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Chapter II — A Guest

Chapter Summary

Laura and her father walk in the forest near their schloss and learn from a letter that General Spielsdorf's ward, Bertha Rheinfeldt, has died under mysterious and disturbing circumstances. The General's letter is frantic and incoherent, hinting at a monstrous betrayal and vowing revenge. As the group lingers in the moonlit evening, a runaway carriage crashes near the drawbridge.

From the wreck emerges an imperious lady and her apparently lifeless young daughter. Laura eagerly begs her father to offer the girl shelter, and after persuasion the mother agrees, entrusting the unconscious young woman to the household. The mother then whispers something privately and urgently to Laura's father, kisses her daughter farewell, and departs at speed, leaving the mysterious girl behind.

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Original Text
I am now going to tell you something so strange that it will require all your faith in my veracity to believe my story. It is not only true, nevertheless, but truth of which I have been an eyewitness. It was a sweet summer evening, and my father asked me, as he sometimes did, to take a little ramble with him along that beautiful forest vista which I have mentioned as lying in front of the schloss. “General Spielsdorf cannot come to us so soon as I had hoped,” said my father, as we pursued our walk. He was to have paid us a visit of some weeks, and we had expected his arrival next day. He was to have brought with him a young lady, his niece and ward, Mademoiselle Rheinfeldt, whom I had never seen, but whom I had heard described as a very charming girl, and in whose society I had promised myself many happy days. I was more disappointed than a young lady living in a town, or a bustling neighborhood can possibly imagine. This visit, and the new acquaintance it promised, had furnished my day dream for many weeks. “And how soon does he come?” I asked. “Not till autumn. Not for two months, I dare say,” he answered. “And I am very glad now, dear, that you never knew Mademoiselle Rheinfeldt.” “And why?” I asked, both mortified and curious. “Because the poor young lady is dead,” he replied. “I quite forgot I had not told you, but you were not in the room when I received the General’s letter this evening.” I was very much shocked. General Spielsdorf had mentioned in his first letter, six or seven weeks before, that she was not so well as he would wish her, but there was nothing to suggest the remotest suspicion of danger. “Here is the General’s letter,” he said, handing it to me. “I am afraid he is in great affliction; the letter appears to me to have been written very nearly in distraction.” We sat down on a rude bench, under a group of magnificent lime trees. The sun was setting with all its melancholy splendor behind the sylvan horizon, and the stream that flows beside our home, and passes under the steep old bridge I have mentioned, wound through many a group of noble trees, almost at our feet, reflecting in its current the fading crimson of the sky. General Spielsdorf’s letter was so extraordinary, so vehement, and in some places so self-contradictory, that I read it twice over—the second time aloud to my father—and was still unable to account for it, except by supposing that grief had unsettled his mind. It said “I have lost my darling daughter, for as such I loved her. During the last days of dear Bertha’s illness I was not able to write to you. Before then I had no idea of her danger. I have lost her, and now learn _all_, too late. She died in the peace of innocence, and in the glorious hope of a blessed futurity. The fiend who betrayed our infatuated hospitality has done it all. I thought I was receiving into my house innocence, gaiety, a charming companion for my lost Bertha. Heavens! what a fool have I been! I thank God my child died without a suspicion of the cause of her sufferings. She is gone without so much as conjecturing the nature of her illness, and the accursed passion of the agent of all this misery. I devote my remaining days to tracking and extinguishing a monster. I am told I may hope to accomplish my righteous and merciful purpose. At present there is scarcely a gleam of light to guide me. I curse my conceited incredulity, my despicable affectation of superiority, my blindness, my obstinacy—all—too late. I cannot write or talk collectedly now. I am distracted. So soon as I shall have a little recovered, I mean to devote myself for a time to enquiry, which may possibly lead me as far as Vienna. Some time in the autumn, two months hence, or earlier if I live, I will see you—that is, if you permit me; I will then tell you all that I scarce dare put upon paper now. Farewell. Pray for me, dear friend.” In these terms ended this strange letter. Though I had never seen Bertha Rheinfeldt my eyes filled with tears at the sudden intelligence; I was startled, as well as profoundly disappointed. The sun had now set, and it was twilight by the time I had returned the General’s letter to my father. It was a soft clear evening, and we loitered, speculating upon the possible meanings of the violent and incoherent sentences which I had just been reading. We had nearly a mile to walk before reaching the road that passes the schloss in front, and by that time the moon was shining brilliantly. At the drawbridge we met Madame Perrodon and Mademoiselle De Lafontaine, who had come out, without their bonnets, to enjoy the exquisite moonlight. We heard their voices gabbling in animated dialogue as we approached. We joined them at the drawbridge, and turned about to admire with them the beautiful scene. The glade through which we had just walked lay before us. At our left the narrow road wound away under clumps of lordly trees, and was lost to sight amid the thickening forest. At the right the same road crosses the steep and picturesque bridge, near which stands a ruined tower which once guarded that pass; and beyond the bridge an abrupt eminence rises, covered with trees, and showing in the shadows some grey ivy-clustered rocks. Over the sward and low grounds a thin film of mist was stealing like smoke, marking the distances with a transparent veil; and here and there we could see the river faintly flashing in the moonlight. No softer, sweeter scene could be imagined. The news I had just heard made it melancholy; but nothing could disturb its character of profound serenity, and the enchanted glory and vagueness of the prospect. My father, who enjoyed the picturesque, and I, stood looking in silence over the expanse beneath us. The two good governesses, standing a little way behind us, discoursed upon the scene, and were eloquent upon the moon. Madame Perrodon was fat, middle-aged, and romantic, and talked and sighed poetically. Mademoiselle De Lafontaine—in right of her father who was a German, assumed to be psychological, metaphysical, and something of a mystic—now declared that when the moon shone with a light so intense it was well known that it indicated a special spiritual activity. The effect of the full moon in such a state of brilliancy was manifold. It acted on dreams, it acted on lunacy, it acted on nervous people, it had marvelous physical influences connected with life. Mademoiselle related that her cousin, who was mate of a merchant ship, having taken a nap on deck on such a night, lying on his back, with his face full in the light on the moon, had wakened, after a dream of an old woman clawing him by the cheek, with his features horribly drawn to one side; and his countenance had never quite recovered its equilibrium. “The moon, this night,” she said, “is full of idyllic and magnetic influence—and see, when you look behind you at the front of the schloss how all its windows flash and twinkle with that silvery splendor, as if unseen hands had lighted up the rooms to receive fairy guests.” There are indolent styles of the spirits in which, indisposed to talk ourselves, the talk of others is pleasant to our listless ears; and I gazed on, pleased with the tinkle of the ladies’ conversation. “I have got into one of my moping moods tonight,” said my father, after a silence, and quoting Shakespeare, whom, by way of keeping up our English, he used to read aloud, he said: “‘In truth I know not why I am so sad. It wearies me: you say it wearies you; But how I got it—came by it.’ “I forget the rest. But I feel as if some great misfortune were hanging over us. I suppose the poor General’s afflicted letter has had something to do with it.” At this moment the unwonted sound of carriage wheels and many hoofs upon the road, arrested our attention. They seemed to be approaching from the high ground overlooking the bridge, and very soon the equipage emerged from that point. Two horsemen first crossed the bridge, then came a carriage drawn by four horses, and two men rode behind. It seemed to be the traveling carriage of a person of rank; and we were all immediately absorbed in watching that very unusual spectacle. It became, in a few moments, greatly more interesting, for just as the carriage had passed the summit of the steep bridge, one of the leaders, taking fright, communicated his panic to the rest, and after a plunge or two, the whole team broke into a wild gallop together, and dashing between the horsemen who rode in front, came thundering along the road towards us with the speed of a hurricane. The excitement of the scene was made more painful by the clear, long-drawn screams of a female voice from the carriage window. We all advanced in curiosity and horror; me rather in silence, the rest with various ejaculations of terror. Our suspense did not last long. Just before you reach the castle drawbridge, on the route they were coming, there stands by the roadside a magnificent lime tree, on the other stands an ancient stone cross, at sight of which the horses, now going at a pace that was perfectly frightful, swerved so as to bring the wheel over the projecting roots of the tree. I knew what was coming. I covered my eyes, unable to see it out, and turned my head away; at the same moment I heard a cry from my lady friends, who had gone on a little. Curiosity opened my eyes, and I saw a scene of utter confusion. Two of the horses were on the ground, the carriage lay upon its side with two wheels in the air; the men were busy removing the traces, and a lady with a commanding air and figure had got out, and stood with clasped hands, raising the handkerchief that was in them every now and then to her eyes. Through the carriage door was now lifted a young lady, who appeared to be lifeless. My dear old father was already beside the elder lady, with his hat in his hand, evidently tendering his aid and the resources of his schloss. The lady did not appear to hear him, or to have eyes for anything but the slender girl who was being placed against the slope of the bank. I approached; the young lady was apparently stunned, but she was certainly not dead. My father, who piqued himself on being something of a physician, had just had his fingers on her wrist and assured the lady, who declared herself her mother, that her pulse, though faint and irregular, was undoubtedly still distinguishable. The lady clasped her hands and looked upward, as if in a momentary transport of gratitude; but immediately she broke out again in that theatrical way which is, I believe, natural to some people. She was what is called a fine looking woman for her time of life, and must have been handsome; she was tall, but not thin, and dressed in black velvet, and looked rather pale, but with a proud and commanding countenance, though now agitated strangely. “Who was ever being so born to calamity?” I heard her say, with clasped hands, as I came up. “Here am I, on a journey of life and death, in prosecuting which to lose an hour is possibly to lose all. My child will not have recovered sufficiently to resume her route for who can say how long. I must leave her: I cannot, dare not, delay. How far on, sir, can you tell, is the nearest village? I must leave her there; and shall not see my darling, or even hear of her till my return, three months hence.” I plucked my father by the coat, and whispered earnestly in his ear: “Oh! papa, pray ask her to let her stay with us—it would be so delightful. Do, pray.” “If Madame will entrust her child to the care of my daughter, and of her good gouvernante, Madame Perrodon, and permit her to remain as our guest, under my charge, until her return, it will confer a distinction and an obligation upon us, and we shall treat her with all the care and devotion which so sacred a trust deserves.” “I cannot do that, sir, it would be to task your kindness and chivalry too cruelly,” said the lady, distractedly. “It would, on the contrary, be to confer on us a very great kindness at the moment when we most need it. My daughter has just been disappointed by a cruel misfortune, in a visit from which she had long anticipated a great deal of happiness. If you confide this young lady to our care it will be her best consolation. The nearest village on your route is distant, and affords no such inn as you could think of placing your daughter at; you cannot allow her to continue her journey for any considerable distance without danger. If, as you say, you cannot suspend your journey, you must part with her tonight, and nowhere could you do so with more honest assurances of care and tenderness than here.” There was something in this lady’s air and appearance so distinguished and even imposing, and in her manner so engaging, as to impress one, quite apart from the dignity of her equipage, with a conviction that she was a person of consequence. By this time the carriage was replaced in its upright position, and the horses, quite tractable, in the traces again. The lady threw on her daughter a glance which I fancied was not quite so affectionate as one might have anticipated from the beginning of the scene; then she beckoned slightly to my father, and withdrew two or three steps with him out of hearing; and talked to him with a fixed and stern countenance, not at all like that with which she had hitherto spoken. I was filled with wonder that my father did not seem to perceive the change, and also unspeakably curious to learn what it could be that she was speaking, almost in his ear, with so much earnestness and rapidity. Two or three minutes at most I think she remained thus employed, then she turned, and a few steps brought her to where her daughter lay, supported by Madame Perrodon. She kneeled beside her for a moment and whispered, as Madame supposed, a little benediction in her ear; then hastily kissing her she stepped into her carriage, the door was closed, the footmen in stately liveries jumped up behind, the outriders spurred on, the postilions cracked their whips, the horses plunged and broke suddenly into a furious canter that threatened soon again to become a gallop, and the carriage whirled away, followed at the same rapid pace by the two horsemen in the rear.
Source text: Project Gutenberg #10007. Public domain worldwide.
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Chapter II functions as the novel's primary mechanism of narrative foreshadowing, weaving together two arrivals — one epistolary and one physical — that together establish the gothic atmosphere and thematic architecture of the whole work. General Spielsdorf's letter is a masterpiece of controlled revelation: its vehemence, self-contradiction, and deliberate vagueness ('I will then tell you all that I scarce dare put upon paper now') create what critics call suspended disclosure, a technique Le Fanu uses throughout to generate dread without explanation. The reader, like Laura, is given fragments that suggest supernatural agency without naming it, implicating the reader in the same credulity the General condemns in himself.

The landscape description is not merely decorative but performs pathetic fallacy with unusual precision. The 'melancholy splendor' of the setting sun, the mist 'stealing like smoke,' and the moonlight that makes the schloss windows flash 'as if unseen hands had lighted up the rooms to receive fairy guests' collectively transform the natural world into a stage set for the uncanny. Mademoiselle De Lafontaine's pseudo-scientific lecture on lunar influence — acting on 'dreams,' 'lunacy,' and 'nervous people' — introduces the novel's persistent tension between rationalist explanation and supernatural reality, a tension that will never be fully resolved in Laura's narration.

The carriage accident is choreographed as theatrical spectacle, and Le Fanu's language underscores its performative quality: the mother's grief is described as 'theatrical,' her manner 'distinguished and even imposing,' her final private conference with Laura's father conducted with a 'fixed and stern countenance, not at all like that with which she had hitherto spoken.' This discrepancy between public performance and private communication is the chapter's most significant dramatic irony: Laura notices the change in the mother's face but cannot interpret it, while the reader is invited to suspect that the girl's placement in the household is not accidental. The mother's departure — horses breaking into a 'furious canter that threatened soon again to become a gallop' — mirrors the original runaway team and suggests that chaos and urgency attend this family wherever they go.

The figure of the unconscious girl herself is introduced through displacement and absence: she is lifted, placed, supported, and whispered over by others, never speaking or acting. Her passivity at the moment of introduction is significant; she arrives as an object of care and curiosity rather than as a subject, which both reflects and subtly inverts the gender dynamics of the gothic tradition, where women are typically victims of male predators. Here the danger, as the General's letter darkly implies, flows in a different direction entirely. Laura's eager plea — 'Oh! papa, pray ask her to let her stay with us' — is a moment of dramatic irony that implicates Laura's own desire in the mechanism of her future peril.

Shakespeare's quotation from 'The Merchant of Venice' — deployed by Laura's father as a half-remembered fragment — functions as a literary allusion that deepens the chapter's mood of inexplicable foreboding. That he cannot recall the rest of the lines enacts the chapter's broader epistemological theme: knowledge arrives incomplete, in fragments, always too late. The General's refrain 'too late, too late' and the father's half-remembered verse together suggest that understanding in this world is perpetually deferred, arriving only after the damage is done.

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✎ Mr. Shifflett's Note
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