Classic English Mystery and Detective Stories Page 22
Such was Stanton's situation. He was enfeebled now, and the power of the enemy seemed without a possibility of opposition from either his intellectual or corporeal powers.
. . . . .
Of all their horrible dialogue, only these words were legible in the manuscript, "You know me now."—"I always knew you."—"That is false; you imagined you did, and that has been the cause of all the wild . of the . . . . . . of your finally being lodged in this mansion of misery, where only I would seek, where only I can succor you."—"You, demon!"— "Demon!—Harsh words!—Was it a demon or a human being placed you here?—Listen to me, Stanton; nay, wrap not yourself in that miserable blanket,—that cannot shut out my words. Believe me, were you folded in thunder clouds, you must hear ME! Stanton, think of your misery. These bare walls—what do they present to the intellect or to the senses?—Whitewash, diversified with the scrawls of charcoal or red chalk, that your happy predecessors have left for you to trace over. You have a taste for drawing—I trust it will improve. And here's a grating, through which the sun squints on you like a stepdame, and the breeze blows, as if it meant to tantalize you with a sigh from that sweet mouth, whose kiss you must never enjoy. And where's your library,—intellectual man,—traveled man?" he repeated in a tone of bitter derision; "where be your companions, your peaked men of countries, as your favorite Shakespeare has it? You must be content with the spider and the rat, to crawl and scratch round your flock bed! I have known prisoners in the Bastille to feed them for companions,—why don't you begin your task? I have known a spider to descend at the tap of a finger, and a rat to come forth when the daily meal was brought, to share it with his fellow prisoner!—How delightful to have vermin for your guests! Aye, and when the feast fails them, they make a meal of their entertainer!—You shudder.—Are you, then, the first prisoner who has been devoured alive by the vermin that infested his cell?—Delightful banquet, not 'where you eat, but where you are eaten'! Your guests, however, will give you one token of repentance while they feed; there will be gnashing of teeth, and you shall hear it, and feel it too perchance!—And then for meals—Oh you are daintily off!—The soup that the cat has lapped; and (as her progeny has probably contributed to the hell broth) why not? Then your hours of solitude, deliciously diversified by the yell of famine, the howl of madness, the crash of whips, and the broken-hearted sob of those who, like you, are supposed, or DRIVEN mad by the crimes of others!—Stanton, do you imagine your reason can possibly hold out amid such scenes?— Supposing your reason was unimpaired, your health not destroyed,— suppose all this, which is, after all, more than fair supposition can grant, guess the effect of the continuance of these scenes on your senses alone. A time will come, and soon, when, from mere habit, you will echo the scream of every delirious wretch that harbors near you; then you will pause, clasp your hands on your throbbing head, and listen with horrible anxiety whether the scream proceeded from YOU or THEM. The time will come, when, from the want of occupation, the listless and horrible vacancy of your hours, you will feel as anxious to hear those shrieks, as you were at first terrified to hear them,—when you will watch for the ravings of your next neighbor, as you would for a scene on the stage. All humanity will be extinguished in you. The ravings of these wretches will become at once your sport and your torture. You will watch for the sounds, to mock them with the grimaces and bellowings of a fiend. The mind has a power of accommodating itself to its situation, that you will experience in its most frightful and deplorable efficacy. Then comes the dreadful doubt of one's own sanity, the terrible announcer that THAT doubt will soon become fear, and THAT fear certainty. Perhaps (still more dreadful) the FEAR will at last become a HOPE,—shut out from society, watched by a brutal keeper, writhing with all the impotent agony of an incarcerated mind, without communication and without sympathy, unable to exchange ideas but with those whose ideas are only the hideous specters of departed intellect, or even to hear the welcome sound of the human voice, except to mistake it for the howl of a fiend, and stop the ear desecrated by its intrusion,— then at last your fear will become a more fearful hope; you will wish to become one of them, to escape the agony of consciousness. As those who have long leaned over a precipice, have at last felt a desire to plunge below, to relieve the intolerable temptation of their giddiness,[4] you will hear them laugh amid their wildest paroxysms; you will say, 'Doubtless those wretches have some consolation, but I have none; my sanity is my greatest curse in this abode of horrors. They greedily devour their miserable meals, while I loathe mine. They sleep sometimes soundly, while my sleep is—worse than their waking. They are revived every morning by some delicious illusion of cunning madness, soothing them with the hope of escaping, baffling or tormenting their keeper; my sanity precludes all such hope. I KNOW I NEVER CAN ESCAPE, and the preservation of my faculties is only an aggravation of my sufferings. I have all their miseries,—I have none of their consolations. They laugh,—I hear them; would I could laugh like them.' You will try, and the very effort will be an invocation to the demon of insanity to come and take full possession of you from that moment forever."
(There were other details, both of the menaces and temptations employed by Melmoth, which are too horrible for insertion. One of them may serve for an instance.)
"You think that the intellectual power is something distinct from the vitality of the soul, or, in other words, that if even your reason should be destroyed (which it nearly is), your soul might yet enjoy beatitude in the full exercise of its enlarged and exalted faculties, and all the clouds which obscured them be dispelled by the Sun of Righteousness, in whose beams you hope to bask forever and ever. Now, without going into any metaphysical subtleties about the distinction between mind and soul, experience must teach you, that there can be no crime into which madmen would not, and do not, precipitate themselves; mischief is their occupation, malice their habit, murder their sport, and blasphemy their delight. Whether a soul in this state can be in a hopeful one, it is for you to judge; but it seems to me, that with the loss of reason (and reason cannot long be retained in this place) you lose also the hope of immortality.—Listen," said the tempter, pausing, "listen to the wretch who is raving near you, and whose blasphemies might make a demon start.—He was once an eminent puritanical preacher. Half the day he imagines himself in a pulpit, denouncing damnation against Papists, Arminians, and even Sublapsarians (he being a Supra-lapsarian himself). He foams, he writhes, he gnashes his teeth; you would imagine him in the hell he was painting, and that the fire and brimstone he is so lavish of were actually exhaling from his jaws. At night his creed retaliates on him; he believes himself one of the reprobates he has been all day denouncing, and curses God for the very decree he has all day been glorifying Him for.
"He, whom he has for twelve hours been vociferating 'is the loveliest among ten thousand,' becomes the object of demoniac hostility and execration. He grapples with the iron posts of his bed, and says he is rooting out the cross from the very foundations of Calvary; and it is remarkable, that in proportion as his morning exercises are intense, vivid, and eloquent, his nightly blasphemies are outrageous and horrible.—Hark! Now he believes himself a demon; listen to his diabolical eloquence of horror!"
Stanton listened, and shuddered . .
. . . . .
"Escape—escape for your life," cried the tempter; "break forth into life, liberty, and sanity. Your social happiness, your intellectual powers, your immortal interests, perhaps, depend on the choice of this moment.—There is the door, and the key is in my hand.—Choose—choose!"—"And how comes the key in your hand? and what is the condition of my liberation?" said Stanton.
. . . . .
The explanation occupied several pages, which, to the torture of young Melmoth, were wholly illegible. It seemed, however, to have been rejected by Stanton with the utmost rage and horror, for Melmoth at last made out,—"Begone, monster, demon!—begone to your native place. Even this mansion of horror trembles to contain you; its walls sweat, and its floo
rs quiver, while you tread them."
. . . . .
The conclusion of this extraordinary manuscript was in such a state, that, in fifteen moldy and crumbling pages, Melmoth could hardly make out that number of lines. No antiquarian, unfolding with trembling hand the calcined leaves of an Herculaneum manuscript, and hoping to discover some lost lines of the Aeneis in Virgil's own autograph, or at least some unutterable abomination of Petronius or Martial, happily elucidatory of the mysteries of the Spintriae, or the orgies of the Phallic worshipers, ever pored with more luckless diligence, or shook a head of more hopeless despondency over his task. He could but just make out what tended rather to excite than assuage that feverish thirst of curiosity which was consuming his inmost soul. The manuscript told no more of Melmoth, but mentioned that Stanton was finally liberated from his confinement,—that his pursuit of Melmoth was incessant and indefatigable,—that he himself allowed it to be a species of insanity,—that while he acknowledged it to be the master passion, he also felt it the master torment of his life. He again visited the Continent, returned to England,—pursued, inquired, traced, bribed, but in vain. The being whom he had met thrice, under circumstances so extraordinary, he was fated never to encounter again IN HIS LIFETIME. At length, discovering that he had been born in Ireland, he resolved to go there,—went, and found his pursuit again fruitless, and his inquiries unanswered. The family knew nothing of him, or at least what they knew or imagined, they prudently refused to disclose to a stranger, and Stanton departed unsatisfied. It is remarkable, that he too, as appeared from many half-obliterated pages of the manuscript, never disclosed to mortal the particulars of their conversation in the madhouse; and the slightest allusion to it threw him into fits of rage and gloom equally singular and alarming. He left the manuscript, however, in the hands of the family, possibly deeming, from their incuriosity, their apparent indifference to their relative, or their obvious unacquaintance with reading of any kind, manuscript or books, his deposit would be safe. He seems, in fact, to have acted like men, who, in distress at sea, intrust their letters and dispatches to a bottle sealed, and commit it to the waves. The last lines of the manuscript that were legible, were sufficiently extraordinary. . . .
. . . . .
"I have sought him everywhere.—The desire of meeting him once more is become as a burning fire within me,—it is the necessary condition of my existence. I have vainly sought him at last in Ireland, of which I find he is a native.—Perhaps our final meeting will be in. . . .
. . . . .
Such was the conclusion of the manuscript which Melmoth found in his uncle's closet. When he had finished it, he sunk down on the table near which he had been reading it, his face hid in his folded arms, his senses reeling, his mind in a mingled state of stupor and excitement. After a few moments, he raised himself with an involuntary start, and saw the picture gazing at him from its canvas. He was within ten inches of it as he sat, and the proximity appeared increased by the strong light that was accidentally thrown on it, and its being the only representation of a human figure in the room. Melmoth felt for a moment as if he were about to receive an explanation from its lips.
He gazed on it in return,—all was silent in the house,—they were alone together. The illusion subsided at length: and as the mind rapidly passes to opposite extremes, he remembered the injunction of his uncle to destroy the portrait. He seized it;—his hand shook at first, but the moldering canvas appeared to assist him in the effort. He tore it from the frame with a cry half terrific, half triumphant,—it fell at his feet, and he shuddered as it fell. He expected to hear some fearful sounds, some unimaginable breathings of prophetic horror, follow this act of sacrilege, for such he felt it, to tear the portrait of his ancestor from his native walls. He paused and listened:—"There was no voice, nor any that answered;"—but as the wrinkled and torn canvas fell to the floor, its undulations gave the portrait the appearance of smiling. Melmoth felt horror indescribable at this transient and imaginary resuscitation of the figure. He caught it up, rushed into the next room, tore, cut, and hacked it in every direction, and eagerly watched the fragments that burned like tinder in the turf fire which had been lit in his room. As Melmoth saw the last blaze, he threw himself into bed, in hope of a deep and intense sleep. He had done what was required of him, and felt exhausted both in mind and body; but his slumber was not so sound as he had hoped for. The sullen light of the turf fire, burning but never blazing, disturbed him every moment. He turned and turned, but still there was the same red light glaring on, but not illuminating, the dusky furniture of the apartment. The wind was high that night, and as the creaking door swung on its hinges, every noise seemed like the sound of a hand struggling with the lock, or of a foot pausing on the threshold. But (for Melmoth never could decide) was it in a dream or not, that he saw the figure of his ancestor appear at the door?—hesitatingly as he saw him at first on the night of his uncle's death,—saw him enter the room, approach his bed, and heard him whisper, "You have burned me, then; but those are flames I can survive.—I am alive,—I am beside you." Melmoth started, sprung from his bed,—it was broad daylight. He looked round,—there was no human being in the room but himself. He felt a slight pain in the wrist of his right arm. He looked at it, it was black and blue, as from the recent gripe of a strong hand.
Balzac's tale, Melmoth Reconciled, in Vol. IV., furnishes a solution to the terrible problem which Maturin has stated in this story.—EDITOR'S NOTE.
A Mystery with a Moral
*
By Laurence Sterne (1713-68)
Introduction to "A Mystery with a Moral"
The next Mystery Story is like no other in these volumes. The editor's defense lies in the plea that Laurence Sterne is not like other writers of English. He is certainly one of the very greatest. Yet nowadays he is generally unknown. His rollicking frankness, his audacious unconventionality, are enough to account for the neglect. Even the easy mannered England of 1760 opened its eyes in horror when "Tristram Shandy" appeared. "A most unclerical clergyman," the public pronounced the rector of Sutton and prebendary of York.
Besides, his style was rambling to the last degree. Plot concerned him least of all authors of fiction.
For instance, it is more than doubtful that the whimsical parson really INTENDED a moral to be read into the adventures of his "Sentimental Journey" that follow in these pages. He used to declare that he never intended anything—he never knew whither his pen was leading—the rash implement, once in hand, was likely to fly with him from Yorkshire to Italy—or to Paris—or across the road to Uncle Toby's; and what could the helpless author do but improve each occasion?
So here is one such "occasion" thus "improved" by disjointed sequels—heedless, one would say, and yet glittering with the unreturnable thrust of subtle wit, or softening with simple emotion, like a thousand immortal passages of this random philosopher.
Even the slightest turns of Sterne's pen bear inspiration. No less a critic than the severe Hazlitt was satisfied that "his works consist only of brilliant passages."
And because the editors of the present volumes found added to "The Mystery" not only a "Solution" but an "Application" of worldly wisdom, and a "Contrast" in Sterne's best vein of quiet happiness— they have felt emboldened to ascribe the passage "A Mystery with a Moral."
As regards the "Application": Sterne knew whereof he wrote. He sought the South of France for health in 1762, and was run after and feted by the most brilliant circles of Parisian litterateurs. This foreign sojourn failed to cure his lung complaint, but suggested the idea to him of the rambling and charming "Sentimental Journey." Only three weeks after its publication, on March 18, 1768, Sterne died alone in his London lodgings.
Spite of all that marred his genius, his work has lived and wil1 live, if only for the exquisite literary art which ever made great things out of little.—The EDITOR.
A Mystery with a Moral
Parisian Experience of Parson Yorick, on his "Sentimental Journe
y"
A Riddle
I remained at the gate of the hotel for some time, looking at everyone who passed by, and forming conjectures upon them, till my attention got fixed upon a single object, which confounded all kind of reasoning upon him.
It was a tall figure of a philosophic, serious adult look, which passed and repassed sedately along the street, making a turn of about sixty paces on each side of the gate of the hotel. The man was about fifty-two, had a small cane under his arm, was dressed in a dark drab-colored coat, waistcoat, and breeches, which seemed to have seen some years' service. They were still clean, and there was a little air of frugal propriete throughout him. By his pulling off his hat, and his attitude of accosting a good many in his way, I saw he was asking charity; so I got a sous or two out of my pocket, ready to give him as he took me in his turn. He passed by me without asking anything, and yet he did not go five steps farther before he asked charity of a little woman. I was much more likely to have given of the two. He had scarce done with the woman, when he pulled his hat off to another who was coming the same way. An ancient gentleman came slowly, and after him a young smart one. He let them both pass and asked nothing. I stood observing him half an hour, in which time he had made a dozen turns backward and forward, and found that he invariably pursued the same plan.