Cruel Barbara Allen: From Coals Of Fire And Other Stories, Volume II. (of III.)

In Short

This story follows Christopher Stretton, a talented but penniless violinist who leaves his rural home for London, determined to force the world to recognize his genius. He is accompanied by the memory of his sweetheart, Barbara Allen, whose name echoes the old ballad he frequently plays. When a sudden, emotionally charged encounter at a theatre convinces him that his beloved has betrayed him by secretly pursuing a stage career under an alias, Christopher is forced to confront the destructive power of his own jealousy and the fragility of his aspirations.

The Story

Christopher Stretton, a man of sensitive artistic temperament and little worldly success, lives in a dull country town where his love for the violin and his "queer" demeanor are misunderstood by all except Barbara Allen. The two young lovers pledge themselves to one another, but Christopher feels stifled by their provincial surroundings. He decides to seek his fortune in London, believing that his compositions will eventually command the respect they deserve. Barbara, though heartbroken, supports his ambition. After his departure, she briefly considers an acting career after an accidental meeting with a local, eccentric couple, the Lochleven Camerons, but ultimately stays true to her quiet life with her uncle.

Once in London, Christopher endures a harsh existence. He lives in a state of near-starvation, clinging to his pride and his music until a chance encounter with a Bohemian violinist named Carl Rubach changes his trajectory. Rubach, who also struggles with poverty, recognizes Christopher’s talent and introduces him to a rising young dramatist named John Holt. Holt commissions Christopher to write incidental music for a new comedy, providing the musician with his first taste of professional stability and success.

As the production takes shape, Christopher becomes increasingly frail, yet he grows obsessed with the play’s leading lady, a mysterious newcomer known as Mademoiselle Hélène. Rubach, who is infatuated with the actress, constantly praises her, which irritates the recovering Christopher. On the night the play is to be performed, Rubach is injured and begs Christopher to hide in the wings and play the music he composed for a pivotal scene.

During the performance, Christopher catches a glimpse of the actress through the shadows. In his fragile and delirious state, he is convinced that Hélène is actually Barbara Allen, who has secretly moved to London and deceived him. Driven by a fit of irrational agony and rage, he plays the melody of "Cruel Barbara Allen" in a haunting, discordant manner, destroys his violin, and flees the theatre. He returns to his lodgings in a state of emotional collapse, mourning the supposed perfidy of his sweetheart.

The situation reaches a climax when Barbara and her uncle unexpectedly arrive at his chambers, having come to London to see the play and surprise him. The appearance of the real Barbara reveals the absurdity of Christopher’s jealousy. It is discovered that the resemblance between the two women is merely a striking coincidence. The theater manager, recognizing a golden publicity opportunity, is delighted by the confusion. With the misunderstanding resolved, Christopher and Barbara reconcile, leaving the harsh world of the theater behind to marry and live happily.

How It Unfolds

The departure Christopher leaves his rural home to seek his fortune in London, determined to prove his worth as a musician. He bids a tearful farewell to Barbara, who remains behind in their provincial town.

The struggle Christopher faces the harsh reality of the London music scene, finding the world indifferent to his compositions. He falls into extreme poverty until he forms a friendship with Carl Rubach, a street-smart violinist.

The commission Rubach introduces Christopher to a dramatist who recognizes his talent and offers him work. This transition from hunger to success brings Christopher back to health but leaves him mentally fragile.

The performance Christopher is coerced into playing his own music from the wings of a theater during a high-stakes performance. He sees the leading lady and mistakes her for Barbara, triggering a violent emotional crisis.

The revelation Christopher returns home in despair, only to have his fears dispelled by the sudden arrival of the real Barbara Allen. The mystery of the actress is revealed as a case of mistaken identity, leading to their final reconciliation.

The People

Christopher Stretton is a man of intense, often brooding, artistic passion. He defines himself by his music and his loyalty to Barbara, yet his insecurity makes him prone to fits of "sulky" isolation. His growth comes through the pain of his London struggle, which forces him to realize that his pride and jealousy are his greatest enemies.

Barbara Allen begins as a naive, devoted sweetheart who dreams of adventure but remains grounded in her integrity. She is the anchor of the story; her simple presence is enough to shatter Christopher’s delusions. She remains steadfast throughout, representing the quiet, honest life that Christopher eventually chooses over the artificial glamour of the stage.

Carl Rubach serves as the catalyst for Christopher’s development. As a pragmatic, cheerful "Bohemian," he provides the necessary contrast to Christopher’s gloom. His willingness to help his friend, despite his own ambitions and his love for the stage, shows a genuine, if eccentric, character who remains a loyal ally until the very end.

In Its Own Voice

The narrator reflects on the specific, often peculiar traits that define the artistic temperament, observing:

Genius may be said in these cases to be a sort of mental measles exhibited in sartorial form, and it may be supposed that but for their breaking out there would be some fear of their proving fatal.

When Christopher first explains his desperate need to leave his hometown, he captures the intense, romanticized urgency of a young man seeking his place in the world:

‘There is no hope of doing anything here,’ continued Christopher. ‘I must face the world, and if there is anything in me, I must force the world to see it and to own it.’

What It's Really About

The central concern is the tension between the artist’s inner life and the cold reality of the commercial world. The book explores how easily a creative mind, starved for recognition and worn down by poverty, can distort reality. It asks whether genius requires a certain amount of madness or if that "madness" is simply a symptom of social isolation. Ultimately, the story serves as a study of trust and the way our projections—the "ghosts" we create from our own insecurities—can become more powerful than the people we actually love. It suggests that success is hollow if it is built on the sacrifice of personal authenticity and the integrity of one’s closest relationships.

Why Read It Today

Readers who enjoy the atmosphere of late 19th-century London—with its foggy streets, desperate garrets, and the vibrant, slightly sordid energy of the theatre—will find this a compelling, compact read. It carries the distinct flavor of Victorian melodrama, complete with sudden coincidences, theatrical managers, and the romanticization of the struggling artist.

Those who appreciate a story that acknowledges the "bumptious and insolent" side of genius alongside its beauty will find the portrayal of Christopher refreshing. It does not shy away from the fact that its hero can be difficult, moody, and prone to irrational jealousy, which makes his eventual happiness feel earned rather than merely conventional.

Be prepared for the period-specific language and the occasional slow pace that comes with the reflective, narratorial style of the time. The dialect and the formal, sometimes ornate, sentence structures require a patient ear. However, the emotional core—the fear of losing the one person who truly knows you—is timeless. It is a rewarding experience for anyone who enjoys watching a character move from the brink of psychological ruin back to a place of simple, quiet peace. You are left with the lingering sense that, despite the grand stage of the world, home is found in the people who remain constant.