The dead tryst — Context and Discussion
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I. TWO COUSINS II. CHARLIE PIERREPONT III. THE DREADED MEETING IV. CHARLIE IN LOVE V. WHAT HAPPENED IN THE DOM KIRCHE VI. AN ALARM VII. AMONG THE BREAKERS VIII. CHARLIE'S VISITOR IX. FOR LIFE AND DEATH X. TO THE RHINE! XI. SEPARATED XII. THE BAPTISM OF FIRE XIII. THE DREAM IN THE BIVOUAC XIV. THE LETTER OF ERNESTINE XV. WHAT THE 'EXTRA BLATT' TOLD XVI. IN FRONT OF METZ XVII. FACING A BATTERY OF MITRAILLEUSES XVIII. IN THE ENEMY'S HANDS XIX. THE CHATEAU DE CAILLÉ XX. ERNESTINE XXI. AT AIX ONCE MORE XXII. AT BURTSCHEID CONCLUSION
On an evening in summer before the late siege of Paris, three ladies--one a matron of mature years, the other two both young and handsome girls, a brunette and a blonde--were seated in one of the lofty windows of a stately room on the first _étage_ of the Grand Hotel Royal, which immediately overlooks the Rhine at Cologne.
The senior of these--Adelaide, Countess of Frankenburg, a woman grey-haired now, and with features somewhat of the heavy German type--had just received a letter, and was intent upon it, while her daughter Ernestine, and her orphan niece Herminia, watched her face with interest, and forgot the little Tauchnitz editions over which they had been idling.
'What does my brother Heinrich say?' asked Ernestine.
'That he has got extended leave of absence from Potsdam, and next week will arrive at Frankenburg, to spend some time with us. He brings with him a young English friend, Carl Pierrepont, an officer of his regiment. I trust, Herminia, you will receive my dear boy with all the affection he so justly merits.'
But Herminia made no reply, so the Countess repeated what she had said, and fixed her eyes steadily and inquiringly upon her. She only sighed, opened, and then tossed aside her Tauchnitz edition of an English novel. The Countess's ideas of propriety would not permit her to allow her girls to peruse any other light literature; but having an idea that a married woman might read works of a higher-flavoured nature, she sometimes read the works of MM. Dumas and De Kock, to 'keep up her French,' as she phrased it
The cousins--known as 'the Belles of Frankenburg'--were alike in stature and delicacy, but very dissimilar in style of beauty and in complexion. Herminia was dazzlingly fair, of a pure Saxon type, with hair of that lovely brown tint which seems shot with gold in the sunshine, and soft eyes of violet-blue, that seemed almost black at night, and though brown her tresses, and wondrously fair her skin, her eyelashes and eyebrows were dark, almost black; but her pretty little nose bordered rather on the _retroussé_.
Ernestine was a dark beauty, with black hair and clear, but thoughtful and dreamy hazel eyes, which she inherited with the blood of some Hungarian ancestor; her whole style was more classic than that of her cousin. Her nose was slightly aquiline, with dark straight eyebrows that nearly met over it, imparting a great degree of character to her face, which was suggestive of decision of mind and firmness of purpose--a little self-willed and opinionated, perhaps; for Ernestine was not without her faults. She was fond of admiration; but what pretty girl is not? She liked dress and gaiety, and would dance all night if her partners pleased her.
The Countess carefully folded her son's letter, and fixing her keen grey eyes on Herminia, said, somewhat sententiously:
'Though an old man now, the father of my Heinrich was as brave a soldier as ever trod the soil of Germany, and his name is yet venerated among the Uhlans of the Archduke; and I am proud to say, Herminia, that his son is worthy of such a father.'
'Were my cousin the Archduke himself,' said Herminia, wearily, for she was pretty well used to hear these encomiums, 'he would be totally indifferent to me.'
'Totally, I repeat. Pardon me, dear Aunt Adelaide; but he has no particular claim on my regard.'
'He is your cousin, your own blood relation--near almost as a brother!' said the Countess, impatiently.
'But still, mamma, as I have said a hundred times before, he can have no claim upon her hand,' urged Ernestine, who had not yet spoken on the subject.
'Do you, Grafine, wish to abet Herminia in her strange contumacy?' asked the Countess, severely.
'I speak but my thoughts, dearest mamma.'
The novel opens in a Cologne hotel room where three women—the Countess of Frankenburg, her daughter Ernestine, and her orphan niece Herminia—are idling over Tauchnitz editions. A letter announces the arrival of Heinrich, a Prussian officer, with his English friend Carl Pierrepont. The Countess's gaze fixes on Herminia, who sighs and tosses aside her book. This small gesture, paired with the setting's calm before the war, signals a tension that will deepen as the narrative moves from drawing-room unease to the chaos of battle.
A Deliberate Opening: Silence and Suspense
The first chapter establishes character through restraint. Herminia's refusal to reply to the Countess, followed by her sigh and the discarded novel, is the only overt disruption of polite decorum. The narrator withholds explanation, letting the reader infer a private conflict. The setting—a window overlooking the Rhine—frames the story geographically and historically, anchoring the personal drama in a city that will soon be overtaken by war. Grant uses the Tauchnitz edition as a prop: a mass-market English novel in German hands, hinting at cultural crosscurrents. The chapter ends without resolving the tension, leaving the reader to wonder what Herminia's silence portends.
The Battle Excerpt: Violence and Visual Detail
The later excerpt plunges into the Franco-Prussian War with stark specificity. Grant describes the Crown Prince's battery on the heights of Schweigen, the Thuringians shouting 'Vorwarts! Vorwarts! Hoch Germania!' as they cross the river, and a young ensign shot through the head while carrying the King's colour. The prose is rapid and sensory: 'clouds of smoke,' 'red-breeched Zouaves,' 'dark, savage Turcos.' General Douay's suicide-like advance—slaying his horse, drawing his sword, walking alone into shellfire—is rendered with grim clarity. The battle is not glorified; it is a series of brutal, fragmented images. Carl's search for Heinrich amid the melee introduces a personal stake, but the excerpt ends with a Turco's bayonet at Heinrich's throat, the outcome unknown.
Structural Juxtaposition: Drawing Room and Battlefield
The excerpts reveal a deliberate structural contrast. The opening is static, interior, and psychologically charged; the battle scene is kinetic, exterior, and physically violent. Grant moves from whispered tensions to cannon fire, from a single sigh to a soldier's death. This juxtaposition suggests that the novel's romance and horror are intertwined: the war does not merely interrupt the domestic plot but amplifies its stakes. The reader, having seen Herminia's silent distress, may read the battlefield as an externalization of inner conflict. Yet the excerpts do not confirm a direct link; they leave the connection ambiguous, inviting the reader to watch for how the two threads converge.
Voice and Period Detail
Grant's narrative voice is omniscient but restrained, offering precise period details without editorializing. The Tauchnitz editions, the 'first étage' of the hotel, the mention of Potsdam and the Crown Prince—all ground the story in 1870. The battle scene uses French and German terms (fähnrich, chassepot, mitrailleuses) without translation, assuming a contemporary reader's familiarity. The prose is efficient: 'General Douay, commanding the French, was here killed by a shell.' No eulogy, no reflection. This matter-of-fact tone makes the horror more stark. The reader is left to infer the emotional weight from the action itself, not from authorial commentary.
These excerpts suggest a novel that moves between two registers: the withheld emotion of the drawing room and the explicit violence of the battlefield. A first-time reader should attend to how Grant uses silence and gesture in the opening to create suspense, and how the battle scenes later echo or disrupt those early tensions. The incomplete excerpts leave key questions unanswered—what is Herminia's secret? Does Heinrich survive?—but they establish a pattern of contrast that rewards close attention to the novel's structure and detail.
Some stories linger because they hold two truths at once—love against war’s ruin, like that ghostly tryst. I thought of that weight while reading about Hadrian’s lonely, yearning mind in Hadrian the Seventh — A Reader’s Guide. Both left me quiet afterwards, not sad, just still, as if remembering something I hadn’t lived.
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