All-Hallow Eve; or, The Test of Futurity. by Robert Curtis
All-Hallow Eve; or, The Test of Futurity. by Robert Curtis
I could have wished that the incidents which I am about to describe in the following tale had taken place in some locality with a less Celtic, and to English tongues a more pronounceable, name than Boher-na-Milthiogue. I had at first commenced the tale with the word itself, thus: "Boher-na-Milthiogue, though in a wild and remote part of Ireland," etc.
But I was afraid that, should an English reader take up and open the book, he would at the very first word slap it together again between the palms of his hands, saying, "Oh, that is quite enough for me!" Now, as my English readers have done me vastly good service on former occasions, I should be sorry to frighten them at the outset of this new tale; and I have therefore endeavored to lead them quietly into it. With my Irish friends no such circumlocution would have been necessary. Perhaps, if I dissever and explain the word, it may enable even my English readers in some degree to approach a successful attempt at its pronunciation. I am aware, however, of the difficulty they experience in this respect, and that their attempts at some of our easiest names of Irish places are really laughable-laughable, at least, to our Celtic familiarity with the correct sound.
Boher is the Irish for "bridge," and milthiogue for a "midge;" Boher-na-Milthiogue, "the midge's bridge."
There now, if my English friends cannot yet pronounce the word properly, which I still doubt, they can at least understand what it means. It were idle, I fear to hope, that they can see any beauty in it; and yet that it is beautiful there can be no Celtic doubt whatever.
Perhaps it might have been well to have written thus far in the shape of a preface; but as nobody nowadays reads prefaces, the matter would have been as bad as ever. I shall therefore continue now as I had intended to have commenced at first.
Boher-na-Milthiogue, though in a wild and remote part of Ireland, is not without a certain degree of natural and romantic beauty, suiting well the features of the scene in which it lies.
Towering above a fertile and well-cultivated plain frown and smile the brother and sister mountains of Slieve-dhu and Slieve-bawn, the solid masonry of whose massive and perpendicular precipices was built by no human architect. The ponderous and scowling rocks of Slieve-dhu, the brother, are dark and indistinct; while, separated from it by a narrow and abrupt ravine, those of Slieve-bawn, the sister, are of a whitish spotted gray, contrasting cheerfully with those of her gloomy brother.
There is generally a story in Ireland about mountains or rivers or old ruins which present any peculiarity of shape or feature. Now it is an undoubted fact, which any tourist can satisfy himself of, that although from sixty to a hundred yards asunder, there are huge bumps upon the side of Slieve-bawn, corresponding to which in every respect as to size and shape are cavities precisely opposite them in the side of Slieve-dhu. The story in this case is, that although formerly the mountains were, like a loving brother and sister, clasped in each other's arms, they quarrelled one dark night (I believe about the cause of thunder), when Slieve-dhu in a passion struck his sister a blow in the face, and staggered her back to where she now stands, too far for the possibility of reconciliation; and that she, knowing the superiority of her personal appearance, stands her ground, as a proud contrast to her savage and unfeeling relative.
Deep straight gullies, worn by the winter floods, mark the sides of both mountains into compartments, the proportion and regularity of which might almost be a matter of surprise, looking like huge stripes down the white dress of Slieve-bawn, while down that of Slieve-dhu they might be compared to black and purple plaid.
"Far to the north," in the bosom of the minor hills, lies a glittering lake-glittering when the sun shines; dark, sombre, and almost imperceptible when the clouds prevail.
The origin of the beautiful name in which the spot itself rejoices I believe to be this; but why do I say "believe?" It is a self-evident and well-known fact.
Along the base of Slieve-bawn there runs a narrow roadeen, turning almost at right angles through the ravine already mentioned, and leading to the flat and populous portion of the country on the other side of the mountains, and cutting the journey, for any person requiring to go there, into the sixteenth of the distance by the main road. In this instance the proverb would not be fulfilled, that "the longest way round was the shortest way home." Across one of the winter-torrent beds which runs down the mountain side, almost at the entrance of the ravine, is a rough-built rustic bridge, at a considerable elevation from the road below. To those approaching it from the lower level, it forms a conspicuous and exceedingly picturesque object, looking not unlike a sort of castellated defence to the mouth of the narrow pass between the mountains.
This bridge, toward sunset upon a summer's evening, presents a very curious and (except in that spot) an unusual sight. Whether it arises from any peculiarity of the herbage in the vicinity, or the fissures in the mountains, or the crevices in the bridge itself, as calculated to engender them, it would be hard to say; but it would be impossible for any arithmetician to compute at the roughest guess the millions, the billions of small midges which dance in the sunbeams immediately above and around the bridge, but in no other spot for miles within view. The singularity of their movements, and the peculiarity of their distribution in the air, cannot fail to attract the observation of the most careless beholder. In separate and distinct batches of some hundreds of millions each, they rise in almost solid masses until they are lost sight of, as they attain the level of the heathered brow of the mountain behind them, becoming visible again as they descend into the bright sunshine that lies upon the white rocks of Slieve-bawn. In no instance can you perceive individual or scattered midges; each batch is connected and distinct in itself, sometimes oval, sometimes almost square, but most frequently in a perfectly round ball. No two of these batches rise or fall at the same moment. I was fortunate enough to see them myself upon more than one occasion in high perfection. They reminded me of large balls thrown up and caught successively by some distinguished acrobat. During the performance, a tiny little sharp whir of music fills the atmosphere, which would almost set you to sleep as you sit on the battlement of the bridge watching and wondering.
By what law of creation, or what instinct of nature, or, if by neither, by what union of sympathy the movements of these milthiogues are governed-for I am certain there are millions of them at the same work in the same spot this fine summer's evening-would be a curious and proper study for an entomologist; but I have no time here to do more than describe the facts, were I even competent to enter into the inquiry. Fancy say fifty millions of midges in a round ball, so arranged that, under no suddenness or intricacy of movement, any one touches another. There is no saying amongst them, "Keep out of my way, and don't be pushin' me," as Larry Doolan says.
So far, the thing in itself appears miraculous; but when we come to consider that their motions, upward to a certain point, and downward to another, are simultaneous, that the slightest turn of their wings is collectively instantaneous, rendering them at one moment like a black target, and another turn rendering them almost invisible, all their movements being as if guided by a single will-we are not only lost in wonder, but we are perfectly unable to account for or comprehend it. I have often been surprised, and so, no doubt, may many of my readers have been, at the regularity of the evolutions of a flock of stares in the air, where every twist and turn of a few thousand pairs of wings seemed as if moved by some connecting wire; but even this fact, surprising as it is, sinks into insignificance when compared with the movements of these milthiogues.
But putting all these inquiries and considerations aside, the simple facts recorded have been the origin of the name with which this tale commences.
Rumors said that Lucas married an unattractive woman with no background. In the three years they were together, he remained cold and distant to Belinda, who endured in silence. Her love for him forced her to sacrifice her self-worth and her dreams. When Lucas' true love reappeared, Belinda realized that their marriage was a sham from the start, a ploy to save another woman's life. She signed the divorce papers and left. Three years later, Belinda returned as a surgical prodigy and a maestro of the piano. Lost in regret, Lucas chased her in the rain and held her tightly. "You are mine, Belinda."
Abandoned as a child and orphaned by murder, Kathryn swore she'd reclaim every shred of her stolen birthright. When she returned, society called her an unpolished love-child, scoffing that Evan had lost his mind to marry her. Only Evan knew the truth: the quiet woman he cradled like porcelain hid secrets enough to set the city trembling. She doubled as a legendary healer, an elusive hacker, and the royal court's favorite perfumer. At meetings, the directors groaned at the lovey-dovey couple, "Does she really have to be here?" Evan shrugged. "Happy wife, happy life." Soon her masks fell, and those who sneered bowed in awe.
Isabelle's love for Kolton held flawless for fifteen years-until the day she delivered their children and slipped into a coma. He leaned to her ear and whispered, "Don't wake up. You're worthless to me now." The twins later clutched another woman's hand and chirped, "Mommy," splintering Isabelle's heart. She woke, filed for divorce, and disappeared. Only then did Kolton notice her fingerprints on every habit. They met again: she emerged as the lead medical specialist, radiant and unmoved. But at her engagement gala, she leapt into a tycoon's arms. Jealous, he crushed a glass, blood wetting his palm. He believed as soon as he made a move, Isabelle would return to him. After all, she had loved him deeply.
On her wedding day, Khloe’s sister connived with her groom, framing her for a crime she didn’t commit. She was sentenced to three years in prison, where she endured much suffering. When Khloe was finally released, her evil sister used their mother to coerce Khloe into an indecent liaison with an elderly man. As fate would have it, Khloe crossed paths with Henrik, the dashing yet ruthless mobster who sought to alter the course of her life. Despite Henrik’s cold exterior, he cherished Khloe like no other. He helped her take retribution from her tormentors and kept her from being bullied again.
After five years of playing the perfect daughter, Rylie was exposed as a stand-in. Her fiancé bolted, friends scattered, and her adoptive brothers shoved her out, telling her to grovel back to her real family. Done with humiliation, she swore to claw back what was hers. Shock followed: her birth family ruled the town's wealth. Overnight, she became their precious girl. The boardroom brother canceled meetings, the genius brother ditched his lab, the musician brother postponed a tour. As those who spurned her begged forgiveness, Admiral Brad Morgan calmly declared, "She's already taken."
Liana DeLuca grew up in silence, obeying every rule under her uncle's strict church roof. So when he forces her into marriage with a known mafia playboy, her world flips upside down. Matteo Romano is sin in human form and she wants no part of him. But Matteo isn't used to hearing "no." He's tasted every kind of pleasure life offers... except a woman like Liana. She's untouched, unbothered, and completely unimpressed by his power. He wants her. She wants him to beg. In a world full of secrets, violence, and desire, Liana finds herself pulled deeper into the underworld and deeper into Matteo's arms. But can love survive where lies were the foundation? Or will Matteo's past burn down the only good thing he's ever wanted?
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