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Widdershins
by Oliver Onions
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He shivered, coughed a little, and then broke silence.

"Then if you know, there's no use in continuing this discussion," he said curtly.

"Not for me, perhaps, but there is for you," she replied. "Shall I tell you what I know?"

"No," he said in a voice slightly raised.

"No?" she asked, her round eyes earnestly on him.

"No."

Again he was getting out of patience with her; again he was conscious of the strain. Her devotion and fidelity and love plagued him; she was only humiliating both herself and him. It would have been bad enough had he ever, by word or deed, given her cause for thus fastening herself on him ... but there; that was the worst of that kind of life for a woman. Women such as she, business women, in and out of offices all the time, always, whether they realised it or not, made comradeship a cover for something else. They accepted the unconventional status, came and went freely, as men did, were honestly taken by men at their own valuation—and then it turned out to be the other thing after all, and they went and fell in love. No wonder there was gossip in shops and squares and public houses! In a sense the gossipers were in the right of it. Independent, yet not efficient; with some of womanhood's graces forgone, and yet with all the woman's hunger and need; half sophisticated, yet not wise; Oleron was tired of it all....

And it was time he told her so.

"I suppose," he said tremblingly, looking down between his knees, "I suppose the real trouble is in the life women who earn their own living are obliged to lead."

He could not tell in what sense she took the lame generality; she merely replied, "I suppose so."

"It can't be helped," he continued, "but you do sacrifice a good deal."

She agreed: a good deal; and then she added after a moment, "What, for instance?"

"You may or may not be gradually attaining a new status, but you're in a false position to-day."

It was very likely, she said; she hadn't thought of it much in that light—

"And," he continued desperately, "you're bound to suffer. Your most innocent acts are misunderstood; motives you never dreamed of are attributed to you; and in the end it comes to—" he hesitated a moment and then took the plunge, "—to the sidelong look and the leer."

She took his meaning with perfect ease. She merely shivered a little as she pronounced the name.

"Barrett?"

His silence told her the rest.

Anything further that was to be said must come from her. It came as the bus stopped at a stage and fresh passengers mounted the stairs.

"You'd better get down here and go back, Paul," she said. "I understand perfectly—perfectly. It isn't Barrett. You'd be able to deal with Barrett. It's merely convenient for you to say it's Barrett. I know what it is ... but you said I wasn't to tell you that. Very well. But before you go let me tell you why I came up this morning."

In a dull tone he asked her why. Again she looked straight before her as she replied:

"I came to force your hand. Things couldn't go on as they have been going, you know; and now that's all over."

"All over," he repeated stupidly.

"All over. I want you now to consider yourself, as far as I'm concerned, perfectly free. I make only one reservation."

He hardly had the spirit to ask her what that was.

"If I merely need you," she said, "please don't give that a thought; that's nothing; I shan't come near for that. But," she dropped her voice, "if you're in need of me, Paul—I shall know if you are, and you will be—then I shall come at no matter what cost. You understand that?"

He could only groan.

"So that's understood," she concluded. "And I think that's all. Now go back. I should advise you to walk back, for you're shivering—good-bye—"

She gave him a cold hand, and he descended. He turned on the edge of the kerb as the bus started again. For the first time in all the years he had known her she parted from him with no smile and no wave of her long arm.

IX

He stood on the kerb plunged in misery, looking after her as long as she remained in sight; but almost instantly with her disappearance he felt the heaviness lift a little from his spirit. She had given him his liberty; true, there was a sense in which he had never parted with it, but now was no time for splitting hairs; he was free to act, and all was clear ahead. Swiftly the sense of lightness grew on him: it became a positive rejoicing in his liberty; and before he was halfway home he had decided what must be done next.

The vicar of the parish in which his dwelling was situated lived within ten minutes of the square. To his house Oleron turned his steps. It was necessary that he should have all the information he could get about this old house with the insurance marks and the sloping "To Let" boards, and the vicar was the person most likely to be able to furnish it. This last preliminary out of the way, and—aha! Oleron chuckled—things might be expected to happen!

But he gained less information than he had hoped for. The house, the vicar said, was old—but there needed no vicar to tell Oleron that; it was reputed (Oleron pricked up his ears) to be haunted—but there were few old houses about which some such rumour did not circulate among the ignorant; and the deplorable lack of Faith of the modern world, the vicar thought, did not tend to dissipate these superstitions. For the rest, his manner was the soothing manner of one who prefers not to make statements without knowing how they will be taken by his hearer. Oleron smiled as he perceived this.

"You may leave my nerves out of the question," he said. "How long has the place been empty?"

"A dozen years, I should say," the vicar replied.

"And the last tenant—did you know him—or her?" Oleron was conscious of a tingling of his nerves as he offered the vicar the alternative of sex.

"Him," said the vicar. "A man. If I remember rightly, his name was Madley; an artist. He was a great recluse; seldom went out of the place, and—" the vicar hesitated and then broke into a little gush of candour "—and since you appear to have come for this information, and since it is better that the truth should be told than that garbled versions should get about, I don't mind saying that this man Madley died there, under somewhat unusual circumstances. It was ascertained at the post-mortem that there was not a particle of food in his stomach, although he was found to be not without money. And his frame was simply worn out. Suicide was spoken of, but you'll agree with me that deliberate starvation is, to say the least, an uncommon form of suicide. An open verdict was returned."

"Ah!" said Oleron.... "Does there happen to be any comprehensive history of this parish?"

"No; partial ones only. I myself am not guiltless of having made a number of notes on its purely ecclesiastical history, its registers and so forth, which I shall be happy to show you if you would care to see them; but it is a large parish, I have only one curate, and my leisure, as you will readily understand ..."

The extent of the parish and the scantiness of the vicar's leisure occupied the remainder of the interview, and Oleron thanked the vicar, took his leave, and walked slowly home.

He walked slowly for a reason, twice turning away from the house within a stone's-throw of the gate and taking another turn of twenty minutes or so. He had a very ticklish piece of work now before him; it required the greatest mental concentration; it was nothing less than to bring his mind, if he might, into such a state of unpreoccupation and receptivity that he should see the place as he had seen it on that morning when, his removal accomplished, he had sat down to begin the sixteenth chapter of the first Romilly.

For, could he recapture that first impression, he now hoped for far more from it. Formerly, he had carried no end of mental lumber. Before the influence of the place had been able to find him out at all, it had had the inertia of those dreary chapters to overcome. No results had shown. The process had been one of slow saturation, charging, filling up to a brim. But now he was light, unburdened, rid at last both of that Romilly and of her prototype. Now for the new unknown, coy, jealous, bewitching, Beckoning Fair!...

At half-past two of the afternoon he put his key into the Yale lock, entered, and closed the door behind him....

His fantastic attempt was instantly and astonishingly successful. He could have shouted with triumph as he entered the room; it was as if he had escaped into it. Once more, as in the days when his writing had had a daily freshness and wonder and promise for him, he was conscious of that new ease and mastery and exhilaration and release. The air of the place seemed to hold more oxygen; as if his own specific gravity had changed, his very tread seemed less ponderable. The flowers in the bowls, the fair proportions of the meadowsweet-coloured panels and mouldings, the polished floor, and the lofty and faintly starred ceiling, fairly laughed their welcome. Oleron actually laughed back, and spoke aloud.

"Oh, you're pretty, pretty!" he flattered it.

Then he lay down on his couch.

He spent that afternoon as a convalescent who expected a dear visitor might have spent it—in a delicious vacancy, smiling now and then as if in his sleep, and ever lifting drowsy and contented eyes to his alluring surroundings. He lay thus until darkness came, and, with darkness, the nocturnal noises of the old house....

But if he waited for any specific happening, he waited in vain.

He waited similarly in vain on the morrow, maintaining, though with less ease, that sensitised-plate-like condition of his mind. Nothing occurred to give it an impression. Whatever it was which he so patiently wooed, it seemed to be both shy and exacting.

Then on the third day he thought he understood. A look of gentle drollery and cunning came into his eyes, and he chuckled.

"Oho, oho!... Well, if the wind sits in that quarter we must see what else there is to be done. What is there, now?... No, I won't send for Elsie; we don't need a wheel to break the butterfly on; we won't go to those lengths, my butterfly...."

He was standing musing, thumbing his lean jaw, looking aslant; suddenly he crossed to his hall, took down his hat, and went out.

"My lady is coquettish, is she? Well, we'll see what a little neglect will do," he chuckled as he went down the stairs.

He sought a railway station, got into a train, and spent the rest of the day in the country. Oh, yes: Oleron thought he was the man to deal with Fair Ones who beckoned, and invited, and then took refuge in shyness and hanging back!

He did not return until after eleven that night.

"Now, my Fair Beckoner!" he murmured as he walked along the alley and felt in his pocket for his keys....

Inside his flat, he was perfectly composed, perfectly deliberate, exceedingly careful not to give himself away. As if to intimate that he intended to retire immediately, he lighted only a single candle; and as he set out with it on his nightly round he affected to yawn. He went first into his kitchen. There was a full moon, and a lozenge of moonlight, almost peacock-blue by contrast with his candle-frame, lay on the floor. The window was uncurtained, and he could see the reflection of the candle, and, faintly, that of his own face, as he moved about. The door of the powder-closet stood a little ajar, and he closed it before sitting down to remove his boots on the chair with the cushion made of the folded harp-bag. From the kitchen he passed to the bathroom. There, another slant of blue moonlight cut the windowsill and lay across the pipes on the wall. He visited his seldom-used study, and stood for a moment gazing at the silvered roofs across the square. Then, walking straight through his sitting-room, his stockinged feet making no noise, he entered his bedroom and put the candle on the chest of drawers. His face all this time wore no expression save that of tiredness. He had never been wilier nor more alert.

His small bedroom fireplace was opposite the chest of drawers on which the mirror stood, and his bed and the window occupied the remaining sides of the room. Oleron drew down his blind, took off his coat, and then stooped to get his slippers from under the bed.

He could have given no reason for the conviction, but that the manifestation that for two days had been withheld was close at hand he never for an instant doubted. Nor, though he could not form the faintest guess of the shape it might take, did he experience fear. Startling or surprising it might be; he was prepared for that; but that was all; his scale of sensation had become depressed. His hand moved this way and that under the bed in search of his slippers....

But for all his caution and method and preparedness, his heart all at once gave a leap and a pause that was almost horrid. His hand had found the slippers, but he was still on his knees; save for this circumstance he would have fallen. The bed was a low one; the groping for the slippers accounted for the turn of his head to one side; and he was careful to keep the attitude until he had partly recovered his self-possession. When presently he rose there was a drop of blood on his lower lip where he had caught at it with his teeth, and his watch had jerked out of the pocket of his waistcoat and was dangling at the end of its short leather guard....

Then, before the watch had ceased its little oscillation, he was himself again.

In the middle of his mantelpiece there stood a picture, a portrait of his grandmother; he placed himself before this picture, so that he could see in the glass of it the steady flame of the candle that burned behind him on the chest of drawers. He could see also in the picture-glass the little glancings of light from the bevels and facets of the objects about the mirror and candle. But he could see more. These twinklings and reflections and re-reflections did not change their position; but there was one gleam that had motion. It was fainter than the rest, and it moved up and down through the air. It was the reflection of the candle on Oleron's black vulcanite comb, and each of its downward movements was accompanied by a silky and crackling rustle.

Oleron, watching what went on in the glass of his grandmother's portrait, continued to play his part. He felt for his dangling watch and began slowly to wind it up. Then, for a moment ceasing to watch, he began to empty his trousers pockets and to place methodically in a little row on the mantelpiece the pennies and halfpennies he took from them. The sweeping, minutely electric noise filled the whole bedroom, and had Oleron altered his point of observation he could have brought the dim gleam of the moving comb so into position that it would almost have outlined his grandmother's head.

Any other head of which it might have been following the outline was invisible.

Oleron finished the emptying of his pockets; then, under cover of another simulated yawn, not so much summoning his resolution as overmastered by an exhorbitant curiosity, he swung suddenly round. That which was being combed was still not to be seen, but the comb did not stop. It had altered its angle a little, and had moved a little to the left. It was passing, in fairly regular sweeps, from a point rather more than five feet from the ground, in a direction roughly vertical, to another point a few inches below the level of the chest of drawers.

Oleron continued to act to admiration. He walked to his little washstand in the corner, poured out water, and began to wash his hands. He removed his waistcoat, and continued his preparations for bed. The combing did not cease, and he stood for a moment in thought. Again his eyes twinkled. The next was very cunning—

"Hm!... I think I'll read for a quarter of an hour," he said aloud....

He passed out of the room.

He was away a couple of minutes; when he returned again the room was suddenly quiet. He glanced at the chest of drawers; the comb lay still, between the collar he had removed and a pair of gloves. Without hesitation Oleron put out his hand and picked it up. It was an ordinary eighteenpenny comb, taken from a card in a chemist's shop, of a substance of a definite specific gravity, and no more capable of rebellion against the Laws by which it existed than are the worlds that keep their orbits through the void. Oleron put it down again; then he glanced at the bundle of papers he held in his hand. What he had gone to fetch had been the fifteen chapters of the original Romilly.

"Hm!" he muttered as he threw the manuscript into a chair.... "As I thought.... She's just blindly, ragingly, murderously jealous."

* * * * *

On the night after that, and on the following night, and for many nights and days, so many that he began to be uncertain about the count of them, Oleron, courting, cajoling, neglecting, threatening, beseeching, eaten out with unappeased curiosity and regardless that his life was becoming one consuming passion and desire, continued his search for the unknown co-numerator of his abode.

X

As time went on, it came to pass that few except the postman mounted Oleron's stairs; and since men who do not write letters receive few, even the postman's tread became so infrequent that it was not heard more than once or twice a week. There came a letter from Oleron's publishers, asking when they might expect to receive the manuscript of his new book; he delayed for some days to answer it, and finally forgot it. A second letter came, which also he failed to answer. He received no third.

The weather grew bright and warm. The privet bushes among the chopper-like notice-boards flowered, and in the streets where Oleron did his shopping the baskets of flower-women lined the kerbs. Oleron purchased flowers daily; his room clamoured for flowers, fresh and continually renewed; and Oleron did not stint its demands. Nevertheless, the necessity for going out to buy them began to irk him more and more, and it was with a greater and ever greater sense of relief that he returned home again. He began to be conscious that again his scale of sensation had suffered a subtle change—a change that was not restoration to its former capacity, but an extension and enlarging that once more included terror. It admitted it in an entirely new form. Lux orco, tenebrae Jovi. The name of this terror was agoraphobia. Oleron had begun to dread air and space and the horror that might pounce upon the unguarded back.

Presently he so contrived it that his food and flowers were delivered daily at his door. He rubbed his hands when he had hit upon this expedient. That was better! Now he could please himself whether he went out or not....

Quickly he was confirmed in his choice. It became his pleasure to remain immured.

But he was not happy—or, if he was, his happiness took an extraordinary turn. He fretted discontentedly, could sometimes have wept for mere weakness and misery; and yet he was dimly conscious that he would not have exchanged his sadness for all the noisy mirth of the world outside. And speaking of noise: noise, much noise, now caused him the acutest discomfort. It was hardly more to be endured than that new-born fear that kept him, on the increasingly rare occasions when he did go out, sidling close to walls and feeling friendly railings with his hand. He moved from room to room softly and in slippers, and sometimes stood for many seconds closing a door so gently that not a sound broke the stillness that was in itself a delight. Sunday now became an intolerable day to him, for, since the coming of the fine weather, there had begun to assemble in the square under his windows each Sunday morning certain members of the sect to which the long-nosed Barrett adhered. These came with a great drum and large brass-bellied instruments; men and women uplifted anguished voices, struggling with their God; and Barrett himself, with upraised face and closed eyes and working brows, prayed that the sound of his voice might penetrate the ears of all unbelievers—as it certainly did Oleron's. One day, in the middle of one of these rhapsodies, Oleron sprang to his blind and pulled it down, and heard as he did so his own name made the subject of a fresh torrent of outpouring.

And sometimes, but not as expecting a reply, Oleron stood still and called softly. Once or twice he called "Romilly!" and then waited; but more often his whispering did not take the shape of a name.

There was one spot in particular of his abode that he began to haunt with increasing persistency. This was just within the opening of his bedroom door. He had discovered one day that by opening every door in his place (always excepting the outer one, which he only opened unwillingly) and by placing himself on this particular spot, he could actually see to a greater or less extent into each of his five rooms without changing his position. He could see the whole of his sitting-room, all of his bedroom except the part hidden by the open door, and glimpses of his kitchen, bathroom, and of his rarely used study. He was often in this place, breathless and with his finger on his lip. One day, as he stood there, he suddenly found himself wondering whether this Madley, of whom the vicar had spoken, had ever discovered the strategic importance of the bedroom entry.

Light, moreover, now caused him greater disquietude than did darkness. Direct sunlight, of which, as the sun passed daily round the house, each of his rooms had now its share, was like a flame in his brain; and even diffused light was a dull and numbing ache. He began, at successive hours of the day, one after another, to lower his crimson blinds. He made short and daring excursions in order to do this; but he was ever careful to leave his retreat open, in case he should have sudden need of it. Presently this lowering of the blinds had become a daily methodical exercise, and his rooms, when he had been his round, had the blood-red half-light of a photographer's darkroom.

One day, as he drew down the blind of his little study and backed in good order out of the room again, he broke into a soft laugh.

"That bilks Mr. Barrett!" he said; and the baffling of Barrett continued to afford him mirth for an hour.

But on another day, soon after, he had a fright that left him trembling also for an hour. He had seized the cord to darken the window over the seat in which he had found the harp-bag, and was standing with his back well protected in the embrasure, when he thought he saw the tail of a black-and-white check skirt disappear round the corner of the house. He could not be sure—had he run to the window of the other wall, which was blinded, the skirt must have been already past—but he was almost sure that it was Elsie. He listened in an agony of suspense for her tread on the stairs....

But no tread came, and after three or four minutes he drew a long breath of relief.

"By Jove, but that would have compromised me horribly!" he muttered....

And he continued to mutter from time to time, "Horribly compromising ... no woman would stand that ... not any kind of woman ... oh, compromising in the extreme!"

Yet he was not happy. He could not have assigned the cause of the fits of quiet weeping which took him sometimes; they came and went, like the fitful illumination of the clouds that travelled over the square; and perhaps, after all, if he was not happy, he was not unhappy. Before he could be unhappy something must have been withdrawn, and nothing had yet been withdrawn from him, for nothing had been granted. He was waiting for that granting, in that flower-laden, frightfully enticing apartment of his, with the pith-white walls tinged and subdued by the crimson blinds to a blood-like gloom.

He paid no heed to it that his stock of money was running perilously low, nor that he had ceased to work. Ceased to work? He had not ceased to work. They knew very little about it who supposed that Oleron had ceased to work! He was in truth only now beginning to work. He was preparing such a work ... such a work ... such a Mistress was a-making in the gestation of his Art ... let him but get this period of probation and poignant waiting over and men should see.... How should men know her, this Fair One of Oleron's, until Oleron himself knew her? Lovely radiant creations are not thrown off like How-d'ye-do's. The men to whom it is committed to father them must weep wretched tears, as Oleron did, must swell with vain presumptuous hopes, as Oleron did, must pursue, as Oleron pursued, the capricious, fair, mocking, slippery, eager Spirit that, ever eluding, ever sees to it that the chase does not slacken. Let Oleron but hunt this Huntress a little longer... he would have her sparkling and panting in his arms yet.... Oh no: they were very far from the truth who supposed that Oleron had ceased to work!

And if all else was falling away from Oleron, gladly he was letting it go. So do we all when our Fair Ones beckon. Quite at the beginning we wink, and promise ourselves that we will put Her Ladyship through her paces, neglect her for a day, turn her own jealous wiles against her, flout and ignore her when she comes wheedling; perhaps there lurks within us all the time a heartless sprite who is never fooled; but in the end all falls away. She beckons, beckons, and all goes....

And so Oleron kept his strategic post within the frame of his bedroom door, and watched, and waited, and smiled, with his finger on his lips.... It was his duteous service, his worship, his troth-plighting, all that he had ever known of Love. And when he found himself, as he now and then did, hating the dead man Madley, and wishing that he had never lived, he felt that that, too, was an acceptable service....

But, as he thus prepared himself, as it were, for a Marriage, and moped and chafed more and more that the Bride made no sign, he made a discovery that he ought to have made weeks before.

It was through a thought of the dead Madley that he made it. Since that night when he had thought in his greenness that a little studied neglect would bring the lovely Beckoner to her knees, and had made use of her own jealousy to banish her, he had not set eyes on those fifteen discarded chapters of Romilly. He had thrown them back into the window-seat, forgotten their very existence. But his own jealousy of Madley put him in mind of hers of her jilted rival of flesh and blood, and he remembered them.... Fool that he had been! Had he, then, expected his Desire to manifest herself while there still existed the evidence of his divided allegiance? What, and she with a passion so fierce and centred that it had not hesitated at the destruction, twice attempted, of her rival? Fool that he had been!...

But if that was all the pledge and sacrifice she required she should have it—ah, yes, and quickly!

He took the manuscript from the window-seat, and brought it to the fire.

He kept his fire always burning now; the warmth brought out the last vestige of odour of the flowers with which his room was banked. He did not know what time it was; long since he had allowed his clock to run down—it had seemed a foolish measurer of time in regard to the stupendous things that were happening to Oleron; but he knew it was late. He took the Romilly manuscript and knelt before the fire.

But he had not finished removing the fastening that held the sheets together before he suddenly gave a start, turned his head over his shoulder, and listened intently. The sound he had heard had not been loud—it had been, indeed, no more than a tap, twice or thrice repeated—but it had filled Oleron with alarm. His face grew dark as it came again.

He heard a voice outside on his landing.

"Paul!... Paul!..."

It was Elsie's voice.

"Paul!... I know you're in... I want to see you...."

He cursed her under his breath, but kept perfectly still. He did not intend to admit her.

"Paul!... You're in trouble.... I believe you're in danger... at least come to the door!..."

Oleron smothered a low laugh. It somehow amused him that she, in such danger herself, should talk to him of his danger!... Well, if she was, serve her right; she knew, or said she knew, all about it....

"Paul!... Paul!..."

"Paul!... Paul!..." He mimicked her under his breath.

"Oh, Paul, it's horrible!..."

Horrible, was it? thought Oleron. Then let her get away....

"I only want to help you, Paul.... I didn't promise not to come if you needed me...."

He was impervious to the pitiful sob that interrupted the low cry. The devil take the woman! Should he shout to her to go away and not come back? No: let her call and knock and sob. She had a gift for sobbing; she mustn't think her sobs would move him. They irritated him, so that he set his teeth and shook his fist at her, but that was all. Let her sob.

"Paul!... Paul!..."

With his teeth hard set, he dropped the first page of Romilly into the fire. Then he began to drop the rest in, sheet by sheet.

For many minutes the calling behind his door continued; then suddenly it ceased. He heard the sound of feet slowly descending the stairs. He listened for the noise of a fall or a cry or the crash of a piece of the handrail of the upper landing; but none of these things came. She was spared. Apparently her rival suffered her to crawl abject and beaten away. Oleron heard the passing of her steps under his window; then she was gone.

He dropped the last page into the fire, and then, with a low laugh rose. He looked fondly round his room.

"Lucky to get away like that," he remarked. "She wouldn't have got away if I'd given her as much as a word or a look! What devils these women are!... But no; I oughtn't to say that; one of 'em showed forbearance...."

Who showed forbearance? And what was forborne? Ah, Oleron knew!... Contempt, no doubt, had been at the bottom of it, but that didn't matter: the pestering creature had been allowed to go unharmed. Yes, she was lucky; Oleron hoped she knew it....

And now, now, now for his reward!

Oleron crossed the room. All his doors were open; his eyes shone as he placed himself within that of his bedroom.

Fool that he had been, not to think of destroying the manuscript sooner!...

* * * * *

How, in a houseful of shadows, should he know his own Shadow? How, in a houseful of noises, distinguish the summons he felt to be at hand? Ah, trust him! He would know! The place was full of a jugglery of dim lights. The blind at his elbow that allowed the light of a street lamp to struggle vaguely through—the glimpse of greeny blue moonlight seen through the distant kitchen door—the sulky glow of the fire under the black ashes of the burnt manuscript—the glimmering of the tulips and the moon-daisies and narcissi in the bowls and jugs and jars—these did not so trick and bewilder his eyes that he would not know his Own! It was he, not she, who had been delaying the shadowy Bridal; he hung his head for a moment in mute acknowledgment; then he bent his eyes on the deceiving, puzzling gloom again. He would have called her name had he known it—but now he would not ask her to share even a name with the other....

His own face, within the frame of the door, glimmered white as the narcissi in the darkness....

A shadow, light as fleece, seemed to take shape in the kitchen (the time had been when Oleron would have said that a cloud had passed over the unseen moon). The low illumination on the blind at his elbow grew dimmer (the time had been when Oleron would have concluded that the lamplighter going his rounds had turned low the flame of the lamp). The fire settled, letting down the black and charred papers; a flower fell from a bowl, and lay indistinct upon the floor; all was still; and then a stray draught moved through the old house, passing before Oleron's face....

Suddenly, inclining his head, he withdrew a little from the door-jamb. The wandering draught caused the door to move a little on its hinges. Oleron trembled violently, stood for a moment longer, and then, putting his hand out to the knob, softly drew the door to, sat down on the nearest chair, and waited, as a man might await the calling of his name that should summon him to some weighty, high and privy Audience....

XI

One knows not whether there can be human compassion for anemia of the soul. When the pitch of Life is dropped, and the spirit is so put over and reversed that that only is horrible which before was sweet and worldly and of the day, the human relation disappears. The sane soul turns appalled away, lest not merely itself, but sanity should suffer. We are not gods. We cannot drive out devils. We must see selfishly to it that devils do not enter into ourselves.

And this we must do even though Love so transfuse us that we may well deem our nature to be half divine. We shall but speak of honour and duty in vain. The letter dropped within the dark door will lie unregarded, or, if regarded for a brief instant between two unspeakable lapses, left and forgotten again. The telegram will be undelivered, nor will the whistling messenger (wiselier guided than he knows to whistle) be conscious as he walks away of the drawn blind that is pushed aside an inch by a finger and then fearfully replaced again. No: let the miserable wrestle with his own shadows; let him, if indeed he be so mad, clip and strain and enfold and couch the succubus; but let him do so in a house into which not an air of Heaven penetrates, nor a bright finger of the sun pierces the filthy twilight. The lost must remain lost. Humanity has other business to attend to.

For the handwriting of the two letters that Oleron, stealing noiselessly one June day into his kitchen to rid his sitting-room of an armful of fetid and decaying flowers, had seen on the floor within his door, had had no more meaning for him than if it had belonged to some dim and faraway dream. And at the beating of the telegraph-boy upon the door, within a few feet of the bed where he lay, he had gnashed his teeth and stopped his ears. He had pictured the lad standing there, just beyond his partition, among packets of provisions and bundles of dead and dying flowers. For his outer landing was littered with these. Oleron had feared to open his door to take them in. After a week, the errand lads had reported that there must be some mistake about the order, and had left no more. Inside, in the red twilight, the old flowers turned brown and fell and decayed where they lay.

Gradually his power was draining away. The Abomination fastened on Oleron's power. The steady sapping sometimes left him for many hours of prostration gazing vacantly up at his red-tinged ceiling, idly suffering such fancies as came of themselves to have their way with him. Even the strongest of his memories had no more than a precarious hold upon his attention. Sometimes a flitting half-memory, of a novel to be written, a novel it was important that he should write, tantalised him for a space before vanishing again; and sometimes whole novels, perfect, splendid, established to endure, rose magically before him. And sometimes the memories were absurdly remote and trivial, of garrets he had inhabited and lodgings that had sheltered him, and so forth. Oleron had known a good deal about such things in his time, but all that was now past. He had at last found a place which he did not intend to leave until they fetched him out—a place that some might have thought a little on the green-sick side, that others might have considered to be a little too redolent of long-dead and morbid things for a living man to be mewed up in, but ah, so irresistible, with such an authority of its own, with such an associate of its own, and a place of such delights when once a man had ceased to struggle against its inexorable will! A novel? Somebody ought to write a novel about a place like that! There must be lots to write about in a place like that if one could but get to the bottom of it! It had probably already been painted, by a man called Madley who had lived there ... but Oleron had not known this Madley—had a strong feeling that he wouldn't have liked him—would rather he had lived somewhere else—really couldn't stand the fellow—hated him, Madley, in fact. (Aha! That was a joke!). He seriously doubted whether the man had led the life he ought; Oleron was in two minds sometimes whether he wouldn't tell that long-nosed guardian of the public morals across the way about him; but probably he knew, and had made his praying hullabaloos for him also. That was his line. Why, Oleron himself had had a dust-up with him about something or other ... some girl or other ... Elsie Bengough her name was, he remembered....

Oleron had moments of deep uneasiness about this Elsie Bengough. Or rather, he was not so much uneasy about her as restless about the things she did. Chief of these was the way in which she persisted in thrusting herself into his thoughts; and, whenever he was quick enough, he sent her packing the moment she made her appearance there. The truth was that she was not merely a bore; she had always been that; it had now come to the pitch when her very presence in his fancy was inimical to the full enjoyment of certain experiences.... She had no tact; really ought to have known that people are not at home to the thoughts of everybody all the time; ought in mere politeness to have allowed him certain seasons quite to himself; and was monstrously ignorant of things if she did not know, as she appeared not to know, that there were certain special hours when a man's veins ran with fire and daring and power, in which ... well, in which he had a reasonable right to treat folk as he had treated that prying Barrett—to shut them out completely.... But no: up she popped, the thought of her, and ruined all. Bright towering fabrics, by the side of which even those perfect, magical novels of which he dreamed were dun and grey, vanished utterly at her intrusion. It was as if a fog should suddenly quench some fair-beaming star, as if at the threshold of some golden portal prepared for Oleron a pit should suddenly gape, as if a bat-like shadow should turn the growing dawn to mirk and darkness again.... Therefore, Oleron strove to stifle even the nascent thought of her.

Nevertheless, there came an occasion on which this woman Bengough absolutely refused to be suppressed. Oleron could not have told exactly when this happened; he only knew by the glimmer of the street lamp on his blind that it was some time during the night, and that for some time she had not presented herself.

He had no warning, none, of her coming; she just came—was there. Strive as he would, he could not shake off the thought of her nor the image of her face. She haunted him.

But for her to come at that moment of all moments!... Really, it was past belief! How she could endure it, Oleron could not conceive! Actually, to look on, as it were, at the triumph of a Rival.... Good God! It was monstrous! tact—reticence—he had never credited her with an overwhelming amount of either: but he had never attributed mere—oh, there was no word for it! Monstrous—monstrous! Did she intend thenceforward.... Good God! To look on!...

Oleron felt the blood rush up to the roots of his hair with anger against her.

"Damnation take her!" he choked....

But the next moment his heat and resentment had changed to a cold sweat of cowering fear. Panic-stricken, he strove to comprehend what he had done. For though he knew not what, he knew he had done something, something fatal, irreparable, blasting. Anger he had felt, but not this blaze of ire that suddenly flooded the twilight of his consciousness with a white infernal light. That appalling flash was not his—not his that open rift of bright and searing Hell—not his, not his! His had been the hand of a child, preparing a puny blow; but what was this other horrific hand that was drawn back to strike in the same place? Had he set that in motion? Had he provided the spark that had touched off the whole accumulated power of that formidable and relentless place? He did not know. He only knew that that poor igniting particle in himself was blown out, that—Oh, impossible!—a clinging kiss (how else to express it?) had changed on his very lips to a gnashing and a removal, and that for very pity of the awful odds he must cry out to her against whom he had lately raged to guard herself ... guard herself....

"Look out!" he shrieked aloud....

* * * * *

The revulsion was instant. As if a cold slow billow had broken over him, he came to to find that he was lying in his bed, that the mist and horror that had for so long enwrapped him had departed, that he was Paul Oleron, and that he was sick, naked, helpless, and unutterably abandoned and alone. His faculties, though weak, answered at last to his calls upon them; and he knew that it must have been a hideous nightmare that had left him sweating and shaking thus.

Yes, he was himself, Paul Oleron, a tired novelist, already past the summit of his best work, and slipping downhill again empty-handed from it all. He had struck short in his life's aim. He had tried too much, had over-estimated his strength, and was a failure, a failure....

It all came to him in the single word, enwrapped and complete; it needed no sequential thought; he was a failure. He had missed....

And he had missed not one happiness, but two. He had missed the ease of this world, which men love, and he had missed also that other shining prize for which men forgo ease, the snatching and holding and triumphant bearing up aloft of which is the only justification of the mad adventurer who hazards the enterprise. And there was no second attempt. Fate has no morrow. Oleron's morrow must be to sit down to profitless, ill-done, unrequired work again, and so on the morrow after that, and the morrow after that, and as many morrows as there might be....

He lay there, weakly yet sanely considering it....

And since the whole attempt had failed, it was hardly worth while to consider whether a little might not be saved from the general wreck. No good would ever come of that half-finished novel. He had intended that it should appear in the autumn; was under contract that it should appear; no matter; it was better to pay forfeit to his publishers than to waste what days were left. He was spent; age was not far off; and paths of wisdom and sadness were the properest for the remainder of the journey....

If only he had chosen the wife, the child the faithful friend at the fireside, and let them follow an ignis fatuus that list!...

In the meantime it began to puzzle him exceedingly what he should be so weak, that his room should smell so overpoweringly of decaying vegetable matter, and that his hand, chancing to stray to his face in the darkness, should encounter a beard.

"Most extraordinary!" he began to mutter to himself. "Have I been ill? Am I ill now? And if so, why have they left me alone?... Extraordinary!..."

He thought he heard a sound from the kitchen or bathroom. He rose a little on his pillow, and listened.... Ah! He was not alone, then! It certainly would have been extraordinary if they had left him ill and alone—Alone? Oh no. He would be looked after. He wouldn't be left, ill, to shift for himself. If everybody else had forsaken him, he could trust Elsie Bengough, the dearest chum he had, for that ... bless her faithful heart!

But suddenly a short, stifled, spluttering cry rang sharply out:

"Paul!"

It came from the kitchen.

And in the same moment it flashed upon Oleron, he knew not how, that two, three, five, he knew not how many minutes before, another sound, unmarked at the time but suddenly transfixing his attention now, had striven to reach his intelligence. This sound had been the slight touch of metal on metal—just such a sound as Oleron made when he put his key into the lock.

"Hallo!... Who's that?" he called sharply from his bed.

He had no answer.

He called again. "Hallo!... Who's there?... Who is it?"

This time he was sure he heard noises, soft and heavy, in the kitchen.

"This is a queer thing altogether," he muttered. "By Jove, I'm as weak as a kitten too.... Hallo, there! Somebody called, didn't they?... Elsie! Is that you?..."

Then he began to knock with his hand on the wall at the side of his bed.

"Elsie!... Elsie!... You called, didn't you?... Please come here, whoever it is!..."

There was a sound as of a closing door, and then silence. Oleron began to get rather alarmed.

"It may be a nurse," he muttered; "Elsie'd have to get me a nurse, of course. She'd sit with me as long as she could spare the time, brave lass, and she'd get a nurse for the rest.... But it was awfully like her voice.... Elsie, or whoever it is!... I can't make this out at all. I must go and see what's the matter...."

He put one leg out of bed. Feeling its feebleness, he reached with his hand for the additional support of the wall....

* * * * *

But before putting out the other leg he stopped and considered, picking at his new-found beard. He was suddenly wondering whether he dared go into the kitchen. It was such a frightfully long way; no man knew what horror might not leap and huddle on his shoulders if he went so far; when a man has an overmastering impulse to get back into bed he ought to take heed of the warning and obey it. Besides, why should he go? What was there to go for? If it was that Bengough creature again, let her look after herself; Oleron was not going to have things cramp themselves on his defenceless back for the sake of such a spoilsport as she!... If she was in, let her let herself out again, and the sooner the better for her! Oleron simply couldn't be bothered. He had his work to do. On the morrow, he must set about the writing of a novel with a heroine so winsome, capricious, adorable, jealous, wicked, beautiful, inflaming, and altogether evil, that men should stand amazed. She was coming over him now; he knew by the alteration of the very air of the room when she was near him; and that soft thrill of bliss that had begun to stir in him never came unless she was beckoning, beckoning....

He let go the wall and fell back into bed again as—oh, unthinkable!—the other half of that kiss that a gnash had interrupted was placed (how else convey it?) on his lips, robbing him of very breath....

XII

In the bright June sunlight a crowd filled the square, and looked up at the windows of the old house with the antique insurance marks in its walls of red brick and the agents' notice-boards hanging like wooden choppers over the paling. Two constables stood at the broken gate of the narrow entrance-alley, keeping folk back. The women kept to the outskirts of the throng, moving now and then as if to see the drawn red blinds of the old house from a new angle, and talking in whispers. The children were in the houses, behind closed doors.

A long-nosed man had a little group about him, and he was telling some story over and over again; and another man, little and fat and wide-eyed, sought to capture the long-nosed man's audience with some relation in which a key figured.

"... and it was revealed to me that there'd been something that very afternoon," the long-nosed man was saying. "I was standing there, where Constable Saunders is—or rather, I was passing about my business, when they came out. There was no deceiving me, oh, no deceiving me! I saw her face...."

"What was it like, Mr. Barrett?" a man asked.

"It was like hers whom our Lord said to, 'Woman, doth any man accuse thee?'—white as paper, and no mistake! Don't tell me!... And so I walks straight across to Mrs. Barrett, and 'Jane,' I says, 'this must stop, and stop at once; we are commanded to avoid evil,' I says, 'and it must come to an end now; let him get help elsewhere.'

"And she says to me, 'John,' she says, 'it's four-and-sixpence a week'—them was her words.

"'Jane,' I says, 'if it was forty-six thousand pounds it should stop'... and from that day to this she hasn't set foot inside that gate."

There was a short silence: then,

"Did Mrs. Barrett ever... see anythink, like?" somebody vaguely inquired.

Barrett turned austerely on the speaker.

"What Mrs. Barrett saw and Mrs. Barrett didn't see shall not pass these lips; even as it is written, keep thy tongue from speaking evil," he said.

Another man spoke.

"He was pretty near canned up in the Waggon and Horses that night, weren't he, Jim?"

"Yes, 'e 'adn't 'alf copped it...."

"Not standing treat much, neither; he was in the bar, all on his own...."

"So 'e was; we talked about it...."

The fat, scared-eyed man made another attempt.

"She got the key off of me—she 'ad the number of it—she come into my shop of a Tuesday evening...."

Nobody heeded him.

"Shut your heads," a heavy labourer commented gruffly, "she hasn't been found yet. 'Ere's the inspectors; we shall know more in a bit."

Two inspectors had come up and were talking to the constables who guarded the gate. The little fat man ran eagerly forward, saying that she had bought the key of him. "I remember the number, because of it's being three one's and three three's—111333!" he exclaimed excitedly.

An inspector put him aside.

"Nobody's been in?" he asked of one of the constables.

"No, sir."

"Then you, Brackley, come with us; you, Smith, keep the gate. There's a squad on its way."

The two inspectors and the constable passed down the alley and entered the house. They mounted the wide carved staircase.

"This don't look as if he'd been out much lately," one of the inspectors muttered as he kicked aside a litter of dead leaves and paper that lay outside Oleron's door. "I don't think we need knock—break a pane, Brackley."

The door had two glazed panels; there was a sound of shattered glass; and Brackley put his hand through the hole his elbow had made and drew back the latch.

"Faugh!"... choked one of the inspectors as they entered. "Let some light and air in, quick. It stinks like a hearse—"

The assembly out in the square saw the red blinds go up and the windows of the old house flung open.

"That's better," said one of the inspectors, putting his head out of a window and drawing a deep breath.... "That seems to be the bedroom in there; will you go in, Simms, while I go over the rest?..."

They had drawn up the bedroom blind also, and the waxy-white, emaciated man on the bed had made a blinker of his hand against the torturing flood of brightness. Nor could he believe that his hearing was not playing tricks with him, for there were two policemen in his room, bending over him and asking where "she" was. He shook his head.

"This woman Bengough... goes by the name of Miss Elsie Bengough... d'ye hear? Where is she?... No good, Brackley; get him up; be careful with him; I'll just shove my head out of the window, I think...."

The other inspector had been through Oleron's study and had found nothing, and was now in the kitchen, kicking aside an ankle-deep mass of vegetable refuse that cumbered the floor. The kitchen window had no blind, and was over-shadowed by the blank end of the house across the alley. The kitchen appeared to be empty.

But the inspector, kicking aside the dead flowers, noticed that a shuffling track that was not of his making had been swept to a cupboard in the corner. In the upper part of the door of the cupboard was a square panel that looked as if it slid on runners. The door itself was closed.

The inspector advanced, put out his hand to the little knob, and slid the hatch along its groove.

Then he took an involuntary step back again.

Framed in the aperture, and falling forward a little before it jammed again in its frame, was something that resembled a large lumpy pudding, done up in a pudding-bag of faded browny red frieze.

"Ah!" said the inspector.

To close the hatch again he would have had to thrust that pudding back with his hand; and somehow he did not quite like the idea of touching it. Instead, he turned the handle of the cupboard itself. There was weight behind it, so much weight that, after opening the door three or four inches and peering inside, he had to put his shoulder to it in order to close it again. In closing it he left sticking out, a few inches from the floor, a triangle of black and white check skirt.

He went into the small hall.

"All right!" he called.

They had got Oleron into his clothes. He still used his hands as blinkers, and his brain was very confused. A number of things were happening that he couldn't understand. He couldn't understand the extraordinary mess of dead flowers there seemed to be everywhere; he couldn't understand why there should be police officers in his room; he couldn't understand why one of these should be sent for a four-wheeler and a stretcher; and he couldn't understand what heavy article they seemed to be moving about in the kitchen—his kitchen....

"What's the matter?" he muttered sleepily....

Then he heard a murmur in the square, and the stopping of a four-wheeler outside. A police officer was at his elbow again, and Oleron wondered why, when he whispered something to him, he should run off a string of words—something about "used in evidence against you." They had lifted him to his feet, and were assisting him towards the door....

No, Oleron couldn't understand it at all.

They got him down the stairs and along the alley. Oleron was aware of confused angry shoutings; he gathered that a number of people wanted to lynch somebody or other. Then his attention became fixed on a little fat frightened-eyed man who appeared to be making a statement that an officer was taking down in a notebook.

"I'd seen her with him ... they was often together ... she came into my shop and said it was for him ... I thought it was all right ... 111333 the number was," the man was saying.

The people seemed to be very angry; many police were keeping them back; but one of the inspectors had a voice that Oleron thought quite kind and friendly. He was telling somebody to get somebody else into the cab before something or other was brought out; and Oleron noticed that a four-wheeler was drawn up at the gate. It appeared that it was himself who was to be put into it; and as they lifted him up he saw that the inspector tried to stand between him and something that stood behind the cab, but was not quick enough to prevent Oleron seeing that this something was a hooded stretcher. The angry voices sounded like a sea; something hard, like a stone, hit the back of the cab; and the inspector followed Oleron in and stood with his back to the window nearer the side where the people were. The door they had put Oleron in at remained open, apparently till the other inspector should come; and through the opening Oleron had a glimpse of the hatchet-like "To Let" boards among the privet-trees. One of them said that the key was at Number Six....

Suddenly the raging of voices was hushed. Along the entrance-alley shuffling steps were heard, and the other inspector appeared at the cab door.

"Right away," he said to the driver.

He entered, fastened the door after him, and blocked up the second window with his back. Between the two inspectors Oleron slept peacefully. The cab moved down the square, the other vehicle went up the hill. The mortuary lay that way.



PHANTAS

"For, barring all pother, With this, or the other, Still Britons are Lords of the Main."

THE CHAPTER OF ADMIRALS

I

As Abel Keeling lay on the galleon's deck, held from rolling down it only by his own weight and the sun-blackened hand that lay outstretched upon the planks, his gaze wandered, but ever returned to the bell that hung, jammed with the dangerous heel-over of the vessel, in the small ornamental belfry immediately abaft the mainmast. The bell was of cast bronze, with half-obliterated bosses upon it that had been the heads of cherubs; but wind and salt spray had given it a thick incrustation of bright, beautiful, lichenous green. It was this colour that Abel Keeling's eyes liked.

For wherever else on the galleon his eyes rested they found only whiteness—the whiteness of extreme eld. There were slightly varying degrees in her whiteness; here she was of a white that glistened like salt-granules, there of a greyish chalky white, and again her whiteness had the yellowish cast of decay; but everywhere it was the mild, disquieting whiteness of materials out of which the life had departed. Her cordage was bleached as old straw is bleached, and half her ropes kept their shape little more firmly than the ash of a string keeps its shape after the fire has passed; her pallid timbers were white and clean as bones found in sand; and even the wild frankincense with which (for lack of tar, at her last touching of land) she had been pitched, had dried to a pale hard gum that sparkled like quartz in her open seams. The sun was yet so pale a buckler of silver through the still white mists that not a cord or timber cast a shadow; and only Abel Keeling's face and hands were black, carked and cinder-black from exposure to his pitiless rays.

The galleon was the Mary of the Tower, and she had a frightful list to starboard. So canted was she that her mainyard dipped one of its steel sickles into the glassy water, and, had her foremast remained, or more than the broken stump of her bonaventure mizzen, she must have turned over completely. Many days ago they had stripped the mainyard of its course, and had passed the sail under the Mary's bottom, in the hope that it would stop the leak. This it had partly done as long as the galleon had continued to glide one way; then, without coming about, she had begun to glide the other, the ropes had parted, and she had dragged the sail after her, leaving a broad tarnish on the silver sea.

For it was broadside that the galleon glided, almost imperceptibly, ever sucking down. She glided as if a loadstone drew her, and, at first, Abel Keeling had thought it was a loadstone, pulling at her iron, drawing her through the pearly mists that lay like face-cloths to the water and hid at a short distance the tarnish left by the sail. But later he had known that it was no loadstone drawing at her iron. The motion was due—must be due—to the absolute deadness of the calm in that silent, sinister, three-miles-broad waterway. With the eye of his mind he saw that loadstone now as he lay against a gun-truck, all but toppling down the deck. Soon that would happen again which had happened for five days past. He would hear again the chattering of monkeys and the screaming of parrots, the mat of green and yellow weeds would creep in towards the Mary over the quicksilver sea, once more the sheer wall of rock would rise, and the men would run....

But no; the men would not run this time to drop the fenders. There were no men left to do so, unless Bligh was still alive. Perhaps Bligh was still alive. He had walked half-way down the quarter-deck steps a little before the sudden nightfall of the day before, had then fallen and lain for a minute (dead, Abel Keeling had supposed, watching him from his place by the gun-truck), and had then got up again and tottered forward to the forecastle, his tall figure swaying and his long arms waving. Abel Keeling had not seen him since. Most likely, he had died in the forecastle during the night. If he had not been dead he would have come aft again for water....

At the remembrance of the water Abel Keeling lifted his head. The strands of lean muscle about his emaciated mouth worked, and he made a little pressure of his sun-blackened hand on the deck, as if to verify its steepness and his own balance. The mainmast was some seven or eight yards away.... He put one stiff leg under him and began, seated as he was, to make shuffling movements down the slope.

To the mainmast, near the belfry, was affixed his contrivance for catching water. It consisted of a collar of rope set lower at one side than at the other (but that had been before the mast had steeved so many degrees away from the zenith), and tallowed beneath. The mists lingered later in that gully of a strait than they did on the open ocean, and the collar of rope served as a collector for the dews that condensed on the mast. The drops fell into a small earthen pipkin placed on the deck beneath it.

Abel Keeling reached the pipkin and looked into it. It was nearly a third full of fresh water. Good. If Bligh, the mate, was dead, so much the more water for Abel Keeling, master of the Mary of the Tower. He dipped two fingers into the pipkin and put them into his mouth. This he did several times. He did not dare to raise the pipkin to his black and broken lips for dread of a remembered agony, he could not have told how many days ago, when a devil had whispered to him, and he had gulped down the contents of the pipkin in the morning, and for the rest of the day had gone waterless.... Again he moistened his fingers and sucked them; then he lay sprawling against the mast, idly watching the drops of water as they fell.

It was odd how the drops formed. Slowly they collected at the edge of the tallowed collar, trembled in their fullness for an instant, and fell, another beginning the process instantly. It amused Abel Keeling to watch them. Why (he wondered) were all the drops the same size? What cause and compulsion did they obey that they never varied, and what frail tenuity held the little globules intact? It must be due to some Cause.... He remembered that the aromatic gum of the wild frankincense with which they had parcelled the seams had hung on the buckets in great sluggish gouts, obedient to a different compulsion; oil was different again, and so were juices and balsams. Only quicksilver (perhaps the heavy and motionless sea put him in mind of quicksilver) seemed obedient to no law.... Why was it so?

Bligh, of course, would have had his explanation: it was the Hand of God. That sufficed for Bligh, who had gone forward the evening before, and whom Abel Keeling now seemed vaguely and as at a distance to remember as the deep-voiced fanatic who had sung his hymns as, man by man, he had committed the bodies of the ship's company to the deep. Bligh was that sort of man; accepted things without question; was content to take things as they were and be ready with the fenders when the wall of rock rose out of the opalescent mists. Bligh, too, like the waterdrops, had his Law, that was his and nobody else's....

There floated down from some rotten rope up aloft a flake of scurf, that settled in the pipkin. Abel Keeling watched it dully as it settled towards the pipkin's rim. When presently he again dipped his fingers into the vessel the water ran into a little vortex, drawing the flake with it. The water settled again; and again the minute flake determined towards the rim and adhered there, as if the rim had power to draw it....

It was exactly so that the galleon was gliding towards the wall of rock, the yellow and green weeds, and the monkeys and parrots. Put out into mid-water again (while there had been men to put her out) she had glided to the other wall. One force drew the chip in the pipkin and the ship over the tranced sea. It was the Hand of God, said Bligh....

Abel Keeling, his mind now noting minute things and now clouded with torpor, did not at first hear a voice that was quakingly lifted up over by the forecastle—a voice that drew nearer, to an accompaniment of swirling water.

"O Thou, that Jonas in the fish Three days didst keep from pain, Which was a figure of Thy death And rising up again—"

It was Bligh, singing one of his hymns:

"O Thou, that Noah keptst from flood And Abram, day by day, As he along through Egypt passed Didst guide him in the way—"

The voice ceased, leaving the pious period uncompleted. Bligh was alive, at any rate.... Abel Keeling resumed his fitful musing.

Yes, that was the Law of Bligh's life, to call things the Hand of God; but Abel Keeling's Law was different; no better, no worse, only different. The Hand of God, that drew chips and galleons, must work by some method; and Abel Keeling's eyes were dully on the pipkin again as if he sought the method there....

Then conscious thought left him for a space, and when he resumed it was without obvious connection.

Oars, of course, were the thing. With oars, men could laugh at calms. Oars, that only pinnaces and galliasses now used, had had their advantages. But oars (which was to say a method, for you could say if you liked that the Hand of God grasped the oar-loom, as the Breath of God filled the sail)—oars were antiquated, belonged to the past, and meant a throwing-over of all that was good and new and a return to fine lines, a battle-formation abreast to give effect to the shock of the ram, and a day or two at sea and then to port again for provisions. Oars ... no. Abel Keeling was one of the new men, the men who swore by the line-ahead, the broadside fire of sakers and demi-cannon, and weeks and months without a landfall. Perhaps one day the wits of such men as he would devise a craft, not oar-driven (because oars could not penetrate into the remote seas of the world)—not sail-driven (because men who trusted to sails found themselves in an airless, three-mile strait, suspended motionless between cloud and water, ever gliding to a wall of rock)—but a ship ... a ship ...

"To Noah and his sons with him God spake, and thus said He: A covenant set I up with you And your posterity—"

It was Bligh again, wandering somewhere in the waist. Abel Keeling's mind was once more a blank. Then slowly, slowly, as the water drops collected on the collar of rope, his thought took shape again.

A galliasse? No, not a galliasse. The galliasse made shift to be two things, and was neither. This ship, that the hand of man should one day make for the Hand of God to manage, should be a ship that should take and conserve the force of the wind, take it and store it as she stored her victuals; at rest when she wished, going ahead when she wished; turning the forces both of calm and storm against themselves. For, of course, her force must be wind—stored wind—a bag of the winds, as the children's tale had it—wind probably directed upon the water astern, driving it away and urging forward the ship, acting by reaction. She would have a wind-chamber, into which wind would be pumped with pumps.... Bligh would call that equally the Hand of God, this driving-force of the ship of the future that Abel Keeling dimly foreshadowed as he lay between the mainmast and the belfry, turning his eyes now and then from ashy white timbers to the vivid green bronze-rust of the bell above him....

Bligh's face, liver-coloured with the sun and ravaged from inwards by the faith that consumed him, appeared at the head of the quarter-deck steps. His voice beat uncontrolledly out.

"And in the earth here is no place Of refuge to be found, Nor in the deep and water-course That passeth under ground—"

II

Bligh's eyes were lidded, as if in contemplation of his inner ecstasy. His head was thrown back, and his brows worked up and down tormentedly. His wide mouth remained open as his hymn was suddenly interrupted on the long-drawn note. From somewhere in the shimmering mists the note was taken up, and there drummed and rang and reverberated through the strait a windy, hoarse, and dismal bellow, alarming and sustained. A tremor rang through Bligh. Moving like a sightless man, he stumbled forward from the head of the quarter-deck steps, and Abel Keeling was aware of his gaunt figure behind him, taller for the steepness of the deck. As that vast empty sound died away, Bligh laughed in his mania.

"Lord, hath the grave's wide mouth a tongue to praise Thee? Lo, again—"

Again the cavernous sound possessed the air, louder and nearer. Through it came another sound, a slow throb, throb—throb, throb—Again the sounds ceased.

"Even Leviathan lifteth up his voice in praise!" Bligh sobbed.

Abel Keeling did not raise his head. There had returned to him the memory of that day when, before the morning mists had lifted from the strait, he had emptied the pipkin of the water that was the allowance until night should fall again. During that agony of thirst he had seen shapes and heard sounds with other than his mortal eyes and ears, and even in the moments that had alternated with his lightness, when he had known these to be hallucinations, they had come again. He had heard the bells on a Sunday in his own Kentish home, the calling of children at play, the unconcerned singing of men at their daily labour, and the laughter and gossip of the women as they had spread the linen on the hedge or distributed bread upon the platters. These voices had rung in his brain, interrupted now and then by the groans of Bligh and of two other men who had been alive then. Some of the voices he had heard had been silent on earth this many a long year, but Abel Keeling, thirst-tortured, had heard them, even as he was now hearing that vacant moaning with the intermittent throbbing that filled the strait with alarm....

"Praise Him, praise Him, praise Him!" Bligh was calling deliriously.

Then a bell seemed to sound in Abel Keeling's ears, and, as if something in the mechanism of his brain had slipped, another picture rose in his fancy—the scene when the Mary of the Tower had put out, to a bravery of swinging bells and shrill fifes and valiant trumpets. She had not been a leper-white galleon then. The scroll-work on her prow had twinkled with gilding; her belfry and stern-galleries and elaborate lanterns had flashed in the sun with gold; and her fighting-tops and the war-pavesse about her waist had been gay with painted coats and scutcheons. To her sails had been stitched gaudy ramping lions of scarlet saye, and from her mainyard, now dipping in the water, had hung the broad two-tailed pennant with the Virgin and Child embroidered upon it....

Then suddenly a voice about him seemed to be saying, "And a half-seven—and a half-seven—" and in a twink the picture in Abel Keeling's brain changed again. He was at home again, instructing his son, young Abel, in the casting of the lead from the skiff they had pulled out of the harbour.

"And a half-seven!" the boy seemed to be calling.

Abel Keeling's blackened lips muttered: "Excellently well cast, Abel, excellently well cast!"

"And a half-seven—and a half-seven—seven—seven—"

"Ah," Abel Keeling murmured, "that last was not a clear cast—give me the line—thus it should go ... ay, so.... Soon you shall sail the seas with me in the Mary of the Tower. You are already perfect in the stars and the motions of the planets; to-morrow I will instruct you in the use of the backstaff...."

For a minute or two he continued to mutter; then he dozed. When again he came to semi-consciousness it was once more to the sound of bells, at first faint, then louder, and finally becoming a noisy clamour immediately above his head. It was Bligh. Bligh, in a fresh attack of delirium, had seized the bell-lanyard and was ringing the bell insanely. The cord broke in his fingers, but he thrust at the bell with his hand, and again called aloud.

"Upon an harp and an instrument of ten strings ... let Heaven and Earth praise Thy Name!..."

He continued to call aloud, and to beat on the bronze-rusted bell.

"Ship ahoy! What ship's that?"

One would have said that a veritable hail had come out of the mists; but Abel Keeling knew those hails that came out of the mists. They came from ships which were not there. "Ay, ay, keep a good look-out, and have a care to your lodemanage," he muttered again to his son....

But, as sometimes a sleeper sits up in his dream, or rises from his couch and walks, so all of a sudden Abel Keeling found himself on his hands and knees on the deck, looking back over his shoulder. In some deep-seated region of his consciousness he was dimly aware that the cant of the deck had become more perilous, but his brain received the intelligence and forgot it again. He was looking out into the bright and baffling mists. The buckler of the sun was of a more ardent silver; the sea below it was lost in brilliant evaporation; and between them, suspended in the haze, no more substantial than the vague darknesses that float before dazzled eyes, a pyramidal phantom-shape hung. Abel Keeling passed his hand over his eyes, but when he removed it the shape was still there, gliding slowly towards the Mary's quarter. Its form changed as he watched it. The spirit-grey shape that had been a pyramid seemed to dissolve into four upright members, slightly graduated in tallness, that nearest the Mary's stern the tallest and that to the left the lowest. It might have been the shadow of the gigantic set of reed-pipes on which that vacant mournful note had been sounded.

And as he looked, with fooled eyes, again his ears became fooled:

"Ahoy there! What ship's that? Are you a ship?... Here, give me that trumpet—" Then a metallic barking. "Ahoy there! What the devil are you? Didn't you ring a bell? Ring it again, or blow a blast or something, and go dead slow!"

All this came, as it were, indistinctly, and through a sort of high singing in Abel Keeling's own ears. Then he fancied a short bewildered laugh, followed by a colloquy from somewhere between sea and sky.

"Here, Ward, just pinch me, will you? Tell me what you see there. I want to know if I'm awake."

"See where?"

"There, on the starboard bow. (Stop that ventilating fan; I can't hear myself think.) See anything? Don't tell me it's that damned Dutchman—don't pitch me that old Vanderdecken tale—give me an easy one first, something about a sea-serpent.... You did hear that bell, didn't you?"

"Shut up a minute—listen—"

Again Bligh's voice was lifted up.

"This is the cov'nant that I make: From henceforth nevermore Will I again the world destroy With water, as before."

Bligh's voice died away again in Abel Keeling's ears.

"Oh—my—fat—Aunt—Julia!" the voice that seemed to come from between sea and sky sounded again. Then it spoke more loudly. "I say," it began with careful politeness, "if you are a ship, do you mind telling us where the masquerade is to be? Our wireless is out of order, and we hadn't heard of it.... Oh, you do see it, Ward, don't you?... Please, please tell us what the hell you are!"

Again Abel Keeling had moved as a sleepwalker moves. He had raised himself up by the belfry timbers, and Bligh had sunk in a heap on the deck. Abel Keeling's movement overturned the pipkin, which raced the little trickle of its contents down the deck and lodged where the still and brimming sea made, as it were, a chain with the carved balustrade of the quarter-deck—one link a still gleaming edge, then a dark baluster, and then another gleaming link. For one moment only Abel Keeling found himself noticing that that which had driven Bligh aft had been the rising of the water in the waist as the galleon settled by the head—the waist was now entirely submerged; then once more he was absorbed in his dream, its voices, and its shape in the mist, which had again taken the form of a pyramid before his eyeballs.

"Of course," a voice seemed to be complaining anew, and still through that confused dinning in Abel Keeling's ears, "we can't turn a four-inch on it.... And, of course, Ward, I don't believe in 'em. D'you hear, Ward? I don't believe in 'em, I say.... Shall we call down to old A. B.? This might interest His Scientific Skippership...."

"Oh, lower a boat and pull out to it—into it—over it—through it—"

"Look at our chaps crowded on the barbette yonder. They've seen it. Better not give an order you know won't be obeyed...."

Abel Keeling, cramped against the antique belfry, had begun to find his dream interesting. For, though he did not know her build, that mirage was the shape of a ship. No doubt it was projected from his brooding on ships of half an hour before; and that was odd.... But perhaps, after all, it was not very odd. He knew that she did not really exist; only the appearance of her existed; but things had to exist like that before they really existed. Before the Mary of the Tower had existed she had been a shape in some man's imagination; before that, some dreamer had dreamed the form of a ship with oars; and before that, far away in the dawn and infancy of the world, some seer had seen in a vision the raft before man had ventured to push out over the water on his two planks. And since this shape that rode before Abel Keeling's eyes was a shape in his, Abel Keeling's dream, he, Abel Keeling, was the master of it. His own brooding brain had contrived her, and she was launched upon the illimitable ocean of his own mind....

"And I will not unmindful be Of this, My covenant, passed Twixt Me and you and every flesh Whiles that the world should last,"

sang Bligh, rapt....

But as a dreamer, even in his dream, will scratch upon the wall by his couch some key or word to put him in mind of his vision on the morrow when it has left him, so Abel Keeling found himself seeking some sign to be a proof to those to whom no vision is vouchsafed. Even Bligh sought that—could not be silent in his bliss, but lay on the deck there, uttering great passionate Amens and praising his Maker, as he said, upon an harp and an instrument of ten strings. So with Abel Keeling. It would be the Amen of his life to have praised God, not upon a harp, but upon a ship that should carry her own power, that should store wind or its equivalent as she stored her victuals, that should be something wrested from the chaos of uninvention and ordered and disciplined and subordinated to Abel Keeling's will.... And there she was, that ship-shaped thing of spirit-grey, with the four pipes that resembled a phantom organ now broadside and of equal length. And the ghost-crew of that ship were speaking again....

The interrupted silver chain by the quarterdeck balustrade had now become continuous, and the balusters made a herring-bone over their own motionless reflections. The spilt water from the pipkin had dried, and the pipkin was not to be seen. Abel Keeling stood beside the mast, erect as God made man to go. With his leathery hand he smote upon the bell. He waited for the space of a minute, and then cried:

"Ahoy!... Ship ahoy!... What ship's that?"

III

We are not conscious in a dream that we are playing a game the beginning and end of which are in ourselves. In this dream of Abel Keeling's a voice replied:

"Hallo, it's found its tongue.... Ahoy there! What are you?"

Loudly and in a clear voice Abel Keeling called: "Are you a ship?"

With a nervous giggle the answer came:

"We are a ship, aren't we, Ward? I hardly feel sure.... Yes, of course, we're a ship. No question about us. The question is what the dickens you are."

Not all the words these voices used were intelligible to Abel Keeling, and he knew not what it was in the tone of these last words that reminded him of the honour due to the Mary of the Tower. Blister-white and at the end of her life as she was, Abel Keeling was still jealous of her dignity; the voice had a youngish ring; and it was not fitting that young chins should be wagged about his galleon. He spoke curtly.

"You that spoke—are you the master of that ship?"

"Officer of the watch," the words floated back; "the captain's below."

"Then send for him. It is with masters that masters hold speech," Abel Keeling replied.

He could see the two shapes, flat and without relief, standing on a high narrow structure with rails. One of them gave a low whistle, and seemed to be fanning his face; but the other rumbled something into a sort of funnel. Presently the two shapes became three. There was a murmuring, as of a consultation, and then suddenly a new voice spoke. At its thrill and tone a sudden tremor ran through Abel Keeling's frame. He wondered what response it was that that voice found in the forgotten recesses of his memory....

"Ahoy!" seemed to call this new yet faintly remembered voice. "What's all this about? Listen. We're His Majesty's destroyer Seapink, out of Devonport last October, and nothing particular the matter with us. Now who are you?"

"The Mary of the Tower, out of the Port of Rye on the day of Saint Anne, and only two men—"

A gasp interrupted him.

"Out of WHERE?" that voice that so strangely moved Abel Keeling said unsteadily, while Bligh broke into groans of renewed rapture.

"Out of the Port of Rye, in the County of Sussex ... nay, give ear, else I cannot make you hear me while this man's spirit and flesh wrestle so together!... Ahoy! Are you gone?" For the voices had become a low murmur, and the ship-shape had faded before Abel Keeling's eyes. Again and again he called. He wished to be informed of the disposition and economy of the wind-chamber....

"The wind-chamber!" he called, in an agony lest the knowledge almost within his grasp should be lost. "I would know about the wind-chamber...."

Like an echo, there came back the words, uncomprehendingly uttered, "The wind-chamber?..."

"... that driveth the vessel—perchance 'tis not wind—a steel bow that is bent also conserveth force—the force you store, to move at will through calm and storm...."

"Can you make out what it's driving at?"

"Oh, we shall all wake up in a minute...."

"Quiet, I have it; the engines; it wants to know about our engines. It'll be wanting to see our papers presently. Rye Port!... Well, no harm in humouring it; let's see what it can make of this. Ahoy there!" came the voice to Abel Keeling, a little more strongly, as if a shifting wind carried it, and speaking faster and faster as it went on. "Not wind, but steam; d'you hear? Steam, steam. Steam, in eight Yarrow water-tube boilers. S-t-e-a-m, steam. Got it? And we've twin-screw triple expansion engines, indicated horse-power four thousand, and we can do 430 revolutions per minute; savvy? Is there anything your phantomhood would like to know about our armament?..."

Abel Keeling was muttering fretfully to himself. It annoyed him that words in his own vision should have no meaning for him. How did words come to him in a dream that he had no knowledge of when wide awake? The Seapink—that was the name of this ship; but a pink was long and narrow, low-carged and square-built aft....

"And as for our armament," the voice with the tones that so profoundly troubled Abel Keeling's memory continued, "we've two revolving Whitehead torpedo-tubes, three six-pounders on the upper deck, and that's a twelve-pounder forward there by the conning-tower. I forgot to mention that we're nickel steel, with a coal capacity of sixty tons in most damnably placed bunkers, and that thirty and a quarter knots is about our top. Care to come aboard?"

But the voice was speaking still more rapidly and feverishly, as if to fill a silence with no matter what, and the shape that was uttering it was straining forward anxiously over the rail.

"Ugh! But I'm glad this happened in the daylight," another voice was muttering.

"I wish I was sure it was happening at all.... Poor old spook!"

"I suppose it would keep its feet if her deck was quite vertical. Think she'll go down, or just melt?"

"Kind of go down ... without wash...."

"Listen—here's the other one now—"

For Bligh was singing again:

"For, Lord, Thou know'st our nature such If we great things obtain, And in the getting of the same Do feel no grief or pain,

"We little do esteem thereof; But, hardly brought to pass, A thousand times we do esteem More than the other was."

"But oh, look—look—look at the other!... Oh, I say, wasn't he a grand old boy! Look!"

For, transfiguring Abel Reeling's form as a prophet's form is transfigured in the instant of his rapture, flooding his brain with the white eureka-light of perfect knowledge, that for which he and his dream had been at a standstill had come. He knew her, this ship of the future, as if God's Finger had bitten her lines into his brain. He knew her as those already sinking into the grave know things, miraculously, completely, accepting Life's impossibilities with a nodded "Of course." From the ardent mouths of her eight furnaces to the last drip from her lubricators, from her bed-plates to the breeches of her quick-firers, he knew her—read her gauges, thumbed her bearings, gave the ranges from her range-finders, and lived the life he lived who was in command of her. And he would not forget on the morrow, as he had forgotten on many morrows, for at last he had seen the water about his feet, and knew that there would be no morrow for him in this world....

And even in that moment, with but a sand or two to run in his glass, indomitable, insatiable, dreaming dream on dream, he could not die until he knew more. He had two questions to ask, and a master-question; and but a moment remained. Sharply his voice rang out.

"Ho, there!... This ancient ship, the Mary of the Tower, cannot steam thirty and a quarter knots, but yet she can sail the waters. What more does your ship? Can she soar above them, as the fowls of the air soar?"

"Lord, he thinks we're an aeroplane!... No, she can't...."

"And can you dive, even as the fishes of the deep?"

"No.... Those are submarines ... we aren't a submarine...."

But Abel Keeling waited for no more. He gave an exulting chuckle.

"Oho, oho—thirty knots, and but on the face of the waters—no more than that? Oho!... Now my ship, the ship I see as a mother sees full-grown the child she has but conceived—my ship, I say—oho!—my ship shall.... Below there—trip that gun!"

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