Blessed Mary, mother dear,

To a maiden bend thine ear,

Virgin undefiled, to thee

A wretched virgin bends the knee.

HYMN TO THE VIRGIN.

The daughter of the slaughtered Raymond had descended from the elevated station whence she had beheld the field of battle, in the agony of grief natural to a child whose eyes have beheld the death of an honoured and beloved father. But her station, and the principles of chivalry in which she had been trained up, did not permit any prolonged or needless indulgence of inactive sorrow. In raising the young and beautiful of the female sex to the rank of princesses, or rather goddesses, the spirit of that singular system exacted from them, in requital, a tone of character, and a line of conduct, superior and something contradictory to that of natural or merely human feeling. Its heroines frequently resembled portraits shown by an artificial light — strong and luminous, and which placed in high relief the objects on which it was turned; but having still something of adventitious splendour, which, compared with that of the natural day, seemed glaring and exaggerated.

It was not permitted to the orphan of the Garde Doloureuse, the daughter of a line of heroes, whose stem was to be found in the race of Thor, Balder, Odin, and other deified warriors of the North, whose beauty was the theme of a hundred minstrels, and her eyes the leading star of half the chivalry of the warlike marches of Wales, to mourn her sire with the ineffectual tears of a village maiden. Young as she was, and horrible as was the incident which she had but that instant witnessed, it was not altogether so appalling to her as to a maiden whose eye had not been accustomed to the rough, and often fatal sports of chivalry, and whose residence had not been among scenes and men where war and death had been the unceasing theme of every tongue, whose imagination had not been familiarized with wild and bloody events, or, finally, who had not been trained up to consider an honourable “death under shield,” as that of a field of battle was termed, as a more desirable termination to the life of a warrior, than that lingering and unhonoured fate which comes slowly on, to conclude the listless and helpless inactivity of prolonged old age. Eveline, while she wept for her father, felt her bosom glow when she recollected that he died in the blaze of his fame, and amidst heaps of his slaughtered enemies; and when she thought of the exigencies of her own situation, it was with the determination to defend her own liberty, and to avenge her father’s death, by every means which Heaven had left within her power.

The aids of religion were not forgotten; and according to the custom of the times, and the doctrines of the Roman church, she endeavoured to propitiate the favour of Heaven by vows as well as prayers. In a small crypt, or oratory, adjoining to the chapel, was hung over an altar-piece, on which a lamp constantly burned, a small picture of the Virgin Mary, revered as a household and peculiar deity by the family of Berenger, one of whose ancestors had brought it from the Holy Land, whither he had gone upon pilgrimage. It was of the period of the Lower Empire, a Grecian painting, not unlike those which in Catholic countries are often imputed to the Evangelist Luke. The crypt in which it was placed was accounted a shrine of uncommon sanctity — nay, supposed to have displayed miraculous powers; and Eveline, by the daily garland of flowers which she offered before the painting, and by the constant prayers with which they were accompanied, had constituted herself the peculiar votaress of Our Lady of the Garde Doloureuse, for so the picture was named.