The Algernon Blackwood Collection

by Algernon Blackwood

  Then, with equal swiftness, it passed. His present surroundings came back. He dropped with a dizzy rush from awful spaces … and was aware that he was merely—standing on the black, woolly mat before the fire watching the movements of his new employer, that his pumps were bright and pointed, his head just level with a dark marble mantelpiece. Dazed, and a trifle breathless he felt; and at the back of his disordered mind stirred a schoolboy’s memory that the Pythagoreans believed the universe to have been called out of chaos by Sound, Number, and Harmony—or something to that effect…. But these huge, fugitive thoughts that tore through him refused to be seized and dealt with. He staggered a little, mentally; then, with a prodigious effort, controlled himself—and watched.

  III

  Mr. Skale, he saw, had fastened the little sheet of glass by its four corners to silken strings hanging from the ceiling. The glass plate hung, motionless and horizontal, in the air with its freight of sand. For several minutes the clergyman played a series of beautiful modulations in double-stopping upon the violin. In these the dominating influence was E flat. Spinrobin was not musical enough to describe it more accurately than this. Only, with greater skill than he knows, he mentions how Skale drew out of that fiddle the peculiarly intimate and searching tones by which strings can reach the spiritual center of a man and make him respond to delicate vibrations of thoughts beyond his normal gamut….

  Spinrobin, listening, understood that he was a greater man than he knew….

  And the sand on the glass sheet, he next became aware, was shifting, moving, dancing. He heard the tiny hissing and rattling of the dry grains. It was uncommonly weird. This visible and practical result made the clergyman’s astonishing words seem true and convincing. That moving sand brought sanity, yet a certain curious terror of the unknown into it all.

  A minute later Mr. Skale stopped playing and beckoned to him.

  “See,” he said quietly, pointing to the arrangement the particles of sand had assumed under the influence of the vibrations. “There’s your pattern—your sound made visible. That’s your utterance—the Note you substantially represent and body forth in terms of matter.”

  The secretary stared. It was a charming but very simple pattern the lines of sand had assumed, not unlike the fronds of a delicate fern growing out of several small circles round the base.

  “So that’s my note—made visible!” he exclaimed under his breath. “It’s delightful; it’s quite exquisite.”

  “That’s E flat,” returned Mr. Skale in a whisper, so as not to disturb the pattern; “if I altered the note, the pattern would alter too. E natural, for instance, would be different. Only, luckily, you are E flat—just the note we want. And now,” he continued, straightening himself up to his full height, “come over and see mine and Miriam’s and Mrs. Mawle’s, and you’ll understand what I meant when I said that yours would harmonize.” And in a glass case across the room they examined a number of square sheets of glass with sand upon them in various patterns, all rendered permanent by a thin coating of a glue-like transparent substance that held the particles in position.

  “There you see mine and Miriam’s and Mrs. Mawle’s,” he said, stooping to look. “They harmonize most beautifully, you observe, with your own.”

  It was, indeed, a singular and remarkable thing. The patterns, though all different, yet combined in some subtle fashion impossible of analysis to form a complete and well-proportioned Whole—a design—a picture. The patterns of the clergyman and the housekeeper provided the base and foreground, those of Miriam and the secretary the delicate superstructure. The girl’s pattern, he noted with a subtle pleasure, was curiously similar to his own, but far more delicate and waving. Yet, whereas his was floral, hers was stellar in character; that of the housekeeper was spiral, and Mr. Skale’s he could only describe as a miniature whirlwind of very exquisite design rising out of apparently three separate centers of motion.

  “If I could paint over them the color each shade of sound represents,”

  Mr. Skale resumed, “the tint of each timbre, or Klangfarbe, as the

  Germans call it, you would see better still how we are all grouped

  together there into a complete and harmonious whole.”

  Spinrobin looked from the patterns to his companion’s great face bending there beside him. Then he looked back again at the patterns. He could think of nothing quite intelligible to say. He noticed more clearly every minute that these dainty shapes of sand, stellar, spiral, and floral, stood to one another in certain definite proportions, in a rising and calculated ratio of singular beauty.

  “There, before you, lies a true and perfect chord made visible,” the clergyman said in tones thrilling with satisfaction, “—three notes in harmony with the fundamental sound, myself, and with each other. My dear fellow, I congratulate you, I congratulate you.”

  “Thank you very much, indeed,” murmured Spinrobin. “I don’t quite understand it all yet, but it’s—it’s extraordinarily fascinating and wonderful.”

  Mr. Skale said nothing, and Spinrobin drifted back to his big armchair. A deep silence pervaded the room for the space of several minutes. In the heart of that silence lay the mass of direct and vital questions the secretary burned, yet was afraid, to ask. For such was the plain truth; he yearned to know, yet feared to hear. The Discovery and the Experiment of this singular man loomed already somewhat vast and terrible; the adjective that had suggested itself before returned to him—"not permissible.” … Of Mr. Skale himself he had no sort of fear, though a growing and uncommon respect, but of the purpose Mr. Skale had in view he caught himself thinking more and more, yet without obvious reason, with a distinct shrinking almost amounting to dismay. But for the fact that so sweet and gentle a creature as Miriam was traveling the same path with him, this increased sense of caution would have revealed itself plainly for what it was—Fear….

  “I am deeply interested, Mr. Skale,” he said at length, breaking first the silence, “and sympathetic too, I assure you; only—you will forgive me for saying it—I am, as yet, still rather in the dark as to where all this is to lead—” The clergyman’s eyes, fixed straight upon his own, again made it difficult to finish the sentence as he wished.

  “Necessarily so, because I can only lead you to my discovery step by step,” replied the other steadily. “I wish you to be thoroughly prepared for anything that may happen, so that you can deal intelligently with results that might otherwise overwhelm you.”

  “Overwhelm—?” faltered his listener.

  “Might, I said. Note carefully my use of words, for they are accurately chosen. Before I can tell you all I must submit you, for your own sake, to certain tests—chiefly to the test of Alteration of Form by Sound. It is somewhat—er—alarming, I believe, the first time. You must be thoroughly accustomed to these astonishing results before we dare to approach the final Experiment; so that you will not tremble. For there can be no rehearsal. The great Experiment can only be made once … and I must be as sure as possible that you will feel no terror in the face of the Unknown.”

  IV

  Spinrobin listened breathlessly. He hesitated a moment after the other stopped speaking, then slewed round on his slippery chair and faced him.

  “I can understand,” he began, “why you want imagination, but you spoke of courage too? I mean,—is there any immediate cause for alarm? Any personal danger, for instance, now?” For the clergyman’s weighty sentences had made him realize in a new sense the loneliness of his situation here among these desolate hills. He would appreciate some assurance that his life was not to be trifled with before he lost the power to withdraw if he wished to do so.

  “None whatever,” replied Mr. Skale with decision, “there is no question at all of physical personal injury. You must trust me and have a little patience.” His tone and manner were exceedingly grave, yet at the same time inspired confidence.

  “I do,” said Spinrobin honestly.

  Another pause fell between them, longer
than the rest; it was broken by the clergyman. He spoke emphatically, evidently weighing his words with the utmost care.

  “This Chord,” he said simply—yet, for all the simplicity, there ran to and fro behind his words the sense of unlawful and immense forces impending—"I need for a stupendous experiment with sound, an experiment which will lead in turn towards a yet greater and final one. There is no harm in your knowing that. To produce a certain transcendent result I want a complex sound—a chord, but a complete and perfect chord in which each note is sure of itself and absolutely accurate.”

  He waited a moment. There was utter silence about them in the room.

  Spinrobin held his breath.

  “No instrument can help me; the notes must be human,” he resumed in a lower voice, “and the utterers—pure. For the human voice can produce sounds ‘possessing in some degree the characteristics not only of all musical instruments, but of all sounds of whatever description.’ By means of this chord I hope to utter a certain sound, a certain name, of which you shall know more hereafter. But a name, as you surely know, need not be composed of one or two syllables only; a whole symphony may be a name, and a whole orchestra playing for days, or an entire nation chanting for years, may be required to pronounce the beginning merely of—of certain names. Yours, Robert Spinrobin, for instance, I can pronounce in a quarter of a second; but there may be names so vast, so mighty, that minutes, days, years even, may be necessary for their full utterance. There may be names, indeed, which can never be known, for they could never be uttered—in time. For the moment I am content simply to drop this thought into your consciousness; later you shall understand more. I only wish you to take in now that I need this perfect chord for the utterance in due course of a certain complex and stupendous name—the invocation, that is, of a certain complex and stupendous Force!”

  “I think I understand,” whispered the other, afraid to interrupt more.

  “And the difficulty I have experienced in finding the three notes has been immense. I found Mrs. Mawle—alto; then Miriam I found at birth and trained her—soprano; and now I have found you, Mr. Spinrobin, and my chord, with myself as bass, is complete. Your note and Miriam’s, soprano and tenor, are closer than the relations between the other notes, and a tenor has accordingly been most difficult to find. You can now understand the importance of your being sympathetic to each other.”

  Spinrobin’s heart burned within him as he listened. He began to grasp some sweet mystical meaning in the sense of perfect companionship the mere presence of the girl inspired. They were the upper notes in the same chord together, linked in a singing and harmonious relation, the one necessary to the other. Moreover, in the presence of Mr. Skale and the housekeeper, bass and alto in the full chord, their completeness was still more emphasized, and they knew their fullest life. The adventure promised to be amazingly seductive. He would learn practically the strange truth that to know the highest life Self must be lost and merged in something bigger. And was this not precisely what he had so long been seeking—escape from his own insignificance?

  “And—er—the Hebrew that you require of me, Mr. Skale?” he asked, returning to practical considerations.

  “Our purposes require a certain knowledge of Hebrew,” he answered without hesitation or demur, “because that ancient language and the magical resources of sound are profoundly linked. In the actual sounds of many of the Hebrew letters lies a singular power, unguessed by the majority, undivined especially, of course, by the mere scholar, but available for the pure in heart who may discover how to use their extraordinary values. They constitute, in my view at least, a remnant of the original Chaldaean mysteries, the lore of that magic which is older than religion. The secret of this knowledge lies in the psychic values of sound; for Hebrew, the Hebrew of the Bahir, remains in the hierarchy of languages a direct channel to the unknown and inscrutable forces; and the knowledge of mighty and supersensual things lies locked up in the correct utterance of many of its words, letters and phrases. Its correct utterance, mark well. For knowledge of the most amazing and terrible kind is there, waiting release by him who knows, and who greatly dares.

  “And you shall later learn that sound is power. The Hebrew alphabet you must know intimately, and the intricate association of its letters with number, color, harmony and geometrical form, all of which are but symbols of the Realities at the very roots of life. The Hebrew alphabet, Mr. Spinrobin, is a ‘discourse in methods of manifestation, of formation.’ In its correct pronunciation lies a way to direct knowledge of divine powers, and to conditions beyond this physical existence.”

  The clergyman’s voice grew lower and lower as he proceeded, and the conviction was unavoidable that he referred to things whereof he had practical knowledge. To Spinrobin it was like the lifting of a great veil. As a boy he had divined something of these values of sound and name, but with the years this knowledge had come to seem fantastic and unreal. It now returned upon him with the force of a terrific certainty. That immense old inner playground of his youth, without boundaries or horizon, rolled up before his mental vision, inviting further and detailed discovery.

  “With the language, qua language,” he continued, “you need not trouble, but the ‘Names’ of many things you must know accurately, and especially the names of the so-called ‘Angels’; for these are in reality Forces of immense potency, vast spiritual Powers, Qualities, and the like, all evocable by correct utterance of their names. This language, as you will see, is alive and divine in the true sense; its letters are the vehicles of activities; its words, terrific formulae; and the true pronunciation of them remains today a direct channel to divine knowledge. In time you shall see; in time you shall know; in time you shall hear. Mr. Spinrobin,” and he thrust his great head forwards and dropped his voice to a hushed whisper, “in time we shall all together make this Experiment in sound which shall redeem us and make us as Gods!”

  “Thank you!” gasped the secretary, swept off his feet by this torrent of uncommon and mystical language, and passing a moist hand through his feathery hair. He was not entirely ignorant, of course, of the alleged use of sound in the various systems of so-called magic that have influenced the minds of imaginative men during the history of the world. He had heard, more or less vaguely, perhaps, but still with understanding, about “Words of Power”; but hitherto he had merely regarded such things as picturesque superstitions, or half-truths that lie midway between science and imagination. Here, however, was a man in the twentieth century, the days of radium, flying machines, wireless telegraphy, and other invitations towards materialism, who apparently had practical belief in the effective use of sound and in its psychic and divine possibilities, and who was devoting all of his not inconsiderable powers of heart and mind to their actual demonstration. It was astonishing. It was delightful. It was incredible! And, but for the currents of a strange and formidable fear that this conception of Skale’s audacious Experiment set stirring in his soul, Spinrobin’s enthusiasm would have been possibly as great as his own.

  As it was he went up to the big clergyman and held out his hand, utterly carried away by the strangeness of it all, caught up in a vague splendor he did not quite understand, prepared to abandon himself utterly.

  “I gather something of what you mean,” he said earnestly, “if not all; and I hope most sincerely I may prove suitable for your purpose when the time comes. As a boy, you know, curiously enough, I always believed in the efficacy of names and the importance of naming true. I think,” he added somewhat diffidently, looking up straight into the luminous eyes above him, “if you will allow me to say so, I would follow you anywhere, Mr. Skale—anywhere you cared to lead.”

  “‘Upon him that overcometh,’” said the clergyman in that gentle voice he sometimes used, soft as the voice of woman, “‘will I write my new name….’”

  He gazed down very searchingly into the other’s eyes for a minute or two, then shook the proffered hand without another word. And so they separated and went to
bed, for it was long past midnight.

  CHAPTER III

  ..................

  I

  In his bedroom, though excitement banished sleep in spite of the lateness of the hour, he was too exhausted to make any effective attempt to reduce the confusion of his mind to order. For the first time in his life the diary-page for the day remained blank. For a long time he sat before it with his pencil—then sighed and put it away. A volume he might have written, but not a page, much less a line or two. And though it was but eight hours since he had made the acquaintance of the Rev. Philip Skale, it seemed to him more like eight days.

  Moreover, all that he had heard and seen, fantastic and strained as he felt it to be, possibly even the product of religious mania, was nevertheless profoundly disquieting, for mixed up with it somewhere or other was—truth. Mr. Skale had made a discovery—a giant one; it was not all merely talk and hypnotism, the glamour of words. His great Experiment would prove to be real and terrible. He had discovered certain uses of sound, occult yet scientific, and if he, Spinrobin, elected to stay on, he would be obliged to play his part in the dénouement. And this thought from the very beginning appalled while it fascinated him. It filled him with a kind of horrible amazement. For the object the clergyman sought, though not yet disclosed, already cast its monstrous shadow across his path. He somehow discerned that it would deal directly with knowledge the saner judgment of a commonplace world had always deemed undesirable, unlawful, unsafe, dangerous to the souls that dared attempt it, failure involving a pitiless and terrible Nemesis.

  He lay in bed watching the play of the firelight upon the high ceiling, and thinking in confused fashion of the huge clergyman with his thundering voice, his great lambent eyes and his seductive gentleness; of his singular speculations and his hints, half menacing, half splendid, of things to come. Then he thought of the housekeeper with her deafness and her withered arm, and that white peace about her face; and, lastly, of Miriam, soft, pale beneath her dark skin, her gem-like eyes ever finding his own, and of the intimate personal relations so swiftly established between them….