Here and Beyond By Edith Wharton

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Here and Beyond

Edith Wharton

Published: 1926

Categorie(s): Fiction, Short Stories

Source: http://gutenberg.net.au About Wharton:

Edith Wharton (January 24, 1862 – August 11, 1937) was an American novelist, short story writer, and designer.

Also available on Feedbooks Wharton:

- The Age of Innocence (1920)

- Ethan Frome (1911)

- The House of Mirth (1905)

- Summer (1917)

- Twilight Sleep (1927)

- The Custom of the Country (1913)

- The Touchstone (1900)

- The Valley of Decision (1902)

- The Children (1928)

- Sanctuary (1903)

Copyright: This work is available for countries where copyright is Life+70.

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Part 1

Miss Mary Pask

Chapter 1

It was not till the following spring that I plucked up courage to tell Mrs. Bridgeworth what had happened to me that night at Morgat.

In the first place, Mrs. Bridgeworth was in America; and after the night in question I lingered on abroad for several months—not for pleasure, God knows, but because of a nervous collapse supposed to be the result of having taken up my work again too soon after my touch of fever in Egypt. But, in any case, if I had been door to door with Grace Bridgeworth I could not have spoken of the affair before, to her or to any one else; not till I had been rest-cured and built up again at one of those wonderful Swiss sanatoria where they clean the cobwebs out of you. I could not even have written to her—not to save my life. The happenings of that night had to be overlaid with layer upon layer of time and forgetfulness before I could tolerate any return to them.

The beginning was idiotically simple; just the sudden reflex of a New England conscience acting on an enfeebled constitution. I had been painting in Brittany, in lovely but uncertain autumn weather, one day all blue and silver, the next shrieking gales or driving fog. There is a rough little white-washed inn out on the Pointe du Raz, swarmed over by tourists in summer but a sea-washed solitude in autumn; and there I was staying and trying to do waves, when some one said: "You ought to go over to Cape something else, beyond Morgat."

I went, and had a silver-and-blue day there; and on the way back the name of Morgat set up an unexpected association of ideas: Morgat—Grace Bridgeworth—Grace's sister, Mary Pask—"You know my darling Mary has a little place now near Morgat; if you ever go to Brittany do go to see her. She lives such a lonely life—it makes me so unhappy."

That was the way it came about. I had known Mrs. Bridgeworth well for years, but had only a hazy intermittent acquaintance with Mary Pask, her older and unmarried sister. Grace and she were greatly attached to each other, I knew; it had been Grace's chief sorrow, when she married my old friend Horace Bridgeworth, and went to live in New York, that Mary, from whom she had never before been separated, obstinately lingered on in Europe, where the two sisters had been travelling since their mother's death. I never quite understood why Mary Pask refused to join Grace in America. Grace said it was because she was "too artistic"—but, knowing the elder Miss Pask, and the extremely elementary nature of her interest in art, I wondered whether it were not rather because she disliked Horace Bridgeworth. There was a third alternative—more conceivable if one knew Horace—and that was that she may have liked him too much. But that again became untenable (at least I supposed it did) when one knew Miss Pask: Miss Pask with her round flushed face, her innocent bulging eyes, her old-maidish flat decorated with art-tidies, and her vague and timid philanthropy. Aspire to Horace—!

Well, it was all rather puzzling, or would have been if it had been interesting enough to be worth puzzling over. But it was not. Mary Pask was like hundreds of other dowdy old maids, cheerful derelicts content with their innumerable little substitutes for living. Even Grace would not have interested me particularly if she hadn't happened to marry one of my oldest friends, and to be kind to his friends. She was a handsome capable and rather dull woman, absorbed in her husband and children, and without an ounce of imagination; and between her attachment to her sister and Mary Pask's worship of her there lay the inevitable gulf between the feelings of the sentimentally unemployed and those whose affections are satisfied. But a close intimacy had linked the two sisters before Grace's marriage, and Grace was one of the sweet conscientious women who go on using the language of devotion about people whom they live happily without seeing; so that when she said: "You know it's years since Mary and I have been together—not since little Molly was born. If only she'd come to America! Just think… Molly is six, and has never seen her darling auntie… " when she said this, and added: "If you go to Brittany promise me you'll look up my Mary," I was moved in that dim depth of one where unnecessary obligations are contracted.

And so it came about that, on that silver-and-blue afternoon, the idea "Morgat—Mary Pask—to please Grace" suddenly unlocked the sense of duty in me. Very well: I would chuck a few things into my bag, do my day's painting, go to see Miss Pask when the light faded, and spend the night at the inn at Morgat. To this end I ordered a rickety one-horse vehicle to await me at the inn when I got back from my painting, and in it I started out toward sunset to hunt for Mary Pask…

As suddenly as a pair of hands clapped over one's eyes, the sea-fog shut down on us. A minute before we had been driving over a wide bare upland, our backs turned to a sunset that crimsoned the road ahead; now the densest night enveloped us. No one had been able to tell me exactly where Miss Pask lived; but I thought it likely that I should find out at the fishers' hamlet toward which we were trying to make our way. And I was right… an old man in a doorway said: Yes—over the next rise, and then down a lane to the left that led to the sea; the American lady who always used to dress in white. Oh, he knew… near the Baie des Trépassés.

"Yes; but how can we see to find it? I don't know the place," grumbled the reluctant boy who was driving me.

"You will when we get there," I remarked.

"Yes—and the horse foundered meantime! I can't risk it, sir; I'll get into trouble with the patron."

Finally an opportune argument induced him to get out and lead the stumbling horse, and we continued on our way. We seemed to crawl on for a long time through a wet blackness impenetrable to the glimmer of our only lamp. But now and then the ball lifted or its folds divided; and then our feeble light would drag out of the night some perfectly commonplace object—a white gate, a cow's staring face, a heap of roadside stones—made portentous and incredible by being thus detached from its setting, capriciously thrust at us, and as suddenly withdrawn. After each of these projections the darkness grew three times as thick; and the sense I had had for some time of descending a gradual slope now became that of scrambling down a precipice. I jumped out hurriedly and joined my young driver at the horse's head.

"I can't go on—I won't, sir!" he whimpered.

"Why, see, there's a light over there—just ahead!"

The veil swayed aside, and we beheld two faintly illuminated squares in a low mass that was surely the front of a house.

"Get me as far as that—then you can go back if you like."

The veil dropped again; but the boy had seen the lights and took heart. Certainly there was a house ahead of us; and certainly it must be Miss Pask's, since there could hardly be two in such a desert. Besides, the old man in the hamlet had said: "Near the sea"; and those endless modulations of the ocean's voice, so familiar in every corner of the Breton land that one gets to measure distances by them rather than by visual means, had told me for some time past that we must be making for the shore. The boy continued to lead the horse on without making any answer. The fog had shut in more closely than ever, and our lamp merely showed us the big round drops of wet on the horse's shaggy quarters.

The boy stopped with a jerk. "There's no house—we're going straight down to the sea."

"But you saw those lights, didn't you?"

"I thought I did. But where are they now? The fog's thinner again. Look—I can make out trees ahead. But there are no lights any more."

"Perhaps the people have gone to bed," I suggested jocosely.

"Then hadn't we better turn back, sir?"

"What—two yards from the gate?"

The boy was silent: certainly there was a gate ahead, and presumably, behind the dripping trees, some sort of dwelling. Unless there was just a field and the sea… the sea whose hungry voice I heard asking and asking, close below us. No wonder the place was called the Bay of the Dead! But what could have induced the rosy benevolent Mary Pask to come and bury herself there? Of course the boy wouldn't wait for me… I knew that… the Baie des Trépassés indeed! The sea whined down there as if it were feeding-time, and the Furies, its keepers, had forgotten it…

There was the gate! My hand had struck against it. I felt along to the latch, undid it, and brushed between wet bushes to the house-front. Not a candle-glint anywhere. If the house were indeed Miss Pask's, she certainly kept early hours…

Chapter 2

Night and fog were now one, and the darkness as thick as a blanket. I felt vainly about for a bell. At last my hand came in contact with a knocker and I lifted it. The clatter with which it fell sent a prolonged echo through the silence; but for a minute or two nothing else happened.

"There's no one there, I tell you!" the boy called impatiently from the gate.

But there was. I had heard no steps inside, but presently a bolt shot back, and an old woman in a peasant's cap pushed her head out. She had set her candle down on a table behind her, so that her face, aureoled with lacy wings, was in obscurity; but I knew she was old by the stoop of her shoulders and her fumbling movements. The candle-light, which made her invisible, fell full on my face, and she looked at me.

"This is Miss Mary Pask's house?"

"Yes, sir." Her voice—a very old voice—was pleasant enough, unsurprised and even friendly.

"I'll tell her," she added, shuffling off. "Do you think she'll see me?" I threw after her.

"Oh, why not? The idea!" she almost chuckled. As she retreated I saw that she was wrapped in a shawl and had a cotton umbrella under her arm. Obviously she was going out—perhaps going home for the night. I wondered if Mary Pask lived all alone in her hermitage.

The old woman disappeared with the candle and I was left in total darkness. After an interval I heard a door shut at the back of the house and then a slow clumping of aged sabots along the flags outside. The old woman had evidently picked up her sabots in the kitchen and left the house. I wondered if she had told Miss Pask of my presence before going, or whether she had just left me there, the butt of some grim practical joke of her own. Certainly there was no sound within doors. The footsteps died out, I heard a gate click—then complete silence closed in again like the fog.

"I wonder—" I began within myself; and at that moment a smothered memory struggled abruptly to the surface of my languid mind.

"But she's dead—Mary Pask is dead!"

I almost screamed it aloud in my amazement. It was incredible, the tricks my memory had played on me since my fever! I had known for nearly a year that Mary Pask was dead—had died suddenly the previous autumn—and though I had been thinking of her almost continuously for the last two or three days it was only now that the forgotten fact of her death suddenly burst up again to consciousness.

Dead! But hadn't I found Grace Bridge-worth in tears and crape the very day I had gone to bid her good-bye before sailing for Egypt? Hadn't she laid the cable before my eyes, her own streaming with tears while I read: "Sister died suddenly this morning requested burial in garden of house particulars by letter"—with the signature of the American Consul at Brest, a friend of Bridgeworth's I seemed to recall? I could see the very words of the message printed on the darkness before me.

As I stood there I was a good deal more disturbed by the discovery of the gap in my memory than by the fact of being alone in a pitch-dark house, either empty or else inhabited by strangers. Once before of late I had noted this queer temporary blotting-out of some well-known fact; and here was a second instance of it. Decidedly, I wasn't as well over my illness as the doctors had told me… Well, I would get back to Morgat and lie up there for a day or two, doing nothing, just eating and sleeping…

In my self-absorption I had lost my bearings, and no longer remembered where the door was. I felt in every pocket in turn for a match—but since the doctors had made me give up smoking, why should I have found one?

The failure to find a match increased my sense of irritated helplessness, and I was groping clumsily about the hall among the angles of unseen furniture when a light slanted along the rough-cast wall of the stairs. I followed its direction, and on the landing above me I saw a figure in white shading a candle with one hand and looking down. A chill ran along my spine, for the figure bore a strange resemblance to that of Mary Pask as I used to know her.

"Oh, it's you!" she exclaimed in the cracked twittering voice which was at one moment like an old woman's quaver, at another like a boy's falsetto. She came shuffling down in her baggy white garments, with her usual clumsy swaying movements; but I noticed that her steps on the wooden stairs were soundless. Well—they would be, naturally!

I stood without a word, gazing up at the strange vision above me, and saying to myself: "There's nothing there, nothing whatever. It's your digestion, or your eyes, or some damned thing wrong with you somewhere—"

But there was the candle, at any rate; and as it drew nearer, and lit up the place about me, I turned and caught hold of the door-latch. For, remember, I had seen the cable, and Grace in crape…

"Why, what's the matter? I assure you, you don't disturb me!" the white figure twittered; adding, with a faint laugh: "I don't have so many visitors nowadays—"

She had reached the hall, and stood before me, lifting her candle shakily and peering up into my face. "You haven't changed—not as much as I should have thought. But I have, haven't I?" she appealed to me with another laugh; and abruptly she laid her hand on my arm. I looked down at the hand, and thought to myself: "That can't deceive me."

I have always been a noticer of hands. The key to character that other people seek in the eyes, the mouth, the modelling of the skull, I find in the curve of the nails, the cut of the finger-tips, the way the palm, rosy or sallow, smooth or seamed, swells up from its base. I remembered Mary Pask's hand vividly because it was so like a caricature of herself; round, puffy, pink, yet prematurely old and useless. And there, unmistakably, it lay on my sleeve: but changed and shrivelled—somehow like one of those pale freckled toadstools that the least touch resolves to dust… Well—to dust? Of course…

I looked at the soft wrinkled fingers, with their foolish little oval finger-tips that used to be so innocently and naturally pink, and now were blue under the yellowing nails—and my flesh rose in ridges of fear.

"Come in, come in," she fluted, cocking her white untidy head on one side and rolling her bulging blue eyes at me. The horrible thing was that she still practised the same arts, all the childish wiles of a clumsy capering coquetry. I felt her pull on my sleeve and it drew me in her wake like a steel cable.

The room she led me into was—well, "unchanged" is the term generally used in such cases. For as a rule, after people die, things are tidied up, furniture is sold, remembrances are despatched to the family. But some morbid piety (or Grace's instructions, perhaps) had kept this room looking exactly as I supposed it had in Miss Pask's lifetime. I wasn't in the mood for noting details; but in the faint dabble of moving candle-light I was half aware of bedraggled cushions, odds and ends of copper pots, and a jar holding a faded branch of some late-flowering shrub. A real Mary Pask "interior"!

The white figure flitted spectrally to the chimney-piece, lit two more candles, and set down the third on a table. I hadn't supposed I was superstitious—but those three candles! Hardly knowing what I did, I hurriedly bent and blew one out. Her laugh sounded behind me.

"Three candles—you still mind that sort of thing? I've got beyond all that, you know," she chuckled. "Such a comfort… such a sense of freedom… " A fresh shiver joined the others already coursing over me.

"Come and sit down by me," she entreated, sinking to a sofa. "It's such an age since I've seen a living being!"

Her choice of terms was certainly strange, and as she leaned back on the white slippery sofa and beckoned me with one of those unburied hands my impulse was to turn and run. But her old face, hovering there in the candle-light, with the unnaturally red cheeks like varnished apples and the blue eyes swimming in vague kindliness, seemed to appeal to me against my cowardice, to remind me that, dead or alive, Mary Pask would never harm a fly.

"Do sit down!" she repeated, and I took the other corner of the sofa.

"It's so wonderfully good of you—I suppose Grace asked you to come?" She laughed again—her conversation had always been punctuated by rambling laughter. "It's an event—quite an event! I've had so few visitors since my death, you see."

Another bucketful of cold water ran over me; but I looked at her resolutely, and again the innocence of her face disarmed me.

I cleared my throat and spoke—with a huge panting effort, as if I had been heaving up a grave-stone. "You live here alone?" I brought out.

"Ah, I'm glad to hear your voice—I still remember voices, though I hear so few," she murmured dreamily. "Yes—I live here alone. The old woman you saw goes away at night. She won't stay after dark… she says she can't. Isn't it funny? But it doesn't matter; I like the darkness." She leaned to me with one of her irrelevant smiles. "The dead," she said, "naturally get used to it."

Once more I cleared my throat; but nothing followed.

She continued to gaze at me with confidential blinks. "And Grace? Tell me all about my darling. I wish I could have seen her again… just once." Her laugh came out grotesquely. "When she got the news of my death—were you with her? Was she terribly upset?"

I stumbled to my feet with a meaningless stammer. I couldn't answer—I couldn't go on looking at her.

"Ah, I see… it's too painful," she acquiesced, her eyes brimming, and she turned her shaking head away.

"But after all… I'm glad she was so sorry… It's what I've been longing to be told, and hardly hoped for. Grace forgets… " She stood up too and flitted across the room, wavering nearer and nearer to the door.

"Thank God," I thought, "she's going."

"Do you know this place by daylight?" she asked abruptly.

I shook my head.

"It's very beautiful. But you wouldn't have seen me then. You'd have had to take your choice between me and the landscape. I hate the light—it makes my head ache. And so I sleep all day. I was just waking up when you came." She smiled at me with an increasing air of confidence. "Do you know where I usually sleep? Down below there—in the garden!" Her laugh shrilled out again. "There's a shady corner down at the bottom where the sun never bothers one. Sometimes I sleep there till the stars come out."

The phrase about the garden, in the consul's cable, came back to me and I thought: "After all, it's not such an unhappy state. I wonder if she isn't better off than when she was alive?"

Perhaps she was—but I was sure I wasn't, in her company. And her way of sidling nearer to the door made me distinctly want to reach it before she did. In a rush of cowardice I strode ahead of her—but a second later she had the latch in her hand and was leaning against the panels, her long white raiment hanging about her like grave-clothes. She drooped her head a little sideways and peered at me under her lashless lids.

"You're not going?" she reproached me.

I dived down in vain for my missing voice, and silently signed that I was.

"Going going away? Altogether?" Her eyes were still fixed on me, and I saw two tears gather in their corners and run down over the red glistening circles on her cheeks. "Oh, but you mustn't," she said gently. "I'm too lonely… "

I stammered something inarticulate, my eyes on the blue-nailed hand that grasped the latch. Suddenly the window behind us crashed open, and a gust of wind, surging in out of the blackness, extinguished the candle on the nearest chimney-corner. I glanced back nervously to see if the other candle were going out too.

"You don't like the noise of the wind? I do. It's all I have to talk to… People don't like me much since I've been dead. Queer, isn't it? The peasants are so superstitious. At times I'm really lonely… " Her voice cracked in a last effort at laughter, and she swayed toward me, one hand still on the latch.

"Lonely, lonely! If you knew how lonely! It was a lie when I told you I wasn't! And now you come, and your face looks friendly… and you say you're going to leave me! No—no—no—you shan't! Or else, why did you come? It's cruel… I used to think I knew what loneliness was… after Grace married, you know. Grace thought she was always thinking of me, but she wasn't. She called me 'darling,' but she was thinking of her husband and children. I said to myself then: 'You couldn't be lonelier if you were dead.' But I know better now… There's been no loneliness like this last year's… none! And sometimes I sit here and think: 'If a man came along some day and took a fancy to you?'" She gave another wavering cackle. "Well, such things have happened, you know, even after youth's gone… a man who'd had his troubles too. But no one came till to-night… and now you say you're going!" Suddenly she flung herself toward me. "Oh, stay with me, stay with me… just tonight… It's so sweet and quiet here… No one need know… no one will ever come and trouble us."

I ought to have shut the window when the first gust came. I might have known there would soon be another, fiercer one. It came now, slamming back the loose-hinged lattice, filling the room with the noise of the sea and with wet swirls of fog, and dashing the other candle to the floor. The light went out, and I stood there—we stood there—lost to each other in the roaring coiling darkness. My heart seemed to stop beating; I had to fetch up my breath with great heaves that covered me with sweat. The door—the door—well, I knew I had been facing it when the candle went. Something white and wraithlike seemed to melt and crumple up before me in the night, and avoiding the spot where it had sunk away I stumbled around it in a wide circle, got the latch in my hand, caught my foot in a scarf or sleeve, trailing loose and invisible, and freed myself with a jerk from this last obstacle. I had the door open now. As I got into the hall I heard a whimper from the blackness behind me; but I scrambled on to the hall door, dragged it open and bolted out into the night. I slammed the door on that pitiful low whimper, and the fog and wind enveloped me in healing arms.

Chapter 3

When I was well enough to trust myself to think about it all again I found that a very little thinking got my temperature up, and my heart hammering in my throat. No use… I simply couldn't stand it… for I'd seen Grace Bridgeworth in crape, weeping over the cable, and yet I'd sat and talked with her sister, on the same sofa—her sister who'd been dead a year!

The circle was a vicious one; I couldn't break through it. The fact that I was down with fever the next morning might have explained it; yet I couldn't get away from the clinging reality of the vision. Supposing it was a ghost I had been talking to, and not a mere projection of my fever? Supposing something survived of Mary Pask—enough to cry out to me the unuttered loneliness of a lifetime, to express at last what the living woman had always had to keep dumb and hidden? The thought moved me curiously—in my weakness I lay and wept over it. No end of women were like that, I supposed, and perhaps, after death, if they got their chance they tried to use it… Old tales and legends floated through my mind; the bride of Corinth, the mediaeval vampire—but what names to attach to the plaintive image of Mary Pask!

My weak mind wandered in and out among these visions and conjectures, and the longer I lived with them the more convinced I became that something which had been Mary Pask had talked with me that night… I made up my mind, when I was up again, to drive back to the place (in broad daylight, this time), to hunt out the grave in the garden—that "shady corner where the sun never bothers one"—and appease the poor ghost with a few flowers. But the doctors decided otherwise; and perhaps my weak will unknowingly abetted them. At any rate, I yielded to their insistence that I should be driven straight from my hotel to the train for Paris, and thence transshipped, like a piece of luggage, to the Swiss sanatorium they had in view for me. Of course I meant to come back when I was patched up again… and meanwhile, more and more tenderly, but more intermittently, my thoughts went back from my snow-mountain to that wailing autumn night above the Baie des Trépassés, and the revelation of the dead Mary Pask who was so much more real to me than ever the living one had been.

Chapter 4

After all, why should I tell Grace Bridgeworth—ever? I had had a glimpse of things that were really no business of hers. If the revelation had been vouchsafed to me, ought I not to bury it in those deepest depths where the inexplicable and the unforgettable sleep together? And besides, what interest could there be to a woman like Grace in a tale she could neither understand nor believe in? She would just set me down as "queer"—and enough people had done that already. My first object, when I finally did get back to New York, was to convince everybody of my complete return to mental and physical soundness; and into this scheme of evidence my experience with Mary Pask did not seem to fit. All things considered, I would hold my tongue.

But after a while the thought of the grave began to trouble me. I wondered if Grace had ever had a proper grave-stone put on it. The queer neglected look of the house gave me the idea that perhaps she had done nothing—had brushed the whole matter aside, to be attended to when she next went abroad. "Grace forgets," I heard the poor ghost quaver… No, decidedly, there could be no harm in putting (tactfully) just that one question about the care of the grave; the more so as I was beginning to reproach myself for not having gone back to see with my own eyes how it was kept…

Grace and Horace welcomed me with all their old friendliness, and I soon slipped into the habit of dropping in on them for a meal when I thought they were likely to be alone. Nevertheless my opportunity didn't come at once—I had to wait for some weeks. And then one evening, when Horace was dining out and I sat alone with Grace, my glance lit on a photograph of her sister—an old faded photograph which seemed to meet my eyes reproachfully.

"By the way, Grace," I began with a jerk, "I don't believe I ever told you: I went down to that little place of… of your sister's the day before I had that bad relapse."

At once her face lit up emotionally. "No, you never told me. How sweet of you to go!" The ready tears overbrimmed her eyes. "I'm so glad you did." She lowered her voice and added softly: "And did you see her?"

The question sent one of my old shudders over me. I looked with amazement at Mrs. Bridgeworth's plump face, smiling at me through a veil of painless tears. "I do reproach myself more and more about darling Mary," she added tremulously. "But tell me—tell me everything."

There was a knot in my throat; I felt almost as uncomfortable as I had in Mary Pask's own presence. Yet I had never before noticed anything uncanny about Grace Bridgeworth. I forced my voice up to my lips.

"Everything? Oh, I can't—." I tried to smile.

"But you did see her?"

I managed to nod, still smiling.

Her face grew suddenly haggard—yes, haggard! "And the change was so dreadful that you can't speak of it? Tell me—was that it?"

I shook my head. After all, what had shocked me was that the change was so slight—that between being dead and alive there seemed after all to be so little difference, except that of a mysterious increase in reality. But Grace's eyes were still searching me insistently. "You must tell me," she reiterated. "I know I ought to have gone there long ago—"

"Yes; perhaps you ought." I hesitated. "To see about the grave, at least… "

She sat silent, her eyes still on my face. Her tears had stopped, but her look of solicitude slowly grew into a stare of something like terror. Hesitatingly, almost reluctantly, she stretched out her hand and laid it on mine for an instant. "Dear old friend—" she began.

"Unfortunately," I interrupted, "I couldn't get back myself to see the grave… because I was taken ill the next day… "

"Yes, yes; of course. I know." She paused. "Are you sure you went there at all?" she asked abruptly.

"Sure? Good Lord—" It was my turn to stare. "Do you suspect me of not being quite right yet?" I suggested with an uneasy laugh.

"No—no… of course not… but I don't understand."

"Understand what? I went into the house… I saw everything, in fact, but her grave… "

"Her grave?" Grace jumped up, clasping her hands on her breast and darting away from me. At the other end of the room she stood and gazed, and then moved slowly back.

"Then, after all—I wonder?" She held her eyes on me, half fearful and half reassured. "Could it be simply that you never heard?"

"Never heard?"

"But it was in all the papers! Don't you ever read them? I meant to write… I thought I had written… but I said: 'At any rate he'll see it in the papers'… You know I'm always lazy about letters… "

"See what in the papers?"

"Why, that she didn't die… She isn't dead! There isn't any grave, my dear man! It was only a cataleptic trance… An extraordinary case, the doctors say… But didn't she tell you all about it—if you say you saw her?" She burst into half-hysterical laughter: "Surely she must have told you that she wasn't dead?"

"No," I said slowly, "she didn't tell me that."

We talked about it together for a long time after that—talked on till Horace came back from his men's dinner, after midnight. Grace insisted on going in and out of the whole subject, over and over again. As she kept repeating, it was certainly the only time that poor Mary had ever been in the papers. But though I sat and listened patiently I couldn't get up any real interest in what she said. I felt I should never again be interested in Mary Pask, or in anything concerning her.

Part 2

The Young Gentlemen

Chapter 1

The uniform newness of a new country gives peculiar relief to its few relics of antiquity—a term which, in America, may fairly enough be applied to any building already above ground when the colony became a republic.

Groups of such buildings, little settlements almost unmarred by later accretions, are still to be found here and there in the Eastern states; and they are always productive of inordinate pride in those who discover and live in them. A place of the sort, twenty years ago, was Harpledon, on the New England coast, somewhere between Salem and Newburyport. How intolerantly proud we all were of inhabiting it! How we resisted modern improvements, ridiculed fashionable "summer resorts," fought trolley-lines, overhead wires and telephones, wrote to the papers denouncing municipal vandalism, and bought up (those of us who could afford it) one little heavy-roofed house after another, as the land-speculator threatened them! All this, of course, was on a very small scale: Harpledon was, and is still, the smallest of towns, hardly more than a village, happily unmenaced by industry, and almost too remote for the week-end "flivver." And now that civic pride has taught Americans to preserve and adorn their modest monuments, setting them in smooth stretches of turf and nursing the elms of the village green, the place has become far more attractive, and far worthier of its romantic reputation, than when we artists and writers first knew it. Nevertheless, I hope I shall never see it again; certainly I shall not if I can help it…

Chapter 2

The elders of the tribe of summer visitors nearly all professed to have "discovered" Harpledon. The only one of the number who never, to my knowledge, put forth this claim was Waldo Cranch; and he had lived there longer than any of us.

The one person in the village who could remember his coming to Harpledon, and opening and repairing the old Cranch house (for his family had been India merchants when Harpledon was a thriving sea-port)—the only person who went back far enough to antedate Waldo Cranch was an aunt of mine, old Miss Lucilla Selwick, who lived in the Selwick house, itself a stout relic of India merchant days, and who had been sitting at the same window, watching the main street of Harpledon, for seventy years and more to my knowledge. But unfortunately the long range of Aunt Lucilla's memory often made it hit rather wide of the mark. She remembered heaps and heaps of far-off things; but she almost always remembered them wrongly. For instance, she used to say: "Poor Polly Everitt! How well I remember her, coming up from the beach one day screaming, and saying she'd seen her husband drowning before her eyes"—whereas every one knew that Mrs. Everitt was on a picnic when her husband was drowned at the other end of the world, and that no ghostly premonition of her loss had reached her. And whenever Aunt Lucilla mentioned Mr. Cranch's coming to live at Harpledon she used to say: "Dear me, I can see him now, driving by on that rainy afternoon in Denny Brine's old carry-all, with a great pile of bags and bundles, and on top of them a black and white hobby-horse with a real mane—the very handsomest hobby-horse I ever saw." No persuasion could induce her to dissociate the image of this prodigious toy from her first sight of Waldo Cranch, most incurable of bachelors, and least concerned with the amusing of other people's children, even those of his best friends. In this case, to be sure, her power of evocation had a certain success. Some one told Cranch—Mrs. Durant I think it must have been—and I can still hear his hearty laugh.

"What could it have been that she saw?" Mrs. Durant questioned; and he responded gaily: "Why not simply the symbol of my numerous tastes?" Which—as Cranch painted and gardened and made music (even composed it)—seemed so happy an explanation that for long afterward the Cranch house was known to us as Hobby-Horse Hall.

It will be seen that Aunt Lucilla's reminiscences, though they sometimes provoked a passing amusement, were neither accurate nor illuminating. Naturally, nobody paid much attention to them, and we had to content ourselves with regarding Waldo Cranch, hale and hearty and social as he still was, as an Institution already venerable when the rest of us had first apprehended Harpledon. We knew, of course, the chief points in the family history: that the Cranches had been prosperous merchants for three centuries, and had intermarried with other prosperous families; that one of them, serving his business apprenticeship at Malaga in colonial days, had brought back a Spanish bride, to the bewilderment of Harpledon; and that Waldo Cranch himself had spent a studious and wandering youth in Europe. His Spanish great-grandmother's portrait still hung in the old house; and it was a long-standing joke at Harpledon that the young Cranch who went to Malaga, where he presumably had his pick of Spanish beauties, should have chosen so dour a specimen. The lady was a forbidding character on the canvas: very short and thickset, with a huge wig of black ringlets, a long harsh nose, and one shoulder perceptibly above the other. It was characteristic of Aunt Lucilla Selwick that in mentioning this swart virago she always took the tone of elegy. "Ah, poor thing, they say she never forgot the sunshine and orange blossoms, and pined off early, when her queer son Calvert was hardly out of petticoats. A strange man Calvert Cranch was; but he married Euphemia Waldo of Wood's Hole, the beauty, and had two sons, one exactly like Euphemia, the other made in his own image. And they do say that one was so afraid of his own face that he went back to Spain and died a monk—if you'll believe it," she always concluded with a Puritan shudder.

This was all we knew of Waldo Cranch's past; and he had been so long a part of Harpledon that our curiosity seldom ranged beyond his coming there. He was our local ancestor; but it was a mark of his studied cordiality and his native tact that he never made us feel his priority. It was never he who embittered us with allusions to the picturesqueness of the old light-house before it was rebuilt, or the paintability of the vanished water-mill; he carried his distinction so far as to take Harpledon itself for granted, carelessly, almost condescendingly—as if there had been rows and rows of them strung along the Atlantic coast.

Yet the Cranch house was really something to brag about. Architects and photographers had come in pursuit of it long before the diffused quaintness of Harpledon made it the prey of the magazine illustrator. The Cranch house was not quaint; it owed little to the happy irregularities of later additions, and needed no such help. Foursquare and stern, built of a dark mountain granite (though all the other old houses in the place were of brick or wood), it stood at the far end of the green, where the elms were densest and the village street faded away between blueberry pastures and oakwoods.

A door with a white classical portico was the only eighteenth century addition. The house kept untouched its heavy slate roof, its low windows, its sober cornice and plain interior panelling—even the old box garden at the back, and the pagoda-roofed summer house, could not have been much later than the house. I have said that the latter owed little to later additions; yet some people thought the wing on the garden side was of more recent construction. If it was, its architect had respected the dimensions and detail of the original house, simply giving the wing one less story, and covering it with a lower-pitched roof. The learned thought that the kitchen and offices, and perhaps the slaves' quarters, had originally been in this wing; they based their argument on the fact of there being no windows, but only blind arches, on the side toward the garden, Waldo Cranch said he didn't know; he had found the wing just as it was now, with a big empty room on the ground floor, that he used for storing things, and a few low-studded bedchambers above. The house was so big that he didn't need any of these rooms, and had never bothered about them. Once, I remember, I thought him a little short with a fashionable Boston architect who had insisted on Mrs. Durant's bringing him to see the house, and who wanted to examine the windows on the farther, the invisible, side of the wing.

"Certainly," Cranch had agreed. "But you see those windows look on the kitchen-court and the drying-ground. My old housekeeper and the faithful retainers generally sit there in the afternoons in hot weather, when their work is done, and they've been with me so long that I respect their habits. At some other hour, if you'll come again—. You're going back to Boston tomorrow? So sorry! Yes, of course, you can photograph the front as much as you like. It's used to it." And he showed out Mrs. Durant and her protege.

When he came back a frown still lingered on his handsome brows. "I'm getting sick of having this poor old house lionized. No one bothered about it or me when I first came back to live here," he said. But a moment later he added, in his usual kindly tone: "After all, I suppose I ought to be pleased."

If anyone could have soothed his annoyance, and even made it appear unreasonable, it was Mrs. Durant. The fact that it was to her he had betrayed his impatience struck us all, and caused me to remark, for the first time, that she was the only person at Harpledon who was not afraid of him. Yes; we all were, though he came and went among us with such a show of good-fellowship that it took this trifling incident to remind me of his real aloofness. Not one of us but would have felt a slight chill at his tone to the Boston architect; but then I doubt if any of us but Mrs. Durant would have dared to bring a stranger to the house.

Mrs. Durant was a widow who combined gray hair with a still-youthful face at a time when this happy union was less generally fashionable than now. She had come to Harpledon among the earliest summer colonists, and had soon struck up a friendship with Waldo Cranch. At first Harpledon was sure they would marry; then it became sure they wouldn't; for a number of years now it had wondered why they hadn't. These conjectures, of which the two themselves could hardly have been unaware, did not seem to trouble the even tenor of their friendship. They continued to meet as often as before, and Mrs. Durant continued to be the channel for transmitting any request or inquiry that the rest of us hesitated to put to Cranch. "We know he won't refuse you," I once said to her; and I recall the half-lift of her dark brows above a pinched little smile. "Perhaps," I thought, "he has refused her—once." If so, she had taken her failure gallantly, and Cranch appeared to find an undiminished pleasure in her company. Indeed, as the years went on their friendship grew closer; one would have said he was dependent on her if one could have pictured Cranch as dependent on anybody. But whenever I tried to do this I was driven back to the fundamental fact of his isolation.

"He could get on well enough without any of us," I thought to myself, wondering if this remoteness were inherited from the homesick Spanish ancestress. Yet I have seldom known a more superficially sociable man than Cranch. He had many talents, none of which perhaps went as far as he had once confidently hoped; but at least he used them as links with his kind instead of letting them seclude him in their jealous hold. He was always eager to show his sketches, to read aloud his occasional articles in the lesser literary reviews, and above all to play his new compositions to the musically-minded among us; or rather, since "eager" is hardly the term to apply to his calm balanced manner, I should say that he was affably ready to show off his accomplishments. But then he may have regarded doing so as one of the social obligations: I had felt from the first that, whatever Cranch did, he was always living up to some self-imposed and complicated standard. Even his way of taking off his hat struck me as the result of more thought than most people give to the act; his very absence of flourish lent it an odd importance.

Chapter 3

It was the year of Harpledon's first "jumble sale" that all these odds and ends of observation first began to connect themselves in my mind.

Harpledon had decided that it ought to have a village hospital and dispensary, and Cranch was among the first to promise a subscription and to join the committee. A meeting was called at Mrs. Durant's and after much deliberation it was decided to hold a village fair and jumble sale in somebody's grounds; but whose? We all hoped Cranch would lend his garden; but no one dared to ask him. We sounded each other cautiously, before he arrived, and each tried to shift the enterprise to his neighbour; till at last Homer Davids, our chief celebrity as a painter, and one of the shrewdest heads in the community, said drily: "Oh, Cranch wouldn't care about it."

"How do you know he wouldn't?" some one queried.

"Just as you all do; if not, why is it that you all want some one else to ask him?"

Mrs. Durant hesitated. "I'm sure—" she began.

"Oh, well, all right, then! You ask him," rejoined Davids cheerfully.

"I can't always be the one—"

I saw her embarrassment, and volunteered: "If you think there's enough shade in my garden… "

By the way their faces lit up I saw the relief it was to them all not to have to tackle Cranch. Yet why, having a garden he was proud of, need he have been displeased at the request?

"Men don't like the bother," said one of our married ladies; which occasioned the proper outburst of praise for my unselfishness, and the observation that Cranch's maids, who had all been for years in his service, were probably set in their ways, and wouldn't care for the confusion and extra work. "Yes, old Catherine especially; she guards the place like a dragon," one of the ladies remarked; and at that moment Cranch appeared. Having been told what had been settled he joined with the others in complimenting me; and we began to plan for the jumble sale.

The men needed enlightenment on this point, I as much as the rest, but the prime mover immediately explained: "Oh, you just send any old rubbish you've got in the house."

We all welcomed this novel way of clearing out our cupboards, except Cranch who, after a moment, and with a whimsical wrinkling of his brows, said: "But I haven't got any old rubbish."

"Oh, well, children's cast-off toys for instance," a newcomer threw out at random.

There was a general smile, to which Cranch responded with one of his rare expressive gestures, as who should say: "Toys—in my house? But whose?"

I laughed, and one of the ladies, remembering our old joke, cried out: "Why, but the hobby-horse!"

Cranch's face became a well-bred blank. Long-suffering courtesy was the note of the voice in which he echoed: "Hobbyhorse—?"

"Don't you remember?" It was Mrs. Durant who prompted him. "Our old joke? The wonderful black-and-white hobby-horse that Miss Lucilla Selwick said she saw you driving home with when you first arrived here? It had a real mane." Her colour rose a little as she spoke.

There was a moment's pause, while Cranch's brow remained puzzled; then a smile slowly cleared his face. "Of course!" he said. "I'd forgotten. Well, I feel now that I was young enough for toys thirty years ago; but I didn't feel so then. And we should have to apply to Miss Selwick to know what became of that hobby-horse. Meanwhile," he added, putting his hand in his pocket, "here's a small offering to supply some new ones for the fair."

The offering was not small: Cranch always gave liberally, yet always produced the impression of giving indifferently. Well, one couldn't have it both ways; some of our most gushing givers were the least lavish. The committee was delighted…

"It was queer," I said afterward to Mrs. Durant. "Why did the hobby-horse joke annoy Cranch? He used to like it."

She smiled. "He may think it's lasted long enough. Harpledon jokes do last, you know."

Yes; perhaps they did, though I had never thought of it before.

"There's one thing that puzzles me," I went on; "I never know beforehand what is going to annoy him."

She pondered. "I'll tell you, then," she said suddenly. "It has annoyed him that no one thought of asking him to give one of his water-colours to the sale."

"Didn't we?"

"No. Homer Davids was asked, and that made it… rather more marked… "

"Oh, of course! I suppose we all forgot—"

She looked away. "Well," she said, "I don't suppose he likes to be forgotten."

"You mean: to have his accomplishments forgotten?"

"Isn't that a little condescending? I should say, his gifts," she corrected a trifle sharply. Sharpness was so unusual in her that she may have seen my surprise, for she added, in her usual tone: "After all, I suppose he's our most brilliant man, isn't he?" She smiled a little, as if to take the sting from my doing so.

"Of course he is," I rejoined. "But all the more reason—how could a man of his kind resent such a trifling oversight? I'll write at once—"

"Oh, don't!" she cut me short, almost pleadingly.

Mrs. Durant's word was law: Cranch was not asked for a water-colour. Homer Davids's, I may add, sold for two thousand dollars, and paid for a heating-system for our hospital. A Boston millionaire came down on purpose to buy the picture. It was a great day for Harpledon.

Chapter 4

About a week after the fair I went one afternoon to call on Mrs. Durant, and found Cranch just leaving. His greeting, as he hurried by, was curt and almost hostile, and his handsome countenance so disturbed and pale that I hardly recognized him. I was sure there could be nothing personal in his manner; we had always been on good terms, and, next to Mrs. Durant, I suppose I was his nearest friend at Harpledon—if ever one could be said to get near Waldo Cranch! After he had passed me I stood hesitating at Mrs. Durant's open door—front doors at Harpledon were always open in those friendly days, except, by the way, Cranch's own, which the stern Catherine kept chained and bolted. Since meeting me could not have been the cause of his anger, it might have been excited by something which had passed between Mrs. Durant and himself; and if that were so, my call was probably inopportune. I decided not to go in, and was turning away when I heard hurried steps, and Mrs. Durant's voice. "Waldo!" she said.

I suppose I had always assumed that she called him so; yet the familiar appellation startled me, and made me feel more than ever in the way. None of us had ever given Cranch his Christian name.

Mrs. Durant checked her steps, perceiving that the back in the doorway was not Cranch's but mine. "Oh, do come in," she murmured, with an attempt at ease.

In the little drawing-room I turned and looked at her. She, too, was visibly disturbed; not angry, as he had been, but showing, on her white face and reddened lids, the pained reflection of his anger. Was it against her, then, that he had manifested it? Probably she guessed my thought, or felt her appearance needed to be explained, for she added quickly: "Mr. Cranch has just gone. Did he speak to you?"

"No. He seemed in a great hurry."

"Yes… I wanted to beg him to come back… to try to quiet him… "

She saw my bewilderment, and picked up a copy of an illustrated magazine which had been tossed on the sofa. "It's that—" she said.

The pages fell apart at an article entitled: "Colonial Harpledon," the greater part of which was taken up by a series of clever sketches signed by the Boston architect whom she had brought to Cranch's a few months earlier.

Of the six or seven drawings, four were devoted to the Cranch house. One represented the facade and its pillared gates, a second the garden front with the windowless side of the wing, the third a corner of the box garden surrounding the Chinese summer-house; while the fourth, a full-page drawing, was entitled: "The back of the slaves' quarters and service-court: quaint window-grouping."

On that picture the magazine had opened; it was evidently the one which had been the subject of discussion between my hostess and her visitor.

"You see… you see… " she cried.

"This picture? Well, what of it? I suppose it's the far side of the wing—the side we've never any of us seen."

"Yes; that's just it. He's horribly upset… "

"Upset about what? I heard him tell the architect he could come back some other day and see the wing… some day when the maids were not sitting in the court; wasn't that it?"

She shook her head tragically. "He didn't mean it. Couldn't you tell by the sound of his voice that he didn't?"

Her tragedy airs were beginning to irritate me. "I don't know that I pay as much attention as all that to the sound of his voice."

She coloured, and choked back her tears. "I know him so well; I'm always sorry to see him lose his self-control. And then he considers me responsible."

"You?"

"It was I who took the wretched man there. And of course it was an indiscretion to do that drawing; he was never really authorized to come back. In fact, Mr. Cranch gave orders to Catherine and all the other servants not to let him in if he did."

"Well—?"

"One of the maids seems to have disobeyed the order; Mr. Cranch imagines she was bribed. He has been staying in Boston, and this morning, on the way back, he saw this magazine at the book-stall at the station. He was so horrified that he brought it to me. He came straight from the train without going home, so he doesn't yet know how the thing happened."

"It doesn't take much to horrify him," I said, again unable to restrain a faint sneer.

"What's the harm in the man's having made that sketch?"

"Harm?" She looked surprised at my lack of insight. "No actual harm, I suppose; but it was very impertinent; and Mr. Cranch resents such liberties intensely. He's so punctilious."

"Well, we Americans are not punctilious, and being one himself, he ought to know it by this time."

She pondered again. "It's his Spanish blood, I suppose… he's frightfully proud." As if this were a misfortune, she added: "I'm very sorry for him."

"So am I, if such trifles upset him."

Her brows lightened. "Ah, that's what I tell him—such things are trifles, aren't they? As I said just now: 'Your life's been too fortunate, too prosperous. That's why you're so easily put out.'"

"And what did he answer?"

"Oh, it only made him angrier. He said: 'I never expected that from you'—that was when he rushed out of the house." Her tears flowed over, and seeing her so genuinely perturbed I restrained my impatience, and took leave after a few words of sympathy.

Never had Harpledon seemed to me more like a tea-cup than with that silly tempest convulsing it. That there should be grownup men who could lose their self-command over such rubbish, and women to tremble and weep with them! For a moment I felt the instinctive irritation of normal man at such foolishness; yet before I reached my own door I was as mysteriously perturbed as Mrs. Durant.

The truth was, I had never thought of Cranch as likely to lose his balance over trifles. He had never struck me as unmanly; his quiet manner, his even temper, showed a sound sense of the relative importance of things. How then could so petty an annoyance have thrown him into such disorder?

I stopped short on my threshold, remembering his face as he brushed past me. "Something is wrong; really wrong," I thought. But what? Could it be jealousy of Mrs. Durant and the Boston architect? The idea would not bear a moment's consideration, for I remembered her face too.

"Oh, well, if it's his silly punctilio," I grumbled, trying to reassure myself, and remaining, after all, as much perplexed as before.

All the next day it poured, and I sat at home among my books. It must have been after ten in the evening when I was startled by a ring. The maids had gone to bed, and I went to the door, and opened it to Mrs. Durant. Surprised at the lateness of her visit, I drew her in out of the storm. She had flung a cloak over her light dress, and the lace scarf on her head dripped with rain. Our houses were only a few hundred yards apart, and she had brought no umbrella, nor even exchanged her evening slippers for heavier shoes.

I took her wet cloak and scarf and led her into the library. She stood trembling and staring at me, her face like a marble mask in which the lips were too rigid for speech; then she laid a sheet of note-paper on the table between us. On it was written, in Waldo Cranch's beautiful hand: "My dear friend, I am going away on a journey. You will hear from me," with his initials beneath. Nothing more. The letter bore no date.

I looked at her, waiting for an explanation. None came. The first word she said was: "Will you come with me—now, at once?"

"Come with you—where?"

"To his house—before he leaves. I've only just got the letter, and I daren't go alone… "

"Go to Cranch's house? But I… at this hour… What is it you are afraid of?" I broke out, suddenly looking into her eyes.

She gave me back my look, and her rigid face melted. "I don't know—any more than you do—That's why I'm afraid."

"But I know nothing. What on earth has happened since I saw you yesterday?"

"Nothing till I got this letter."

"You haven't seen him?"

"Not since you saw him leave my house yesterday."

"Or had any message—any news of him?"

"Absolutely nothing. I've just sat and remembered his face."

My perplexity grew. "But surely you can't imagine… If you're as frightened as that you must have some other reason for it," I insisted.

She shook her head wearily. "It's the having none that frightens me. Oh, do come!"

"You think his leaving in this way means that he's in some kind of trouble?"

"In dreadful trouble."

"And you don't know why?"

"No more than you do!" she repeated.

I pondered, trying to avoid her entreating eyes. "But at this hour—come, do consider! I don't know Cranch so awfully well. How will he take it? You say he made a scene yesterday about that silly business of the architect's going to his house without leave… "

"That's just it. I feel as if his going away might be connected with that."

"But then he's mad!" I exclaimed. "No; not mad. Only—desperate."

I stood irresolute. It was evident that I had to do with a woman whose nerves were in fiddle-strings. What had reduced them to that state I could not conjecture, unless, indeed, she were keeping back the vital part of her confession. But that, queerly enough, was not what I suspected. For some reason I felt her to be as much in the dark over the whole business as I was; and that added to the strangeness of my dilemma.

"Do you know in the least what you're going for?" I asked at length.

"No, no, no—but come!"

"If he's there, he'll kick us out, most likely; kick me out, at any rate."

She did not answer; I saw that in her anguish she was past speaking. "Wait till I get my coat," I said.

She took my arm, and side by side we hurried in the rain through the shuttered village. As we passed the Selwick house I saw a light burning in old Miss Selwick's bedroom window. It was on the tip of my tongue to say: "Hadn't we better stop and ask Aunt Lucilla what's wrong? She knows more about Cranch than any of us!"

Then I remembered Cranch's expression the last time Aunt Lucilla's legend of the hobby-horse had been mentioned before him—the day we were planning the jumble sale—and a sudden shiver checked my pleasantry. "He looked then as he did when he passed me in the doorway yesterday," I thought; and I had a vision of my ancient relative, sitting there propped up in her bed and looking quietly into the unknown while all the village slept. Was she aware, I wondered, that we were passing under her window at that moment, and did she know what would await us when we reached our destination?

Chapter 5

Mrs. Durant, in her thin slippers, splashed on beside me through the mud.

"Oh," she exclaimed, stopping short with a gasp, "look at the lights!"

We had crossed the green, and were groping our way under the dense elm-shadows, and there before us stood the Cranch house, all its windows illuminated. It was the only house in the village except Miss Selwick's that was not darkened and shuttered.

"Well, he can't be gone; he's giving a party, you see," I said derisively.

My companion made no answer. She only pulled me forward, and yielding once more I pushed open the tall entrance gates. In the brick path I paused. "Do you still want to go in?" I asked.

"More than ever!" She kept her tight clutch on my arm, and I walked up the path at her side and rang the bell.

The sound went on jangling for a long time through the stillness; but no one came to the door. At length Mrs. Durant laid an impatient hand on the door-panel. "But it's open!" she exclaimed.

It was probably the first time since Waldo Cranch had come back to live in the house that unbidden visitors had been free to enter it. We looked at each other in surprise and I followed Mrs. Durant into the lamplit hall. It was empty.

With a common accord we stood for a moment listening; but not a sound came to us, though the doors of library and drawing-room stood open, and there were lighted lamps in both rooms.

"It's queer," I said, "all these lights, and no one about."

My companion had walked impulsively into the drawing-room and stood looking about at its familiar furniture. From the panelled wall, distorted by the wavering lamp-light, the old Spanish ancestress glared down duskily at us out of the shadows. Mrs. Durant had stopped short—a sound of voices, agitated, discordant, a strange man's voice among them, came to us from across the hall. Silently we retraced our steps, opened the dining-room door, and went in. But here also we found emptiness; the talking came from beyond, came, as we now perceived, from the wing which none of us had ever entered. Again we hesitated and looked at each other. Then "Come!" said Mrs. Durant in a resolute tone; and again I followed her.

She led the way into a large pantry, airy, orderly, well-stocked with china and glass. That too was empty; and two doors opened from it. Mrs. Durant passed through the one on the right, and we found ourselves, not, as I had expected, in the kitchen, but in a kind of vague unfurnished anteroom. The quarrelling voices had meanwhile died out; we seemed once more to have the mysterious place to ourselves. Suddenly, beyond another closed door, we heard a shrill crowing laugh. Mrs. Durant dashed at this last door and it let us into a large high-studded room. We paused and looked about us. Evidently we were in what Cranch had always described as the lumber-room on the ground floor of the wing. But there was no lumber in it now. It was scrupulously neat, and fitted up like a big and rather bare nursery; and in the middle of the floor, on a square of drugget, stood a great rearing black and white animal: my Aunt Lucilla's hobby-horse…

I gasped at the sight; but in spite of its strangeness it did not detain me long, for at the farther end of the room, before a fire protected by a tall nursery fender, I had seen something stranger still. Two little boys in old-fashioned round jackets and knickerbockers knelt by the hearth, absorbed in the building of a house of blocks. Mrs. Durant saw them at the same moment. She caught my arm as if she were about to fall, and uttered a faint cry.

The sound, low as it was, produced a terrifying effect on the two children. Both of them dropped their blocks, turned around as if to dart at us, and then stopped short, holding each other by the hand, and staring and trembling as if we had been ghosts.

At the opposite end of the room, we stood staring and trembling also; for it was they who were the ghosts to our terrified eyes. It must have been Mrs. Durant who spoke first.

"Oh… the poor things… " she said in a low choking voice.

The little boys stood there, motionless and far off, among the ruins of their house of blocks. But, as my eyes grew used to the faint light—there was only one lamp in the big room—and as my shaken nerves adjusted themselves to the strangeness of the scene, I perceived the meaning of Mrs. Durant's cry.

The children before us were not children; they were two tiny withered men, with frowning foreheads under their baby curls, and heavy-shouldered middle-aged bodies. The sight was horrible, and rendered more so by the sameness of their size and by their old-fashioned childish dress. I recoiled; but Mrs. Durant had let my arm go, and was moving softly forward. Her own arms outstretched, she advanced toward the two strange beings. "You poor poor things, you," she repeated, the tears running down her face.

I thought her tender tone must have drawn the little creatures; but as she advanced they continued to stand motionless, and then suddenly—each with the same small falsetto scream—turned and dashed toward the door. As they reached it, old Catherine appeared and held out her arms to them.

"Oh, my God—how dare you, madam? My young gentlemen!" she cried.

They hid their dreadful little faces in the folds of her skirt, and kneeling down she put her arms about them and received them on her bosom. Then, slowly, she lifted up her head and looked at us.

I had always, like the rest of Harpledon, thought of Catherine as a morose old Englishwoman, civil enough in her cold way, but yet forbidding. Now it seemed to me that her worn brown face, in its harsh folds of gray hair, was the saddest I had ever looked upon.

"How could you, madam; oh, how could you? Haven't we got enough else to bear?" she asked, speaking low above the cowering heads on her breast. Her eyes were on Mrs. Durant.

The latter, white and trembling, gave back the look. "Enough else? Is there more, then?"

"There's everything—." The old servant got to her feet, keeping her two charges by the hand. She put her finger to her lips, and stooped again to the dwarfs. "Master Waldo, Master Donald, you'll come away now with your old Catherine. No one's going to harm us, my dears; you'll just go upstairs and let Janey Sampson put you to bed, for it's very late; and presently Catherine'll come up and hear your prayers like every night." She moved to the door; but one of the dwarfs hung back, his forehead puckering, his eyes still fixed on Mrs. Durant in indescribable horror.

"Good Dobbin," cried he abruptly, in a piercing pipe.

"No, dear, no; the lady won't touch good Dobbin," said Catherine. "It's the young gentlemen's great pet," she added, glancing at the Roman steed in the middle of the floor. She led the changelings away, and a moment later returned. Her face was ashen-white under its swarthiness, and she stood looking at us like a figure of doom.

"And now, perhaps," she said, "you'll be good enough to go away too."

"Go away?" Mrs. Durant, instead, came closer to her. "How can I—when I've just had this from your master?" She held out the letter she had brought to my house.

Catherine glanced coldly at the page and returned it to her.

"He says he's going on a journey. Well, he's been, madam; been and come back," she said.

"Come back? Already? He's in the house, then? Oh, do let me—" Mrs. Durant dropped back before the old woman's frozen gaze.

"He's lying overhead, dead on his bed, madam—just as they carried him up from the beach. Do you suppose, else, you'd have ever got in here and seen the young gentlemen? He rushed out and died sooner than have them seen, the poor lambs; him that was their father, madam. And here you and this gentleman come thrusting yourselves in… "

I thought Mrs. Durant would reel under the shock; but she stood quiet, very quiet—it was almost as if the blow had mysteriously strengthened her.

"He's dead? He's killed himself?" She looked slowly about the trivial tragic room. "Oh, now I understand," she said.

Old Catherine faced her with grim lips. "It's a pity you didn't understand sooner, then; you and the others, whoever they was, forever poking and prying; till at last that miserable girl brought in the police on us—"

"The police?"

"They was here, madam, in this house, not an hour ago, frightening my young gentlemen out of their senses. When word came that my master had been found on the beach they went down there to bring him back. Now they've gone to Hingham to report his death to the coroner. But there's one of them in the kitchen, mounting guard. Over what, I wonder? As if my young gentlemen could run away! Where in God's pity would they go? Wherever it is, I'll go with them; I'll never leave them… And here we were at peace for thirty years, till you brought that man to draw the pictures of the house… "

For the first time Mrs. Durant's strength seemed to fail her; her body drooped, and she leaned her weight against the door. She and the housekeeper stood confronted, two stricken old women staring at each other; then Mrs. Durant's agony broke from her. "Don't say I did it—don't say that!"

But the other was relentless. As she faced us, her arms outstretched, she seemed still to be defending her two charges. "What else would you have me say, madam? You brought that man here, didn't you? And he was determined to see the other side of the wing, and my poor master was determined he shouldn't." She turned to me for the first time. "It was plain enough to you, sir, wasn't it? To me it was, just coming and going with the tea-things. And the minute your backs was turned, Mr. Cranch rang, and gave me the order: 'That man's never to set foot here again, you understand.' And I went out and told the other three; the cook, and Janey, and Hannah Oast, the parlour-maid. I was as sure of the cook and Janey as I was of myself; but Hannah was new, she hadn't been with us not above a year, and though I knew all about her, and had made sure before she came that she was a decent close-mouthed girl, and one that would respect our… our misfortune… yet I couldn't feel as safe about her as the others, and of her temper I wasn't sure from the first. I told Mr. Cranch so, often enough; I said: 'Remember, now, sir, not to put her pride up, won't you?' For she was jealous, and angry, I think, at never being allowed to see the young gentlemen, yet knowing they were there, as she had to know. But their father would never have any but me and Janey Sampson about them.

"Well—and then, in he came yesterday with those accursed pictures. And however had the man got in? And where was Hannah? And it must have been her doing… and swearing and cursing at her… and me crying to him and saying: 'For God's sake, sir, let be, let be… don't stir the matter up… just let me talk to her… And I went in to my little boys, to see about their supper; and before I was back, I heard a trunk bumping down the stairs, and the gardener's lad outside with a wheel-barrow, and Hannah Oast walking away out of the gate like a ramrod. 'Oh, sir, what have you done? Let me go after her!' I begged and besought him; but my master, very pale, but as calm as possible, held me back by the arm, and said: 'Don't you worry, Catherine. It passed off very quietly. We'll have no trouble from her.' 'No trouble, sir, from Hannah Oast? Oh, for pity's sake, call her back and let me smooth it over, sir!' But the girl was gone, and he wouldn't leave go of my arm nor yet listen to me, but stood there like a marble stone and saw her drive away, and wouldn't stop her. 'I'd die first, Catherine,' he said, his kind face all changed to me, and looking like that old Spanish she-devil on the parlour wall, that brought the curse on us… And this morning the police came. The gardener got wind of it, and let us know they was on the way; and my master sat and wrote a long time in his room, and then walked out, looking very quiet, and saying to me he was going to the post office, and would be back before they got here. And the next we knew of him was when they carried him up to his bed just now… And perhaps we'd best give thanks that he's at rest in it. But, oh, my young gentlemen… my young gentlemen!"

Chapter 6

I never saw the "young gentlemen" again. I suppose most men are cowards about calamities of that sort, the irremediable kind that have to be faced anew every morning. It takes a woman to shoulder such a lasting tragedy, and hug it to her… as I had seen Catherine doing; as I saw Mrs. Durant yearning to do…

It was about that very matter that I interviewed the old housekeeper the day after the funeral. Among the papers which the police found on poor Cranch's desk was a letter addressed to me. Like his message to Mrs. Durant it was of the briefest. "I have appointed no one to care for my sons; I expected to outlive them. Their mother would have wished Catherine to stay with them. Will you try to settle all this mercifully? There is plenty of money, but my brain won't work. Good-bye."

It was a matter, first of all, for the law; but before we entered on that phase I wanted to have a talk with old Catherine. She came to me, very decent in her new black; I hadn't the heart to go to that dreadful house again, and I think perhaps it was easier for her to speak out under another roof. At any rate, I soon saw that, after all the years of silence, speech was a relief; as it might have been to him too, poor fellow, if only he had dared! But he couldn't; there was that pride of his, his "Spanish pride" as she called it.

"Not but what he would have hated me to say so, sir; for the Spanish blood in him, and all that went with it, was what he most abominated… But there it was, closer to him than his marrow… Oh, what that old woman done to us! He told me why, once, long ago—it was about the time when he began to understand that our little boys were never going to grow up like other young gentlemen. 'It's her doing, the devil,' he said to me; and then he told me how she'd been a great Spanish heiress, a rich merchant's daughter, and had been promised, in that foreign way they have, to a young nobleman who'd never set eyes on her; and when the bridegroom came to the city where she lived, and saw her sitting in her father's box across the theatre, he turned about and mounted his horse and rode off the same night; and never a word came from him—the shame of it! It nigh killed her, I believe, and she swore then and there she'd marry a foreigner and leave Spain; and that was how she took up with young Mr. Cranch that was in her father's bank; and the old gentleman put a big sum into the Cranch shipping business, and packed off the young couple to Harpledon… But the poor misbuilt thing, it seems, couldn't ever rightly get over the hurt to her pride, nor get used to the cold climate, and the snow and the strange faces; she would go about pining for the orange-flowers and the sunshine; and though she brought her husband a son, I do believe she hated him, and was glad to die and get out of Harpledon… That was my Mr. Cranch's story…

"Well, sir, he despised his great-grandfather more than he hated the Spanish woman. 'Marry that twisted stick for her money, and put her poisoned blood in us I' He used to put it that way, sir, in his bad moments. And when he was twenty-one, and travelling abroad, he met the young English lady I was maid to, the loveliest soundest young creature you ever set eyes on. They loved and married, and the next year—oh, the pity—the next year she brought him our young gentlemen… twins, they were… When she died, a few weeks after, he was desperate… more desperate than I've ever seen him till the other day. But as the years passed, and he began to understand about our little boys—well, then he was thankful she was gone. And that thankfulness was the bitterest part of his grief.

"It was when they was about nine or ten that he first saw it; though I'd been certain long before that. We were living in Italy then. And one day—oh, what a day, sir!—he got a letter, Mr. Cranch did, from a circus-man who'd heard somehow of our poor little children… Oh, sir!… Then it was that he decided to leave Europe, and come back to Harpledon to live. It was a lonely lost place at that time; and there was all the big wing for our little gentlemen. We were happy in the old house, in our way; but it was a solitary life for so young a man as Mr. Cranch was then, and when the summer folk began to settle here I was glad of it, and I said to him: 'You go out, sir, now, and make friends, and invite your friends here. I'll see to it that our secret is kept.' And so I did, sir, so I did… and he always trusted me. He needed life and company himself; but he would never separate himself from the little boys. He was so proud—and yet so soft-hearted! And where could he have put the little things? They never grew past their toys—there's the worst of it. Heaps and heaps of them he brought home to them, year after year. Pets he tried too… but animals were afraid of them—just as I expect you were, sir, when you saw them," she added suddenly, "but with no reason; there were never gentler beings. Little Waldo especially—it's as if they were trying to make up for being a burden… Oh, for pity's sake, let them stay on in their father's house, and me with them, won't you, sir?"

As she wished it, so it was. The legal side of the matter did not take long to settle, for the Cranches were almost extinct; there were only some distant cousins, long since gone from Harpledon. Old Catherine was suffered to remain on with her charges in the Cranch house, and one of the guardians appointed by the courts was Mrs. Durant.

Would you have believed it? She wanted it—the horror, the responsibility and all. After that she lived all the year round at Harpledon; I believe she saw Cranch's sons every day. I never went back there; but she used sometimes to come up and see me in Boston. The first time she appeared—it must have been about a year after the events I have related—I scarcely knew her when she walked into my library. She was an old bent woman; her white hair now seemed an attribute of age, not a form of coquetry. After that, each time I saw her she seemed older and more bowed. But she told me once she was not unhappy—"not as unhappy as I used to be," she added, qualifying the phrase.

On the same occasion—it was only a few months ago—she also told me that one of the twins was ill. She did not think he would last long, she said; and old Catherine did not think so either. "It's little Waldo; he was the one who felt his father's death the most; the dark one; I really think he understands. And when he goes, Donald won't last long either." Her eyes filled with tears. "Presently I shall be alone again," she added.

I asked her then how old they were; and she thought for a moment, murmuring the years over slowly under her breath. "Only forty-one," she said at length—as if she had said "Only four."

Women are strange. I am their other guardian; and I have never yet had the courage to go down to Harpledon and see them.

Part 3

Bewitched

Chapter 1

The snow was still falling thickly when Orrin Bosworth, who farmed the land south of Lone-top, drove up in his cutter to Saul Rutledge's gate. He was surprised to see two other cutters ahead of him. From them descended two muffled figures. Bosworth, with increasing surprise, recognized Deacon Hibben, from North Ashmore, and Sylvester Brand, the widower, from the old Bearcliff farm on the way to Lonetop.

It was not often that anybody in Hemlock County entered Saul Rutledge's gate; least of all in the dead of winter, and summoned (as Bosworth, at any rate, had been) by Mrs. Rutledge, who passed, even in that unsocial region, for a woman of cold manners and solitary character. The situation was enough to excite the curiosity of a less imaginative man than Orrin Bosworth.

As he drove in between the broken-down white gate-posts topped by fluted urns the two men ahead of him were leading their horses to the adjoining shed. Bosworth followed, and hitched his horse to a post. Then the three tossed off the snow from their shoulders, clapped their numb hands together, and greeted each other.

"Hallo, Deacon."

"Well, well, Orrin—." They shook hands.

"'Day, Bosworth," said Sylvester Brand, with a brief nod. He seldom put any cordiality into his manner, and on this occasion he was still busy about his horse's bridle and blanket.

Orrin Bosworth, the youngest and most communicative of the three, turned back to Deacon Hibben, whose long face, queerly blotched and mouldy-looking, with blinking peering eyes, was yet less forbidding than Brand's heavily-hewn countenance.

"Queer, our all meeting here this way. Mrs. Rutledge sent me a message to come," Bosworth volunteered.

The Deacon nodded. "I got a word from her too—Andy Pond come with it yesterday noon. I hope there's no trouble here—"

He glanced through the thickening fall of snow at the desolate front of the Rutledge house, the more melancholy in its present neglected state because, like the gate-posts, it kept traces of former elegance. Bosworth had often wondered how such a house had come to be built in that lonely stretch between North Ashmore and Cold Corners. People said there had once been other houses like it, forming a little township called Ashmore, a sort of mountain colony created by the caprice of an English Royalist officer, one Colonel Ashmore, who had been murdered by the Indians, with all his family, long before the Revolution. This tale was confirmed by the fact that the ruined cellars of several smaller houses were still to be discovered under the wild growth of the adjoining slopes, and that the Communion plate of the moribund Episcopal church of Cold Corners was engraved with the name of Colonel Ashmore, who had given it to the church of Ashmore in the year 1723. Of the church itself no traces remained. Doubtless it had been a modest wooden edifice, built on piles, and the conflagration which had burnt the other houses to the ground's edge had reduced it utterly to ashes. The whole place, even in summer, wore a mournful solitary air, and people wondered why Saul Rutledge's father had gone there to settle.

"I never knew a place," Deacon Hibben said, "as seemed as far away from humanity. And yet it ain't so in miles."

"Miles ain't the only distance," Orrin Bosworth answered; and the two men, followed by Sylvester Brand, walked across the drive to the front door. People in Hemlock County did not usually come and go by their front doors, but all three men seemed to feel that, on an occasion which appeared to be so exceptional, the usual and more familiar approach by the kitchen would not be suitable.

They had judged rightly; the Deacon had hardly lifted the knocker when the door opened and Mrs. Rutledge stood before them.

"Walk right in," she said in her usual dead-level tone; and Bosworth, as he followed the others, thought to himself; "Whatever's happened, she's not going to let it show in her face."

It was doubtful, indeed, if anything unwonted could be made to show in Prudence Rutledge's face, so limited was its scope, so fixed were its features. She was dressed for the occasion in a black calico with white spots, a collar of crochet-lace fastened by a gold brooch, and a gray woollen shawl crossed under her arms and tied at the back. In her small narrow head the only marked prominence was that of the brow projecting roundly over pale spectacled eyes. Her dark hair, parted above this prominence, passed tight and fiat over the tips of her ears into a small braided coil at the nape; and her contracted head looked still narrower from being perched on a long hollow neck with cord-like throat-muscles. Her eyes were of a pale cold gray, her complexion was an even white. Her age might have been anywhere from thirty-five to sixty.

The room into which she led the three men had probably been the dining-room of the Ashmore house. It was now used as a front parlour, and a black stove planted on a sheet of zinc stuck out from the delicately fluted panels of an old wooden mantel. A newly-lit fire smouldered reluctantly, and the room was at once close and bitterly cold.

"Andy Pond," Mrs. Rutledge cried to some one at the back of the house, "step out and call Mr. Rutledge. You'll likely find him in the wood-shed, or round the barn somewheres." She rejoined her visitors. "Please suit yourselves to seats," she said.

The three men, with an increasing air of constraint, took the chairs she pointed out, and Mrs. Rutledge sat stiffly down upon a fourth, behind a rickety bead-work table. She glanced from one to the other of her visitors.

"I presume you folks are wondering what it is I asked you to come here for," she said in her dead-level voice. Orrin Bosworth and Deacon Hibben murmured an assent; Sylvester Brand sat silent, his eyes, under their great thicket of eyebrows, fixed on the huge boot-tip swinging before him.

"Well, I allow you didn't expect it was for a party," continued Mrs. Rutledge.

No one ventured to respond to this chill pleasantry, and she continued: "We're in trouble here, and that's the fact. And we need advice—Mr. Rutledge and myself do." She cleared her throat, and added in a lower tone, her pitilessly clear eyes looking straight before her: "There's a spell been cast over Mr. Rutledge."

The Deacon looked up sharply, an incredulous smile pinching his thin lips. "A spell?"

"That's what I said: he's bewitched."

Again the three visitors were silent; then Bosworth, more at ease or less tongue-tied than the others, asked with an attempt at humour: "Do you use the word in the strict Scripture sense, Mrs. Rutledge?"

She glanced at him before replying: "That's how he uses it."

The Deacon coughed and cleared his long rattling throat. "Do you care to give us more particulars before your husband joins us?"

Mrs. Rutledge looked down at her clasped hands, as if considering the question. Bosworth noticed that the inner fold of her lids was of the same uniform white as the rest of her skin, so that when she dropped them her rather prominent eyes looked like the sightless orbs of a marble statue. The impression was unpleasing, and he glanced away at the text over the mantelpiece, which read:

The Soul That Sinneth It Shall Die.

"No," she said at length, "I'll wait."

At this moment Sylvester Brand suddenly stood up and pushed back his chair. "I don't know," he said, in his rough bass voice, "as I've got any particular lights on Bible mysteries; and this happens to be the day I was to go down to Starkfield to close a deal with a man."

Mrs. Rutledge lifted one of her long thin hands. Withered and wrinkled by hard work and cold, it was nevertheless of the same leaden white as her face. "You won't be kept long," she said. "Won't you be seated?"

Farmer Brand stood irresolute, his purplish underlip twitching. "The Deacon here—such things is more in his line… "

"I want you should stay," said Mrs. Rutledge quietly; and Brand sat down again.

A silence fell, during which the four persons present seemed all to be listening for the sound of a step; but none was heard, and after a minute or two Mrs. Rutledge began to speak again.

"It's down by that old shack on Lamer's pond; that's where they meet," she said suddenly.

Bosworth, whose eyes were on Sylvester Brand's face, fancied he saw a sort of inner flush darken the farmer's heavy leathern skin. Deacon Hibben leaned forward, a glitter of curiosity in his eyes.

"They—who, Mrs. Rutledge?"

"My husband, Saul Rutledge… and her… "

Sylvester Brand again stirred in his seat. "Who do you mean by her?" he asked abruptly, as if roused out of some far-off musing.

Mrs. Rutledge's body did not move; she simply revolved her head on her long neck and looked at him.

"Your daughter, Sylvester Brand."

The man staggered to his feet with an explosion of inarticulate sounds. "My—my daughter? What the hell are you talking about? My daughter? It's a damned lie… it's… it's… "

"Your daughter Ora, Mr. Brand," said Mrs. Rutledge slowly.

Bosworth felt an icy chill down his spine. Instinctively he turned his eyes away from Brand, and, they rested on the mildewed countenance of Deacon Hibben. Between the blotches it had become as white as Mrs. Rutledge's, and the Deacon's eyes burned in the whiteness like live embers among ashes.

Brand gave a laugh: the rusty creaking laugh of one whose springs of mirth are never moved by gaiety. "My daughter Ora?" he repeated.

"Yes."

"My dead daughter?"

"That's what he says."

"Your husband?"

"That's what Mr. Rutledge says."

Orrin Bosworth listened with a sense of suffocation; he felt as if he were wrestling with long-armed horrors in a dream. He could no longer resist letting his eyes return to Sylvester Brand's face. To his surprise it had resumed a natural imperturbable expression. Brand rose to his feet. "Is that all?" he queried contemptuously.

"All? Ain't it enough? How long is it since you folks seen Saul Rutledge, any of you?" Mrs. Rutledge flew out at them.

Bosworth, it appeared, had not seen him for nearly a year; the Deacon had only run across him once, for a minute, at the North Ashmore post office, the previous autumn, and acknowledged that he wasn't looking any too good then. Brand said nothing, but stood irresolute.

"Well, if you wait a minute you'll see with your own eyes; and he'll tell you with his own words. That's what I've got you here for—to see for yourselves what's come over him. Then you'll talk different," she added, twisting her head abruptly toward Sylvester Brand.

The Deacon raised a lean hand of interrogation.

"Does your husband know we've been sent for on this business, Mrs. Rutledge?" Mrs. Rutledge signed assent.

"It was with his consent, then—?"

She looked coldly at her questioner. "I guess it had to be," she said. Again Bosworth felt the chill down his spine. He tried to dissipate the sensation by speaking with an affectation of energy.

"Can you tell us, Mrs. Rutledge, how this trouble you speak of shows itself… what makes you think… ?"

She looked at him for a moment; then she leaned forward across the rickety bead-work table. A thin smile of disdain narrowed her colourless lips. "I don't think—I know."

"Well—but how?"

She leaned closer, both elbows on the table, her voice dropping. "I seen 'em."

In the ashen light from the veiling of snow beyond the windows the Deacon's little screwed-up eyes seemed to give out red sparks. "Him and the dead?"

"Him and the dead."

"Saul Rutledge and—and Ora Brand?"

"That's so."

Sylvester Brand's chair fell backward with a crash. He was on his feet again, crimson and cursing. "It's a God-damned fiend-begotten lie… "

"Friend Brand… friend Brand… " the Deacon protested.

"Here, let me get out of this. I want to see Saul Rutledge himself, and tell him—"

"Well, here he is," said Mrs. Rutledge.

The outer door had opened; they heard the familiar stamping and shaking of a man who rids his garments of their last snowflakes before penetrating to the sacred precincts of the best parlour. Then Saul Rutledge entered.

Chapter 2

As he came in he faced the light from the north window, and Bosworth's first thought was that he looked like a drowned man fished out from under the ice—"self-drowned," he added. But the snow-light plays cruel tricks with a man's colour, and even with the shape of his features; it must have been partly that, Bosworth reflected, which transformed Saul Rutledge from the straight muscular fellow he had been a year before into the haggard wretch now before them.

The Deacon sought for a word to ease the horror. "Well, now, Saul—you look's if you'd ought to set right up to the stove. Had a touch of ague, maybe?"

The feeble attempt was unavailing. Rutledge neither moved nor answered. He stood among them silent, incommunicable, like one risen from the dead.

Brand grasped him roughly by the shoulder. "See here, Saul Rutledge, what's this dirty lie your wife tells us you've been putting about?"

Still Rutledge did not move. "It's no lie," he said.

Brand's hand dropped from his shoulder. In spite of the man's rough bullying power he seemed to be undefinably awed by Rut-ledge's look and tone.

"No lie? You've gone plumb crazy, then, have you?"

Mrs. Rutledge spoke. "My husband's not lying, nor he ain't gone crazy. Don't I tell you I seen 'em?"

Brand laughed again. "Him and the dead?"

"Yes."

"Down by the Lamer pond, you say?"

"Yes."

"And when was that, if I might ask?"

"Day before yesterday."

A silence fell on the strangely assembled group. The Deacon at length broke it to say to Mr. Brand: "Brand, in my opinion we've got to see this thing through."

Brand stood for a moment in speechless contemplation: there was something animal and primitive about him, Bosworth thought, as he hung thus, lowering and dumb, a little foam beading the corners of that heavy purplish underlip. He let himself slowly down into his chair. "I'll see it through."

The two other men and Mrs. Rutledge had remained seated. Saul Rutledge stood before them, like a prisoner at the bar, or rather like a sick man before the physicians who were to heal him. As Bosworth scrutinized that hollow face, so wan under the dark sunburn, so sucked inward and consumed by some hidden fever, there stole over the sound healthy man the thought that perhaps, after all, husband and wife spoke the truth, and that they were all at that moment really standing on the edge of some forbidden mystery. Things that the rational mind would reject without a thought seemed no longer so easy to dispose of as one looked at the actual Saul Rutledge and remembered the man he had been a year before. Yes; as the Deacon said, they would have to see it through…

"Sit down then, Saul; draw up to us, won't you?" the Deacon suggested, trying again for a natural tone.

Mrs. Rutledge pushed a chair forward, and her husband sat down on it. He stretched out his arms and grasped his knees in his brown bony fingers; in that attitude he remained, turning neither his head nor his eyes.

"Well, Saul," the Deacon continued, "your wife says you thought mebbe we could do something to help you through this trouble, whatever it is."

Rutledge's gray eyes widened a little. "No; I didn't think that. It was her idea to try what could be done."