French call an imposing attitude.

Each stood a few moments fixed in their respective places, — the lady in astonishment, and the gentleman in confusion. Marionetta was the first to break silence. "For heaven's sake," said she, "my dear Scythrop, what is the matter?"

"For heaven's sake, indeed," said Scythrop, springing from the table; "for your sake, Marionetta, and you are my heaven, — distraction is the matter. I adore you, Marionetta, and your cruelty drives me mad." He threw himself at her knees, devoured her hand with kisses, and breathed a thousand vows in the most passionate language of romance.

Marionetta listened a long time in silence, till her lover had exhausted his eloquence and paused for a reply. She then said, with a very arch look, "I prithee deliver thyself like a man of this world." The levity of this quotation, >> note 2 and of the manner in which it was delivered, jarred so discordantly on the high-wrought enthusiasm of the romantic inamorato, that he sprang upon his feet, and beat his forehead with his clenched fists. The young lady was terrified; and, deeming it expedient to soothe him, took one of his hands in hers, placed the other hand on his shoulder, looked up in his face with a winning seriousness, and said, in the tenderest possible tone, "What would you have, Scythrop?"

Scythrop was in heaven again. "What would I have? What but you, Marionetta? You, for the companion of my studies, the partner of my thoughts, the auxiliary of my great designs for the emancipation of mankind."

"I am afraid I should be but a poor auxiliary, Scythrop. What would you have me do?"

"Do as Rosalia does with Carlos, >> note 3 divine Marionetta. Let us each open a vein in the other's arm, mix our blood in a bowl, and drink it as a sacrament of love. Then we shall see visions of transcendental illumination, and soar on the wings of ideas into the space of pure intelligence."

Marionetta could not reply; she had not so strong a stomach as Rosalia, and turned sick at the proposition. She disengaged herself suddenly from Scythrop, sprang through the door of the tower, and fled with precipitation along the corridors. Scythrop pursued her, crying, "Stop, stop, Marionetta, — my life, my love!" and was gaining rapidly on her flight, when, at an ill-omened corner, where two corridors ended in an angle, at the head of a staircase, he came into sudden and violent contact with Mr. Toobad, and they both plunged together to the foot of the stairs, like two billiard-balls into one pocket. This gave the young lady time to escape, and enclose herself in her chamber; while Mr. Toobad, rising slowly, and rubbing his knees and shoulders, said, "You see, my dear Scythrop, in this little incident, one of the innumerable proofs of the temporary supremacy of the devil; for what but a systematic design and concurrent contrivance of evil could have made the angles of time and place coincide in our unfortunate persons at the head of this accursed staircase?"

"Nothing else, certainly," said Scythrop: "you are perfectly in the right, Mr. Toobad. Evil, and mischief, and misery, and confusion, and vanity, and vexation of spirit, and death, and disease, and assassination, and war, and poverty, and pestilence, and famine, and avarice, and selfishness, and rancour, and jealousy, and spleen, and malevolence, and the disappointments of philanthropy, and the faithlessness of friendship, and the crosses of love, — all prove the accuracy of your views, and the truth of your system; and it is not impossible that the infernal interruption of this fall down stairs may throw a colour of evil on the whole of my future existence."

"My dear boy," said Mr. Toobad, "you have a fine eye for consequences."

So saying, he embraced Scythrop, who retired, with a disconsolate step, to dress for dinner; while Mr. Toobad stalked across the hall, repeating, "Woe to the inhabiters of the earth, and of the sea, for the devil is come among you, having great wrath."

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