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Kitabı oxu: «In the Dark: Tales of Terror by E. Nesbit»

E. Nesbit, Hugh Lamb
Şrift:

IN THE DARK
E. Nesbit

Edited, with an Introduction, by

HUGH LAMB


Copyright


HarperCollinsPublishers

1 London Bridge Street

London SE1 9GF

www.harpercollins.co.uk

First published in Great Britain by Equation 1988

Selection, Introduction, and Notes © Hugh Lamb 2017

Cover design by Mike Topping © HarperCollinsPublishers Ltd 2017

Cover images © Shutterstock.com

A catalogue copy of this book is available from the British Library.

This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.

Source ISBN: 9780008249014

Ebook Edition © September 2017 ISBN: 9780008249021

Version: 2017-08-10

Dedication

To the beautiful Marisol – my partner and guardian angel.

Table of Contents

Cover

Title Page

Copyright

Dedication

Introduction

Man-Size in Marble

Uncle Abraham’s Romance

From the Dead

The Haunted Inheritance

The Three Drugs

The Letter in Brown Ink

The Violet Car

John Charrington’s Wedding

No. 17

The Pavilion

The House of Silence

The Mystery of the Semi-Detached

In the Dark

The Head

The Ebony Frame

Hurst of Hurstcote

The Five Senses

The Haunted House

The Shadow

The Detective

The Power of Darkness

Bibliography

Acknowledgements

About the Publisher

INTRODUCTION

There can be few children over the past hundred years who have never encountered the works of E. Nesbit. Even nowadays, in spite of the distractions of playstations and the Internet, her children’s stories entertain and enchant young readers. Lionel Jeffries’s 1972 film of The Railway Children (1906) is a perennial television favourite.

At the same time, it is almost certain that very few adult readers know of, or have read, E. Nesbit’s tales of terror. Apart from one often-reprinted story, they have been largely neglected in the various revivals of supernatural fiction over the years. This is a shame, for not only are they intrinsically interesting, but they pre-date her famous children’s books and represent their author’s growing literary accomplishment and skill, developed very quickly in the hothouse of economic necessity.

You will note I wrote ‘her children’s books’. This is to clear up a misunderstanding, which still persists, regarding the gender of E. Nesbit. Because she published everything under the cloak of that terse initial, Edith Nesbit was often thought to be a man (something she was quite happy to encourage, by all accounts). H.G. Wells was convinced she was male – to the extent of conjuring up suitable ‘E’ male names – until he met her. As late as 1931 (seven years after her death), the noted editor Montague Summers mistakenly called her ‘Evelyn Nesbit’ in his Supernatural Omnibus, a mistake repeated five years later by the anonymous editor of the famous Century of Ghost Stories.

Edith Nesbit was born on 15 August 1858, in Kennington, the youngest of the six children of John Collis Nesbit, a teacher and scientist who ran an agricultural college. She was educated in England and on the Continent and is reported to have lived in at least two haunted houses as a child: excellent grounding for what was to follow. Her childhood also brought her several life-long fears and phobias which were to find expression in her stories, as will be discussed later.

Her father died when Edith was only three years old, and declining fortunes brought the Nesbits back to London in the 1870s. She had already started writing poetry and met with some success while still in her teens. The magazines Good Words and Sunday Magazine bought some of her poetry in 1876, and she became a frequent contributor of poetry to various journals from then on.

In 1877 she met her future husband, Hubert Bland, three years her senior, and, it seems, quite a character: tall, dark, and handsome, with military bearing, and sporting a monocle (which was for more than show – his eyesight was very poor), he was just the type to sweep Edith the literary daydreamer off her feet. And sweep her off her feet he did – straight on to her back. Hubert Bland, as Doris Langley Moore puts it, ‘could not by any effort of nature leave women alone’. Put less elegantly, Bland would tackle anything that moved and wore skirts; this facet of his character was to dominate their marriage.

He got Edith pregnant in short order, and they were married in April 1880, Edith being two months away from her first baby. Bland had started a small brush factory which seemed to be pottering along quietly. Then, in that same year of 1880, he contracted smallpox – twice – and during his long illness his partner in the factory absconded to Spain with the funds. The Blands were penniless and very much up against it.

Edith Nesbit was never the type to sit back and wail, however. She turned to writing flat out, and it was during this time that she started to produce short stories, some of which can be found in this volume, and poetry of a more lasting kind than she had written before. She also discovered an unusual money-maker: designing and painting Christmas cards, inscribed with her own verses. Hubert caught the writing bug as well, for they collaborated on a joint novel, The Prophet’s Mantle, published in 1885 (it was a failure). Edith and Hubert did, however, pursue separate – and successful – writing careers. Hubert became the editor of Today, a respected literary journal, and published new work by authors such as Shaw, Ibsen, Whitman and William Morris.

The early 1880s saw another collaboration with Hubert that became more permanent. Despite his physically domineering manner and his relish for the opposite sex, Hubert was no clod. He was well read and intellectually active, and was a keen socialist. The Victorian era and its obsession with capitalism had produced widespread dissatisfaction among liberal-minded thinkers, and Hubert belonged to several idealistic sets. Increasing divisions amongst them led to the founding, in 1884, of the Fabian Society. Hubert was a leading light in its formation, chairing the first meeting on 4 January 1884, and Edith was also actively involved. The new society’s name even affected the Blands’ first novel, The Prophet’s Mantle. It was published under the pseudonym ‘Fabian Bland’.

Edith had contributed a steady flow of stories to the many journals of the day, including Longman’s Magazine, Temple Bar, Argosy, Illustrated London News, the Sketch and the Victorian. Another magazine which published a good deal of her work was Sylvia’s Home Journal, and it was this magazine which brought about another major change in Edith’s life.

A young Yorkshire girl, Alice Hoatson, worked on Sylvia’s Home Journal as a reader and, in 1882, met Edith when she brought in a story for consideration. The two women, both in their early twenties, struck up a warm friendship, and Alice was eventually invited to move in with the Blands. This proved to be a disastrous move. Alice and Edith had a friendship that was to span more than thirty years but, despite this, Alice was the last person who should have been sharing a roof with the priapic Hubert Bland. She very quickly became his mistress and remained so until he died. More than that, she bore him two children, in 1886 and 1899, both chez Bland, and Edith adopted both of them.

What a household it must have been! Hubert dividing his attentions between the two of them and anyone else he could find; Alice forced in public to treat her two children as Edith’s; and Edith obliged to treat Alice’s children as her own while always aware of the circumstances of their birth. And, it seems, she didn’t let on to either of them what the real story was for a long time.

Hubert, while fond of bestowing his favours where he could, was not too happy when others tried the same game. Julia Briggs recounts an amusing incident when H.G. Wells (as bad as Bland in his own way) tried to run away with Rosamund Bland, Hubert and Edith’s daughter. Hubert cornered them at Paddington and gave Wells a piece of his mind and, ultimately, a thick ear, all on the platform. There is no greater irony in all the Blands’ history than the thought of Hubert giving Wells a few belts round the ear for the cardinal sin of seducing his daughter. A lot of Edith Nesbit’s problems might have been avoided – it is hard to think otherwise – if she had had a father to give Hubert a good thumping at some early stage in their relationship.

The Blands’ marriage never foundered, despite Hubert, and despite Edith herself indulging in some extra-marital fun (who could blame her?). They had a wide circle of famous friends, among them Rider Haggard, G.K. Chesterton, Oscar Wilde, Andrew Lang, Laurence Housman, R.H. Benson and Grant Allen – and George Bernard Shaw.

Shaw was a profound influence on Edith’s life. She developed a strong passion for him, but it would seem to have been one-sided romance. This was not the case with several other men with whom she became involved over the years, including the author Richard le Gallienne and the famous Egyptologist Dr Wallis Budge. Perhaps the balancing of Edith’s fun on the side with Bland’s adventures gave the marriage some needed stability.

Edith’s first solo book, a volume of poetry called Lays and Legends, appeared in 1886. This was moderately successful and she became more established as an author. She published her first children’s book, The Voyage of Columbus, in 1890. Her career reached a peak in 1901 and started a gradual decline thereafter (though not seriously until about 1910 onwards).

The turn of the century also brought real tragedy. The Blands’ eldest son, fifteen-year-old Fabian, died in 1900 after an operation to remove his tonsils. Edith was stricken. Darker days lay ahead. In 1910, Hubert fell ill with heart trouble and failing eyesight. He finally went blind when his one good eye failed, and in April 1914 he died of what seems to have been another, final heart attack.

Edith found herself in straitened circumstances. The war years obliged her to take paying guests at her home, Well Hall in Eltham, and she ran a poultry farm and market garden. This did not help much and, despite being awarded a Civil List pension of £60 a year for her services to literature, these must have been black times.

She never regained her literary feet, but gained some return of happiness when she married an old friend and fellow socialist, Thomas Tucker, in 1917. He persuaded her to move out of Well Hall, and they set up home at Jesson St Mary on Romney Marsh in Kent in 1922. She even published one or two more books. Life must have been hard, but Tucker was not Bland, and the marriage seems to have been a fairly happy one, despite her move to Kent coinciding with the onset of bronchial disease, which was in the end to kill her.

The last two years at Jesson St Mary were increasingly burdened by her growing incapacity. Though her mind was as active as ever, her body failed her. Letters written during this period show the strain and agony she suffered, drugged with morphia or racked with pain. Finally, on 4 May 1924, she died; it seems to have been a blessed release. She is buried in St Mary’s in the Marsh churchyard, near Dymchurch. Her gravestone (actually a wooden memorial made by Tucker himself) says simply, ‘Resting. E. Nesbit. Mrs Bland-Tucker. Poet and Author.’ I think she earned her rest.

* * *

Most writers have two or three styles but E. Nesbit experimented in about a dozen … horror stories, sentimental love stories, stories in dialect; she wrote poetry for public recitation, poetry for the nursery, Socialist propaganda poetry … work for children, birthday books, a volume on dogs, little plays …

Doris Langley Moore Edith Nesbit, 1933

Edith Nesbit as a writer of ghost and horror stories stands apart from her contemporaries. An obvious comparison would be with Mrs Molesworth, who wrote children’s books and ghost stories; but there the similarity ends. Mrs Molesworth would never have given ‘Man-Size in Marble’ its vicious ending; the hero’s wife would have been saved in the nick of time.

‘Man-Size in Marble’ is probably Edith Nesbit’s best known story, and its appeal to modern readers is not surprising. It is unremittingly savage; the hero’s wife does absolutely nothing to deserve her fate, except by being in the wrong place at the wrong time. It is instructive to imagine what her fellow female ghost story writers would have made of it; Edith Wharton, for instance, would have smothered it in language (Nesbit seems neither to have met Henry James or, if she did, take much notice of him – happily for her writing). The story’s success is all the more interesting as we see hardly anything at all other than an empty space where something should have been and a bit of a statue at the end. Mrs Molesworth would probably have given us the lot before her happy ending, shuffling marble feet and all.

Edith Nesbit had a strong dread of being buried alive, caused, it seems, by the experience of a relative who had been actually placed in his coffin before it was discovered he was still alive. ‘The Five Senses’ can only be read as an attempt to work out her own fear in literary form.

‘The Power of Darkness’ was inspired by Edith’s visit in 1905 to the Musée Grévin in Paris, a macabre waxwork show which must have put the wind up her no end. There are traces of it in ‘The Head’ as well. That story also owes a lot to her more happy pastime of building miniature towns and cities, one of which she exhibited at the 1912 Children’s Welfare Exhibition, at London’s Olympia.

We can only guess at what burrowed away in her mind to produce the strong streak of necrophilia discernible in ‘Hurst of Hurstcote’ and ‘From the Dead’. In the former, John Hurst breaks open his wife’s coffin and is found lying on the vault floor with her in his arms; while in the latter, the hero’s wife returns from the dead. Not unusual in this genre, admittedly; but consider Nesbit’s description: ‘The figure of my dead wife came in … it came straight towards the bed [note the ‘it’] … its wide eyes were open and looked at me with love unspeakable. I could have shrieked aloud.’ Hardly a happy family reunion.

Husbands and wives are not seen in the best light in her stories. The husbands are either longing for dead wives or seeing the ones they’ve got die. There seem to be few Hubert Blands in the stories; perhaps not surprising – his thrusting type, with a penchant for the occasional punch-up, is not conducive to a creepy story.

One romantic triangle, in ‘The Pavilion’, is very strangely resolved, by an unusual relic of the sixteenth century. First published late in her career, Edith Nesbit seems, in this tale, to be striking off in a new direction. It certainly stands out from the rest.

Two stories – ‘The Five Senses’ and ‘The Three Drugs’ – bear the hallmarks of a rudimentary attempt at science fiction. The wonder potion story was in vogue in the 1890s, after Stevenson’s Dr Jekyll and Mr Hyde. In both cases, Nesbit brings in her own phobias, more so than other writers on the theme.

There are traces in most of the stories of what seems to have been her dominant phobia – the dead returning to life. In 1896, Edith wrote about a childhood visit to see the mummified corpses in the church of Saint Michel, Bordeaux. They made a deep impression:

A small vault, as my memory serves me, about 15 feet square … round three sides of the room ran a railing, and behind it – standing against the wall with a ghastly look of life in death – were about 200 skeletons, hung on wires … skeletons with the flesh hardened on their bones, with their long dry hair hanging on each side of their brown faces, where the skin in drying had drawn itself back from their gleaming teeth and empty eye-sockets. Skeletons draped in mouldering shreds of shrouds and grave-clothes, their lean figures still clothed with dry skin, seemed to reach out towards me … I was paralysed with horror … not daring to turn my head lest one of those charnel-house faces should peep out at me.

These charming exhibits (who on earth thought them suitable for children’s entertainment?) were ‘the crowning horror of my childish life,’ she wrote. ‘It is to them, I think, more than to any other thing that I owe nights and nights of anguish and horror, long years of bitterest fear and dread … my children, I resolved, should never know such fear. And to guard them from it I must banish it from my own soul.’

It is all too easy to see works of fiction as standing for something significant to the author’s life. Too often, I suspect, works written with an eye to making a few pounds quickly are invested by critics with a significance far beyond their author’s intentions. Edith Nesbit’s stories were written with money in mind, no doubt about it. But I think there may have been enough of the author in them to make them doubly interesting. You can see Edith Nesbit scribbling away, trying to push back the sight of the Bordeaux mummies creeping up behind her chair or standing in the corner, watching her with dried-up eyes. Or thrusting away the vision of being alive in her coffin, sensitive to all around her but unable to attract any attention to her plight. Or even trying to exorcise the demon of Hubert Bland rampant, impregnating anything he could get his hands on, even under their own roof.

Edith Nesbit’s biographers give her ghost stories minimal treatment. Anthea Bell and Noel Streatfeild never mention them. Very unfairly, Doris Langley Moore brushes Nesbit’s stories aside, in her otherwise warm and affectionate book, as being ‘singularly ineffectual and now deservedly forgotten’. Julia Briggs, on the other hand, does not dismiss them, but merely mentions them, though she does go at length into ‘Man-Size in Marble’, which she sees as having sexual connotations. With the amount of sex in Edith’s life – her own and other people’s – that would not be surprising.

I hope readers today will approach Edith Nesbit’s stories with a sympathetic eye. In a genre now heavily laden with massive novels and complex plots, the bald simplicity of her tales of terror comes as a pleasant and refreshing change. They certainly deserve a new audience after all this time.

Hugh Lamb

Sutton, Surrey

May 2017

MAN-SIZE IN MARBLE

Although every word of this tale is true, I do not expect people to believe it. Nowadays a ‘rational explanation’ is required before belief is possible. Let me, at once, offer the ‘rational explanation’ which finds most favour among those who have heard the tale of my life’s tragedy. It is held that we were ‘under a delusion’, she and I, on that 31st of October; and that this supposition places the whole matter on a satisfactory and believable basis. The reader can judge, when he, too, has heard my story, how far this is an ‘explanation’, and in what sense it is ‘rational’. There were three who took part in this; Laura and I and another man. The other man lives still, and can speak to the truth of the least credible part of my story.

I never knew in my life what it was to have as much money as would supply the most ordinary needs of life – good colours, canvasses, brushes, books, and cab-fares – and when we were married we knew quite well that we should only be able to live at all by ‘strict punctuality and attention to business’. I used to paint in those days, and Laura used to write, and we felt sure we could keep the pot at least simmering. Living in London was out of the question, so we went to look for a cottage in the country, which should be at once sanitary and picturesque. So rarely do these two qualities meet in one cottage that our search was for some time quite fruitless. We tried advertisements, but most of the desirable rural residences which we did look at, proved to be lacking in both essentials, and when a cottage chanced to have drains, it always had stucco as well and was shaped like a tea-caddy. And if we found a vine or a rose-covered porch, corruption invariably lurked within. Our minds got so befogged by the eloquence of house-agents, and the rival disadvantages of the fever-traps and outrages to beauty which we had seen and scorned, that I very much doubt whether either of us, on our wedding morning, knew the difference between a house and a haystack. But when we got away from friends and house-agents on our honeymoon, our wits grew clear again, and we knew a pretty cottage when at last we saw one. It was at Brenzett – a little village set on a hill, over against the southern marshes. We had gone there from the little fishing village, where we were staying, to see the church, and two miles from the church we found this cottage. It stood quite by itself about two miles from Brenzett village. It was a low building with rooms sticking out in unexpected places. There was a bit of stonework – ivy-covered and moss-grown, just two old rooms, all that was left of a big house that once stood there – and round this stone-work the house had grown up. Stripped of its roses and jasmine, it would have been hideous. As it stood it was charming, and after a brief examination, enthusiasm usurped the place of discretion and we took it. It was absurdly cheap. The rest of our honeymoon we spent in grubbing about in second-hand shops in Ashford, picking up bits of old oak and Chippendale chairs for our furnishing. We wound up with a run up to town and a visit to Liberty’s, and soon the low, oak-beamed, lattice-windowed rooms began to be home. There was a jolly old-fashioned garden, with grass paths and no end of hollyhocks, and sunflowers, and big lilies, and roses with thousands of small sweet flowers. From the window you could see the marsh-pastures, and beyond them the blue, thin line of the sea. We were as happy as the summer was glorious, and settled down into work sooner than we ourselves expected. I was never tired of sketching the view and the wonderful cloud effects from the open lattice, and Laura would sit at the table and write verses about them, in which I mostly played the part of foreground.

We got a tall, old, peasant woman to do for us. Her face and figure were good, though her cooking was of the homeliest; but she understood all about gardening, and told us all the old names of the coppices and cornfields, and the stories of the smugglers and the highwaymen, and, better still, of the ‘things that walked’, and of the ‘sights’ which met one in lonely lanes of a starlight night. She was a great comfort to us, because Laura hated housekeeping as much as I loved folk-lore, and we soon came to leave all the domestic business to Mrs Dorman, and to use her legends in little magazine stories which brought in guineas.

We had three months of married happiness. We did not have a single quarrel. And then it happened. One October evening I had been down to smoke a pipe with the doctor – our only neighbour – a pleasant young Irishman. Laura had stayed at home to finish a comic sketch of a village episode for the Monthly Marplot. I left her laughing over her own jokes, and came in to see her a crumpled heap of pale muslin, weeping on the window seat.

‘Good heavens, my darling, what’s the matter?’ I cried, taking her in my arms. She leaned her head against my shoulder, and went on crying. I had never seen her cry before – we had always been so happy, you see – and I felt sure some frightful misfortune had happened.

‘What is the matter? Do speak!’

‘It’s Mrs Dorman,’ she sobbed.

‘What has she done?’ I inquired, immensely relieved.

‘She says she must go before the end of the month, and she says her niece is ill; she’s gone down to see her now, but I don’t believe that’s the reason, because her niece is always ill. I believe someone has been setting her against us. Her manner was so queer—’

‘Never mind, Pussy,’ I said. ‘Whatever you do, don’t cry, or I shall have to cry, too, to keep you in countenance, and then you’ll never respect your man again.’

She dried her eyes obediently on my handkerchief, and even smiled faintly.

‘But, you see,’ she went on, ‘it is really serious, because these village people are so sheepy; and if one won’t do a thing, you may be sure none of the others will. And I shall have to cook the dinners and wash up all the hateful, greasy plates; and you’ll have to carry cans of water about, and clean the boots and knives – and we shall never have any time for work, or earn any money or anything. We shall have to work all day, and only be able to rest when we are waiting for the kettle to boil!’

I represented to her that, even if we had to perform these duties, the day would still present some margin for other toils and recreations. But she refused to see the matter in any but the greyest light. She was very unreasonable, and I told her so, but in my heart … well, who wants a woman to be reasonable?

‘I’ll speak to Mrs Dorman when she comes back, and see if I can’t come to terms with her,’ I said. ‘Perhaps she wants a rise in her screw. It will be all right. Let’s walk up to the church.’

The church was a large and lonely one, and we loved to go there, especially upon bright nights. The path skirted a wood, cut through it once, and ran along the crest of the hill through two meadows and round the churchyard wall, over which the old yews loomed in black masses of shadow. This path, which was partly paved, was called the ‘bier-balk’, for it had long been the way by which the corpses had been carried to burial. The churchyard was richly treed, and was shaded by great elms, which stood just outside and stretched their kind arms out over the dead. A large, low porch let one into the building by a Norman doorway and a heavy oak door studded with iron. Inside, the arches rose into darkness, and between them shone the reticulated windows, which stood out white in the moonlight. In the chancel, the windows were of rich glass, which showed in faint light their noble colouring and made the black oak of the choir pews hardly more solid than the shadows. But on each side of the altar lay a grey marble-figure of a knight in full armour, lying upon a low slab, with hands held up in everlasting prayer, and these figures, oddly enough, were always to be seen if there was any glimmer of light in the church. Their names were lost, but the peasants told of them that they had been fierce and wicked men, marauders by land and sea, who had been the scourge of their time, and had been guilty of deeds so foul that the house they had lived in – the big house, by the way, that had stood on the site of our cottage – had been stricken by lightning and the vengeance of Heaven. But for all that, the gold of their heirs had bought them a place in the church. Looking at the bad, hard faces reproduced in the marble, this story was easily believed.

The church looked at its best on that night, for the shadows of the yew trees fell through the windows upon the floor of the nave, and touched the pillars with tattered shadow. We sat down together without speaking, and watched the solemn beauty of the old church with some of that awe which inspired its early builders. We walked to the chancel and looked at the sleeping warriors. Then we rested on the stone seat in the porch, looking out over the stretch of quiet moonlit meadows, feeling in every fibre of our being the peace of the night and of our happy love; and came away at last with a sense that even scrubbing and black-leading were, at their worst, but small troubles.

Mrs Dorman had come back from the village, and I at once invited her to a tête-à-tête.

‘Now, Mrs Dorman,’ I said, when I had got her into my painting-room, ‘what’s all this about your not staying with us?’

‘I should be glad to get away, sir, before the end of the month,’ she answered, with her usual placid dignity.

‘Have you any fault to find, Mrs Dorman?’

‘None at all, sir; you and your lady have always been most kind, I’m sure—’

‘Well, what is it? Are your wages not high enough?’

‘No, sir, I gets quite enough.’

‘Then why not stay?’

‘I’d rather not,’ with some hesitation. ‘My niece is ill.’

‘But your niece has been ill ever since we came.’

No answer. There was a long and awkward silence. I broke it.

‘Can’t you stay for another month?’ I asked.

‘No, sir. I’m bound to go on Thursday.’

And this was Monday.

‘Well, I must say, I think you might have let us know before. There’s no time now to get anyone else, and your mistress is not fit to do heavy housework. Can’t you stay till next week?’

‘I might be able to come back next week.’

I was now convinced that all she wanted was a brief holiday, which we should have been willing enough to let her have as soon as we could get a substitute.

‘But why must you go this week?’ I persisted. ‘Come, out with it.’

Mrs Dorman drew the little shawl, which she always wore, tightly across her bosom, as though she were cold. Then she said, with a sort of effort:

‘They say, sir, as this was a big house in Catholic times, and there was a many deeds done here.’

The nature of the ‘deeds’ might be vaguely inferred from the inflection of Mrs Dorman’s voice, which was enough to make one’s blood run cold. I was glad that Laura was not in the room. She was always nervous, as highly strung natures are, and I felt that these tales about our house, told by this old peasant woman with her impressive manner and contagious credulity, might have made our home less dear to my wife.

‘Tell me all about it, Mrs Dorman,’ I said. ‘You needn’t mind about telling me. I’m not like the young people, who make fun of such things.’

Which was partly true.

‘Well, sir,’ she sank her voice, ‘you may have seen in the church, beside the altar, two shapes—’

‘You mean the effigies of the knights in armour?’ I said cheerfully.

‘I mean them two bodies drawed out man-size in marble,’ she returned; and I had to admit that her description was a thousand times more graphic than mine.

‘They do say as on All Saints’ Eve them two bodies sits up on their slabs and gets off them, and then walks down the aisle in their marble’ – (another good phrase, Mrs Dorman) – ‘and as the church clock strikes eleven, they walks out of the church door, and over the graves, and along the bier-balk, and if it’s a wet night there’s the marks of their feet in the morning.’

‘And where do they go?’ I asked, rather fascinated.

‘They comes back to their old home, sir, and if anyone meets them—’

‘Well, what then?’ I asked.

But no, not another word could I get from her, save that her niece was ill, and that she must go. After what I had heard I scorned to discuss the niece, and tried to get from Mrs Dorman more details of the legend. I could get nothing but warnings.

‘Whatever you do, sir, lock the door early on All Saints’ Eve, and make the blessed cross-sign over the doorstep and on the windows.’

‘But has anyone ever seen these things?’ I persisted.

‘That’s not for me to say. I know what I know.’

‘Well, who was here last year?’

‘No one, sir. The lady as owned the house only stayed here in the summer, and she always went to London a full month afore the night. And I’m sorry to inconvenience you and your lady, but my niece is ill, and I must go on Thursday.’

I could have shaken her for her reiteration of that obvious fiction.

She was determined to go, nor could our united entreaties move her in the least.

I did not tell Laura the legend of the shapes that ‘walked in their marble’, partly because a legend concerning our house might trouble my wife, and partly, I think, for some more occult reason. This was not quite the same to me as any other story, and I did not want to talk about it till the day was over. I had very soon almost ceased to think of the legend, however. I was painting a portrait of Laura, against the lattice window, and I could not think of much else. I had got a splendid background of yellow and grey sunset, and was working away with enthusiasm at her face. On Thursday Mrs Dorman went. She relented, at parting, so far as to say:

‘Don’t you put yourselves about too much, ma’am, and if there’s any little thing I can do next week, I’m sure I shan’t mind.’

From which I inferred that she wished to come back to us after Hallowe’en. Up to the last she adhered to the fiction of the niece.

Thursday passed off pretty well. Laura showed marked ability in the matter of steak and potatoes, and I confess that my knives, and the plates, which I insisted upon washing, were better done than I had dared to expect. It was all so good, so simple, so pleasant. As I write of it, I almost forget what came after. But now I must remember, and tell.

Friday came. It is about what happened on that Friday that this is written. I wonder if I should have believed it if anyone had told it to me. I will write the story of it as quickly and plainly as I can. Everything that happened on that day is burnt into my brain. I shall not forget anything, nor leave anything out.

I got up early, I remember, and lighted the kitchen fire, and had just achieved a smoky success, when my wife came running down, as sunny and sweet as the clear October morning itself. We prepared breakfast together, and found it very good fun. The housework was soon done, and when brushes and brooms and pails were quiet again, the house was still indeed. It is wonderful what a difference one makes in a house. We really missed Mrs Dorman, quite apart from considerations of pots and pans. We spent the day in dusting our books and putting them straight, and dined gaily on cold steak and coffee. Laura was, if possible, brighter and gayer and sweeter than usual, and I began to think that a little domestic toil was really good for her. We had never been so merry since we were married, and the walk we had that afternoon was, I think, the happiest time of all my life. When we had watched the deep scarlet clouds slowly pale into leaden grey against a pale-green sky, and saw the white mists curl up along the hedgerows in the distant marsh, we came back to the house, silently, hand in hand.

‘You are sad, Pussy,’ I said half-jestingly, as we sat down together in our little parlour. I expected a disclaimer, for my own silence had been the silence of complete happiness. To my surprise, she said:

‘Yes, I think I am sad, or rather I am uneasy. I hope I am not going to be ill. I have shivered three or four times since we came in, and it’s not really cold, is it?’

‘No,’ I said, and hoped it was not a chill caught from the treacherous marsh mists that roll up from the marshes in the dying light. No, she said, she did not think so. Then, after a silence, she spoke suddenly:

‘Do you ever have presentiments of evil?’

‘No,’ I said, smiling; ‘and I shouldn’t believe in them if I had.’

‘I do,’ she went on; ‘the night my father died I knew it, though he was right away in the north of Scotland.’ I did not answer in words.

She sat looking at the fire in silence for some time, gently stroking my hand. At last she sprang up, came behind me, and drawing my head back, kissed me.

‘There, it’s over now,’ she said. ‘What a baby I am. Come, light the candles, and we’ll have some of these new Rubinstein duets.’

And we spent a happy hour or two at the piano.

At about half-past ten, I began to fill the goodnight pipe, but Laura looked so white that I felt that it would be brutal of me to fill our sitting-room with the fumes of strong cavendish.

‘I’ll take my pipe outside,’ I said.

‘Let me come too.’

‘No, sweetheart, not tonight; you’re much too tired. I shan’t be long. Get to bed, or I shall have an invalid to nurse tomorrow, as well as the boots to clean.’

I kissed her and was turning to go, when she flung her arms round my neck and held me very closely. I stroked her hair.

‘Come, Pussy, you’re over-tired. The housework has been too much for you.’

She loosened her clasp a little and drew a deep breath.

‘No. We’ve been very happy today, Jack, haven’t we? Don’t stay out too long.’

‘I won’t, Puss cat,’ I said.

I strolled out of the front door, leaving it unlatched. What a night it was! The jagged masses of heavy, dark cloud were rolling at intervals from horizon to horizon, and thin, white wreaths covered the stars. Through all the rush of the cloud river, the moon swam, breasting the waves and disappearing again in the darkness. When, now and again, her light reached the woodlands, they seemed to be slowly and noiselessly waving in time to the clouds above them. There was a strange, grey light over all the earth; the fields had that shadowy bloom over them which only comes from the marriage of dew and moonshine, or frost and starlight.

I walked up and down, drinking in the beauty of the quiet earth and changing sky. The night was absolutely silent. Nothing seemed to be abroad. There was no scurrying of rabbits, or twitter of half-asleep birds. And though the clouds went sailing across the sky, the wind that drove them never came low enough to rustle the dead leaves in the woodland paths. Across the meadow, I could see the church tower standing out black and grey against the sky. I walked there, thinking over our three months of happiness, and of my wife – her dear eyes, her pretty ways. Oh, my girl! my own little girl; what a vision came to me then of a long, glad life for you and me together!

I heard a bell-beat from the church. Eleven already! I turned to go in, but the night held me. I could not go back into our little warm rooms yet. I would go right on up to the church. I felt vaguely that it would be good to carry my love and thankfulness to the sanctuary, whither so many loads of sorrow and gladness had been borne by men and women dead long since.

I looked in at the low window as I went by. Laura was half lying on her chair in front of the fire. I could not see her face, only her head showed dark against the pale blue wall. She was quite still. Asleep no doubt. My heart reached out to her, as I went on. There must be a God, I thought, and a God that was good. How otherwise could anything so sweet and dear as she ever have been imagined?

I walked slowly along the edge of the wood. A sound broke the stillness of the night. I stopped and listened. The sound stopped too. I went on, and now distinctly I heard another step than mine answer mine like an echo. It was a poacher or a wood-stealer, most likely, for these were not unknown in our Arcadia. But, whoever it was, he was a fool not to step more lightly. I turned into the wood, and now the footstep seemed to come from the path I had just left. It must be an echo, I thought. The wood lay lovely in the moonlight. The large, dying ferns and the brushwood showed where, through thinning foliage, the pale light came down. The tree trunks stood up like Gothic columns all around me. They reminded me of the church, and I turned into the bier-balk and passed through the corpse-gate between the graves to the low porch. I paused for a moment on the stone seat where Laura and I had last night watched the fading landscape. Then I noticed that the door of the church was open, and I blamed myself for having left it unlatched the other night. We were the only people who ever cared to come to the church except on Sundays, and I was vexed to think that through our carelessness the damp autumn airs had had a chance of getting in and injuring the old fabric. I went in. It will seem strange perhaps that I should have gone half-way up the aisle before I remembered – with a sudden chill, followed by as sudden a rush of self-contempt – that this was the very day and hour when, according to tradition, the ‘shapes drawed out man-size in marble’, began to walk.

Having thus remembered the legend, and remembered it with a shiver of which I was ashamed, I could not do otherwise than walk up towards the altar, just to look at the figures – as I said to myself; really what I wanted was to assure myself, first, that I did not believe the legend, and, secondly, that it was not true. I was rather glad that I had come. I thought that now I could tell Mrs Dorman how vain her fancies were, and how peacefully the marble figures slept on through the ghostly hour. With my hands in my pockets, I passed up the aisle. In the grey, dim light, the eastern end of the church looked larger than usual, and the arches above the tombs looked larger too. The moon came out and showed me the reason. I stopped short, my heart gave a great leap that nearly choked me, and then sank sickeningly.

The ‘bodies drawed out man-size’ were gone, and their marble slabs lay wide and bare in the vague moonlight that slanted through the west window.

Were they really gone? or was I mad? Clenching my nerves, I stooped and passed my hand over the smooth slabs and felt their flat unbroken surface. Had someone taken the things away? Was it some vile practical joke? I would make sure, anyway. In an instant I had made a torch of a newspaper which happened to be in my pocket, and lighting it held it high above my head. Its yellow glare illumined the dark arches and those slabs. The figures were gone. And I was alone in the church; or was I alone?

And then a horror seized me, a horror indefinable and indescribable – an overwhelming certainty of supreme and accomplished calamity. I flung down the torch and tore along the aisle and out through the door, biting my lips as I ran to keep myself from shrieking aloud. Was I mad – or what was this that possessed me? I leaped the churchyard wall and took the straight cut across the fields, led by the light from our windows. Just as I got over the first stile, a dark figure seemed to spring out of the ground. Mad still with the certainty of misfortune, I made for the thing that stood in my path, shouting ‘Get out of the way, can’t you?’

But my push met with a very vigorous resistance. My arms were caught just above the elbow and held as in a vice, and the raw-boned Irish doctor actually shook me.

‘Would ye?’ he cried in his own unmistakable accents – ‘would ye, then?’

‘Let me go, you fool,’ I gasped. ‘The marble figures have gone from the church; I tell you they’ve gone.’

He broke into a ringing laugh. ‘I’ll have to give ye a draught tomorrow, I see. Ye’ve been smoking too much and listening to old wives’ tales.’

‘I’ll tell you I’ve seen the bare slabs.’

‘Well, come back with me. I’m going up to old Palmer’s – his daughter’s ill – it’s only hysteria, but it’s as bad as it can be; we’ll look in at the church and let me see the bare slabs.’

‘You go if you like,’ I said, a little less frantic for his laughter, ‘I’m going home to my wife.’

‘Rubbish, man,’ said he; ‘D’ye think I’ll permit of that? Are ye to go saying all yer life that ye’ve seen solid marble endowed with vitality, and me to go all my life saying ye were a coward? No, sir – ye shan’t do ut!’

The night – a human voice – and I think also the physical contact with this six feet of solid common sense, brought me back a little to my ordinary self, and the word ‘coward’ was a shower-bath.

‘Come on, then,’ I said sullenly, ‘perhaps you’re right.’

He still held my arm tightly. We got over the stile and back to the church. All was still as death. The place smelt very damp and earthy. We walked up the aisle. I am not ashamed to confess I shut my eyes; I knew the figures would not be there, I heard Kelly strike a match.

‘Here they are, ye see, right enough; ye’ve been dreaming or drinking, asking yer pardon for the imputation.’

I opened my eyes. By Kelly’s expiring vesta I saw two shapes lying ‘in their marble’ on their slabs. I drew a deep breath and caught his hand.

‘I’m awfully indebted to you,’ I said. ‘It must have been some trick of the light, or I have been working rather hard, perhaps that’s it. Do you know, I was quite convinced they were gone.’

‘I’m aware of that,’ he answered rather grimly; ‘ye’ll have to be careful of that brain of yours, my friend, I assure you.’

He was leaning over and looking at the right-hand figure, whose stone face was the most villainous and deadly in expression. He struck another match.

‘By Jove!’ he said, ‘something has been going on here – this hand is broken.’

And so it was. I was certain that it had been perfect the last time Laura and I had been there.

‘Perhaps someone has tried to remove them,’ said the young doctor.

‘That won’t account for my impression,’ I objected.

‘Too much painting and tobacco will account for what you call your impression,’ he said.

‘Come along,’ I said, ‘or my wife will be getting anxious. You’ll come in and have a drop of whisky, and drink confusion to ghosts and better sense to me.’

‘I ought to go up to Palmer’s, but it’s so late now, I’d best leave it till the morning,’ he replied. ‘I was kept late at the Union, and I’ve had to see a lot of people since. All right, I’ll come back with ye.’

I think he fancied I needed him more than did Palmer’s girl, so, discussing how such an illusion could have been possible, and deducing from this experience large generalities concerning ghostly apparitions, we saw, as we walked up the garden path, that bright light streamed out of the front door, and presently saw that the parlour door was open too. Had she gone out?

‘Come in,’ I said, and Dr Kelly followed me into the parlour. It was all ablaze with candles, not only the wax ones, but at least a dozen guttering, glaring, tallow dips, stuck in vases and ornaments in unlikely places. Light, I knew, was Laura’s remedy for nervousness. Poor child! Why had I left her? Brute that I was.

We glanced round the room, and at first we did not see her. The window was open and the draught set all the candles flaring one way. Her chair was empty, and her handkerchief and book lay on the floor. I turned to the window. There, in the recess of the window, I saw her. Oh, my child, my love, had she gone to that window to watch for me? And what had come into the room behind her? To what had she turned with that look of frantic fear and horror? Had she thought that it was my step she heard and turned to meet – what?

She had fallen back against a table in the window, and her body lay half on it and half on the window-seat, and her head hung down over the table, the brown hair loosened and fallen to the carpet. Her lips were drawn back and her eyes wide, wide open. They saw nothing now. What had they last seen?

The doctor moved towards her. But I pushed him aside and sprang to her; caught her in my arms, and cried:

‘It’s all right, Laura! I’ve got you safe, dear!’

She fell into my arms in a heap. I clasped her and kissed her, and called her by all her pet names, but I think I knew all the time that she was dead. Her hands were tightly clenched. In one of them she held something fast. When I was quite sure that she was dead, and that nothing mattered at all any more, I let him open her hand to see what she held.

It was a grey marble finger.

Pulsuz fraqment bitdi.

10,18 ₼
Yaş həddi:
0+
Litresdə buraxılış tarixi:
28 iyun 2019
Həcm:
341 səh. 3 illustrasiyalar
ISBN:
9780008249021
Müəllif hüququ sahibi:
HarperCollins

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