'But where was this little boy's mother all this time?' you naturally ask; 'where was his father? In a word, who was he? and what were his surroundings?'
I will answer these queries in as brief a fashion as possible.
My father, Philip Aylwin, belonged to a branch of an ancient family which had been satirically named by another branch of the same family 'The Proud Aylwins.'
It is a singular thing that it was the proud Aylwins who had a considerable strain of Gypsy blood in their veins. My great-grandfather had married Fenella Stanley, the famous Gypsy beauty, about whom so much was written in the newspapers and magazines of that period. She had previously when a girl of sixteen married a Lovell who died and left a child. Fenella's portrait in the character of the Sibyl of Snowdon was painted by the great portrait painter of that time.
This picture still hangs in the portrait gallery of Raxton Hall.
As a child it had an immense attraction for me, and no wonder, for it was original to actual eccentricity. It depicted a dark young woman of dazzling beauty standing at break of day among mountain scenery, holding a musical instrument of the guitar kind, but shaped like a violin, upon the lower strings of which she was playing with the thumb of the left hand.
Through the misty air were seen all kinds of shadowy shapes, whose eyes were fixed on the player. I used to stand and look at this picture by the hour together, fascinated by the strange beauty of the singer's face and the mysterious, prophetic expression in the eyes.
And I used to try to imagine what tune it was that could call from the mountain air the 'flower sprites' and 'sunshine elves' of morning on the mountain.
Fenella Stanley seems in her later life to have set up as a positive seeress, and I infer from certain family papers and diaries in my possession that she was the very embodiment of the wildest Romany beliefs and superstitions.
I first became conscious of the mysterious links which, bound me to my Gypsy ancestress by reading one of her letters to my great-grandfather, who had taught her to write: nothing apparently could have taught her to spell. It was written during a short stay she was making away from him in North Wales. It described in the simplest (and often the most uncouth) words that Nature-ecstasy which the Romanies seem to feel in the woodlands. It came upon me like a revelation, for it was the first time I had ever seen embodied in words the sensations which used to come to me in Graylingham Wood or on the river that ran through it. After long basking among the cowslips, or beneath the whispering branches of an elm, whose shade I was robbing from the staring cows around, or lying on my hack in a boat on the river, listening to the birds and the insect hum and all the magic music of summer in the woodlands, I used all at once to feel as though the hand of a great enchantress were being waved before me and around me. The wheels of thought would stop; all the senses would melt into one, and I would float on a tide of unspeakable joy, a tide whose waves were waves neither of colour, nor perfume, nor melody, but new waters born of the mixing of these; and through a language deeper than words and deeper than thoughts, I would seem carried at last close to an actual consciousness--a consciousness which, to my childish dreams, seemed drawing me close to the bosom of a mother whose face would brighten into that of Feuella.