William Makepeace Thackeray: Vanity Fair

35. XXXV: Widow and Mother (continued)

Have you ever had a difference with a dear friend? How his letters, written in the period of love and confidence, sicken and rebuke you! What a dreary mourning it is to dwell upon those vehement protests of dead affection! What lying epitaphs they make over the corpse of love! What dark, cruel comments upon Life and Vanities! Most of us have got or written drawers full of them. They are closet-skeletons which we keep and shun. Osborne trembled long before the letter from his dead son.

The poor boy's letter did not say much. He had been too proud to acknowledge the tenderness which his heart felt. He only said, that on the eve of a great battle, he wished to bid his father farewell, and solemnly to implore his good offices for the wife--it might be for the child-- whom he left behind him. He owned with contrition that his irregularities and his extravagance had already wasted a large part of his mother's little fortune. He thanked his father for his former generous conduct; and he promised him that if he fell on the field or survived it, he would act in a manner worthy of the name of George Osborne.

His English habit, pride, awkwardness perhaps, had prevented him from saying more. His father could not see the kiss George had placed on the superscription of his letter. Mr. Osborne dropped it with the bitterest, deadliest pang of balked affection and revenge. His son was still beloved and unforgiven.

About two months afterwards, however, as the young ladies of the family went to church with their father, they remarked how he took a different seat from that which he usually occupied when he chose to attend divine worship; and that from his cushion opposite, he looked up at the wall over their heads. This caused the young women likewise to gaze in the direction towards which their father's gloomy eyes pointed: and they saw an elaborate monument upon the wall, where Britannia was represented weeping over an urn, and a broken sword and a couchant lion indicated that the piece of sculpture had been erected in honour of a deceased warrior. The sculptors of those days had stocks of such funereal emblems in hand; as you may see still on the walls of St. Paul's, which are covered with hundreds of these braggart heathen allegories. There was a constant demand for them during the first fifteen years of the present century.