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Encouraged by his apparent willingness to entertain her innocence, Clara demands that Henry recount in full the incident that made him think she was having an affair with Carwin. He explains that for as long as he has known Clara, she has seemed to him to be the ideal woman. He has studied her closely in every detail to recommend her as a model to Theresa, the girl in Germany that he loves. When he believed his beloved to have died, he took comfort in Clara’s company. Then, an “imp of mischief…in the form of Carwin” (63) disrupted the homeostasis of their little community.
Henry confesses also that he once inadvertently slipped up behind Clara unnoticed while she was writing in her diary and caught a glimpse of the page she was writing. He saw a reference to “the summerhouse,” “midnight,” and “another” interview. When Clara caught him looking at her private writing, she became flustered and quickly concealed the pages. Henry concluded that the text referred to the evening he found her alone in her summerhouse under the bank, and, remembering her apparent discomfort every time the incident was mentioned, he supposed that she was contemplating some kind of clandestine interview there. He was concerned for Clara’s welfare, but he never imagined she might have behaved improperly, so he concluded that she must have some just reason to keep her actions a secret.
Henry continues his account: He says that three days have elapsed since he saw those disjointed lines in her journal. He finally made up his mind to speak to her directly, confess his sin in accidentally reading her journal, and ask for clarification. He was on his way to the planned gathering in the temple when he stopped at Mrs. Baynton’s house. While there, he glanced at a newspaper and saw a notice offering a reward for information about an escaped criminal from Dublin: one Francis Carwin, wanted for the murder of Lady Jane Conway* and robbery committed against one Mr. Ludloe. On further investigation, Henry learned that Carwin was known for his alliances with evil spirits and other accomplices.
Henry intended to rush home immediately and reveal what he learned, but he was stopped by an encounter with Bertrand, a servant he left behind in Germany. Bertrand brought news that forced Henry to change his plans. He turned over his horse to Bertrand and walked the last five miles to Mettingen. What Henry leaves out of his account is the fact that Bertrand has brought him news that Theresa is alive. She spread the rumor of her death to cover the fact that she was traveling to Boston where she now waits for Henry. That is where he planned to go as soon as he secured Clara’s safety from Carwin.
On the way to Mettingen, he passed by the summerhouse under the bank. There, he heard Clara’s voice and that of Carwin. The voice he believed to be Clara’s was confessing to a relationship of the most disreputable kind with Carwin in full knowledge of his crimes.
Clara perceives that there is no truth she can offer that will overcome Henry’s fixed belief in her guilt. She leaves.
Stopping at Mrs. Baynton’s house on her way home, Clara finds a letter from Carwin. In it, he apologizes for his misconduct of the previous night. He begs to be allowed to make up for it by meeting Clara alone at her house that night, at which time he will tell her something critical to her happiness. Clara hurries home, debating with herself. She wants to know anything that might restore her reputation and Henry’s regard for her, but she cannot trust anything Carwin says, and he might still intend to harm her.
She makes plans to stay with her brother and sister at the mansion. Arriving there, she finds the door unbarred and a candle burning, but her brother and sister are not there. Clara wakes their young ward, Louisa Conway, and leaves a message with Louisa that she is going to her own house for a few minutes. She heads for home, finally determined to meet with Carwin and find out what he has to tell her.
Approaching her house, she sees a light flitting back and forth in her window. She enters through the kitchen and approaches the stairs to the second floor. Something causes her to look behind her just as a ghastly face appears for a moment from behind a corner. A familiar voice at her shoulder cries, “Hold! Hold!” She recognizes the distorted face as that of Carwin, but she strongly believes she has imagined it. The voice is the one she has heard twice before, warning her of danger. She believes the entity behind the voice to be benign. She trusts its warning but feels driven to proceed. Entering her room, she finds a note left by Carwin. It says that Carwin was there but could not stay, then the writer makes an obscure reference to an inexplicable transaction, an unexpected event, and a horrible site.
Clara passes her bed on the side where the curtain is pulled back and sees her sister-in-law. Catherine has been strangled to death in Clara’s bed.
In these chapters, the undercurrents of the family’s life are exposed. Initially, their little world seemed perfect. Clara was living in a Utopian idyll, thinking that Henry was in love with her. She had good reason to believe so. He admits to studying her in a way that could easily look like romantic interest. Now, however, Henry reveals a piece of information Clara previously lacked: he is studying her as a model of ideal womanhood for his beloved, Theresa de Stohlburg. Presumably, Henry’s goal is to convince his lover to be more like Clara.
Henry admits to having turned to Clara for comfort after he believes Theresa is dead, but even then, he frames his feelings in terms of adoration of an ideal. Clara is young and naïve enough not to recognize the difference between love and idealization. Meanwhile, Henry is erroneously convinced that Clara has strong romantic feelings for Carwin. That’s not to say that she doesn’t have some affection for Carwin, but her feelings seem confused and unclear.
Henry describes Carwin as an “imp of mischief,” reinforcing the depiction of Carwin as a nonhuman creature—something with supernatural qualities such as Caliban or Ariel of The Tempest, or Puck of Midsummer Night’s Dream who uses a love potion to disrupt relationships and romances, causing people to fall in love with the wrong person. Henry’s admission carries with it an element of Shakespearean farce.
Henry too lacks crucial information. Clara hasn’t told anyone about the voice—confirmed as Carwin’s—in the summerhouse because the voice told her she would be safe only if she never spoke of it. Had she done so, Henry would have had more context to interpret the words he read in her diary. At the same time, he possesses information he should not have. Both Henry and Carwin have violated Clara’s privacy by invading her room and reading her diary. Henry then condemns her based in part on what he took from her without consent.
Clara’s glimpse of Carwin in the hallway finally links the senses of sight and hearing. Up to this point, sight and hearing have been isolated. The characters hear voices but don not see the source, and at least once, Clara has seen Carwin —standing on the riverbank after leaving her room—without hearing him. Now she sees Carwin at the same time that the voice seems to speak at her ear, but she is profoundly confused and disoriented by her confrontation with Henry. And by now her interpretation of the voice as benign is so firmly fixed in her mind that she cannot connect her two senses. In this disoriented condition, she goes to her room and finds her childhood friend Catherine murdered in Clara’s bed.
Finally, the newspaper Henry read refers to the death of “Jane Conway”. The Wielands’ ward, Louisa’s surname is Conway, but Major Stewart refers to his wife as Louisa, not Jane. It is unclear whether there is any intended connection between Jane Conway and Louisa’s mother. The question is never addressed in Wieland or The Memoirs of Carwin the Biloquist.
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