It was during this lull in the battle that he became sensible of a faint, sickening odor. At first he thought it was that of a rattle-snake, and involuntarily tried to look about his feet. They were nearly invisible in the gloom of the grave. A hoarse, gurgling sound, like the death-rattle in a human throat, seemed to come out of the sky, and a moment later a great, black, angular shadow, like the same sound made visible, dropped curving from the topmost branch of the spectral tree, fluttered for an instant before his face and sailed fiercely away into the mist along the creek.
It was the raven. The incident recalled him to a sense of the situation, and again his eyes sought the upright coffin, now illuminated by the moon for half its length. He saw the gleam of the metallic plate and tried without moving to decipher the inscription. Then he fell to speculating upon what was behind it. His creative imagination presented him a vivid picture. The planks no longer seemed an obstacle to his vision and he saw the livid corpse of the dead woman, standing in grave-clothes, and staring vacantly at him, with lidless, shrunken eyes. The lower jaw was fallen, the upper lip drawn away from the uncovered teeth. He could make out a mottled pattern on the hollow cheeks—the maculations of decay. By some mysterious process his mind reverted for the first time that day to the photograph of Mary Matthews. He contrasted its blonde beauty with the forbidding aspect of this dead face—the most beloved object that he knew with the most hideous that he could conceive.
The Assassin now advanced and displaying the blade laid it against the victim's throat. That is to say, the man became at first dimly, then definitely, aware of an impressive coincidence—a relation—a parallel between the face on the card and the name on the headboard. The one was disfigured, the other described a disfiguration. The thought took hold of him and shook him. It transformed the face that his imagination had created behind the coffin lid; the contrast became a resemblance; the resemblance grew to identity. Remembering the many descriptions of Scarry's personal appearance that he had heard from the gossips of his camp-fire he tried with imperfect success to recall the exact nature of the disfiguration that had given the woman her ugly name; and what was lacking in his memory fancy supplied, stamping it with the validity of conviction. In the maddening attempt to recall such scraps of the woman's history as he had heard, the muscles of his arms and hands were strained to a painful tension, as by an effort to lift a great weight. His body writhed and twisted with the exertion. The tendons of his neck stood out as tense as whip-cords, and his breath came in short, sharp gasps. The catastrophe could not be much longer delayed, or the agony of anticipation would leave nothing to be done by the coup de grâce of verification. The scarred face behind the lid would slay him through the wood.
A movement of the coffin diverted his thought. It came forward to within a foot of his face, growing visibly larger as it approached. The rusted metallic plate, with an inscription illegible in the moonlight, looked him steadily in the eye. Determined not to shrink, he tried to brace his shoulders more firmly against the end of the excavation, and nearly fell backward in the attempt. There was nothing to support him; he had unconsciously moved upon his enemy, clutching the heavy knife that he had drawn from his belt. The coffin had not advanced and he smiled to think it could not retreat. Lifting his knife he struck the heavy hilt against the metal plate with all his power. There was a sharp, ringing percussion, and with a dull clatter the whole decayed coffin lid broke in pieces and came away, falling about his feet. The quick and the dead were face to face—the frenzied, shrieking man—the woman standing tranquil in her silences. She was a holy terror!
V
Some months later a party of men and women belonging to the highest social circles of San Francisco passed through Hurdy-Gurdy on their way to the Yosemite Valley by a new trail. They halted for dinner and during its preparation explored the desolate camp. One of the party had been at Hurdy-Gurdy in the days of its glory. He had, indeed, been one of its prominent citizens; and it used to be said that more money passed over his faro table in any one night than over those of all his competitors in a week; but being now a millionaire engaged in greater enterprises, he did not deem these early successes of sufficient importance to merit the distinction of remark. His invalid wife, a lady famous in San Francisco for the costly nature of her entertainments and her exacting rigor with regard to the social position and "antecedents" of those who attended them, accompanied the expedition. During a stroll among the shanties of the abandoned camp Mr. Porfer directed the attention of his wife and friends to a dead tree on a low hill beyond Injun Creek.
"As I told you," he said, "I passed through this camp in 1852, and was told that no fewer than five men had been hanged here by vigilantes at different times, and all on that tree. If I am not mistaken, a rope is dangling from it yet. Let us go over and see the place."
Mr. Porfer did not add that the rope in question was perhaps the very one from whose fatal embrace his own neck had once had an escape so narrow that an hour's delay in taking himself out of that region would have spanned it.
Proceeding leisurely down the creek to a convenient crossing, the party came upon the cleanly picked skeleton of an animal which Mr. Porfer after due examination pronounced to be that of an ass. The distinguishing ears were gone, but much of the inedible head had been spared by the beasts and birds, and the stout bridle of horsehair was intact, as was the riata, of similar material, connecting it with a picket pin still firmly sunken in the earth. The wooden and metallic elements of a miner's kit lay near by. The customary remarks were made, cynical on the part of the men, sentimental and refined by the lady. A little later they stood by the tree in the cemetery and Mr. Porfer sufficiently unbent from his dignity to place himself beneath the rotten rope and confidently lay a coil of it about his neck, somewhat, it appeared, to his own satisfaction, but greatly to the horror of his wife, to whose sensibilities the performance gave a smart shock.
An exclamation from one of the party gathered them all about an open grave, at the bottom of which they saw a confused mass of human bones and the broken remnants of a coffin. Coyotes and buzzards had performed the last sad rites for pretty much all else. Two skulls were visible and in order to investigate this somewhat unusual redundancy one of the younger men had the hardihood to spring into the grave and hand them up to another before Mrs. Porfer could indicate her marked disapproval of so shocking an act, which, nevertheless, she did with considerable feeling and in very choice words. Pursuing his search among the dismal debris at the bottom of the grave the young man next handed up a rusted coffin plate, with a rudely cut inscription, which with difficulty Mr. Porfer deciphered and read aloud with an earnest and not altogether unsuccessful attempt at the dramatic effect which he deemed befitting to the occasion and his rhetorical abilities:
MANUELITA MURPHY. Born at the Mission San Pedro—Died in Hurdy-Gurdy, Aged 47. Hell's full of such.
In deference to the piety of the reader and the nerves of Mrs. Porfer's fastidious sisterhood of both sexes let us not touch upon the painful impression produced by this uncommon inscription, further than to say that the elocutionary powers of Mr. Porfer had never before met with so spontaneous and overwhelming recognition.
The next morsel that rewarded the ghoul in the grave was a long tangle of black hair defiled with clay: but this was such an anti-climax that it received little attention. Suddenly, with a short exclamation and a gesture of excitement, the young man unearthed a fragment of grayish rock, and after a hurried inspection handed it up to Mr. Porfer. As the sunlight fell upon it it glittered with a yellow luster—it was thickly studded with gleaming points. Mr. Porfer snatched it, bent his head over it a moment and threw it lightly away with the simple remark:
"Iron pyrites—fool's gold."
The young man in the discovery shaft was a trifle disconcerted, apparently.
Meanwhile, Mrs. Porfer, unable longer to endure the disagreeable business, had walked back to the tree and seated herself at its root. While rearranging a tress
of golden hair which had slipped from its confinement she was attracted by what appeared to be and really was the fragment of an old coat. Looking about to assure herself that so unladylike an act was not observed, she thrust her jeweled hand into the exposed breast pocket and drew out a mouldy pocket-book. Its contents were as follows:
One bundle of letters, postmarked "Elizabethtown, New Jersey."
One circle of blonde hair tied with a ribbon.
One photograph of a beautiful girl.
One ditto of same, singularly disfigured.
One name on back of photograph—"Jefferson Doman."
A few moments later a group of anxious gentlemen surrounded Mrs. Porfer as she sat motionless at the foot of the tree, her head dropped forward, her fingers clutching a crushed photograph. Her husband raised her head, exposing a face ghastly white, except the long, deforming cicatrice, familiar to all her friends, which no art could ever hide, and which now traversed the pallor of her countenance like a visible curse.
Mary Matthews Porfer had the bad luck to be dead.
THE SUITABLE SURROUNDINGS
THE NIGHT
One midsummer night a farmer's boy living about ten miles from the city of Cincinnati was following a bridle path through a dense and dark forest. He had lost himself while searching for some missing cows, and near midnight was a long way from home, in a part of the country with which he was unfamiliar. But he was a stout-hearted lad, and knowing his general direction from his home, he plunged into the forest without hesitation, guided by the stars. Coming into the bridle path, and observing that it ran in the right direction, he followed it.
The night was clear, but in the woods it was exceedingly dark. It was more by the sense of touch than by that of sight that the lad kept the path. He could not, indeed, very easily go astray; the undergrowth on both sides was so thick as to be almost impenetrable. He had gone into the forest a mile or more when he was surprised to see a feeble gleam of light shining through the foliage skirting the path on his left. The sight of it startled him and set his heart beating audibly.
"The old Breede house is somewhere about here," he said to himself. "This must be the other end of the path which we reach it by from our side. Ugh! what should a light be doing there?"
Nevertheless, he pushed on. A moment later he had emerged from the forest into a small, open space, mostly upgrown to brambles. There were remnants of a rotting fence. A few yards from the trail, in the middle of the "clearing," was the house from which the light came, through an unglazed window. The window had once contained glass, but that and its supporting frame had long ago yielded to missiles flung by hands of venturesome boys to attest alike their courage and their hostility to the supernatural; for the Breede house bore the evil reputation of being haunted. Possibly it was not, but even the hardiest sceptic could not deny that it was deserted—which in rural regions is much the same thing.
Looking at the mysterious dim light shining from the ruined window the boy remembered with apprehension that his own hand had assisted at the destruction. His penitence was of course poignant in proportion to its tardiness and inefficacy. He half expected to be set upon by all the unworldly and bodiless malevolences whom he had outraged by assisting to break alike their windows and their peace. Yet this stubborn lad, shaking in every limb, would not retreat. The blood in his veins was strong and rich with the iron of the frontiersman. He was but two removes from the generation that had subdued the Indian. He started to pass the house.
As he was going by he looked in at the blank window space and saw a strange and terrifying sight,—the figure of a man seated in the centre of the room, at a table upon which lay some loose sheets of paper. The elbows rested on the table, the hands supporting the head, which was uncovered. On each side the fingers were pushed into the hair. The face showed dead-yellow in the light of a single candle a little to one side. The flame illuminated that side of the face, the other was in deep shadow. The man's eyes were fixed upon the blank window space with a stare in which an older and cooler observer might have discerned something of apprehension, but which seemed to the lad altogether soulless. He believed the man to be dead.
The situation was horrible, but not with out its fascination. The boy stopped to note it all. He was weak, faint and trembling; he could feel the blood forsaking his face. Nevertheless, he set his teeth and resolutely advanced to the house. He had no conscious intention—it was the mere courage of terror. He thrust his white face forward into the illuminated opening. At that instant a strange, harsh cry, a shriek, broke upon the silence of the night—the note of a screech-owl. The man sprang to his feet, overturning the table and extinguishing the candle. The boy took to his heels.
THE DAY BEFORE
"Good-morning, Colston. I am in luck, it seems. You have often said that my commendation of your literary work was mere civility, and here you find me absorbed—actually merged—in your latest story in the Messenger. Nothing less shocking than your touch upon my shoulder would have roused me to consciousness."
"The proof is stronger than you seem to know," replied the man addressed: "so keen is your eagerness to read my story that you are willing to renounce selfish considerations and forego all the pleasure that you could get from it."
"I don't understand you," said the other, folding the newspaper that he held and putting it into his pocket. "You writers are a queer lot, anyhow. Come, tell me what I have done or omitted in this matter. In what way does the pleasure that I get, or might get, from your work depend on me?"
"In many ways. Let me ask you how you would enjoy your breakfast if you took it in this street car. Suppose the phonograph so perfected as to be able to give you an entire opera,—singing, orchestration, and all; do you think you would get much pleasure out of it if you turned it on at your office during business hours? Do you really care for a serenade by Schubert when you hear it fiddled by an untimely Italian on a morning ferryboat? Are you always cocked and primed for enjoyment? Do you keep every mood on tap, ready to any demand? Let me remind you, sir, that the story which you have done me the honor to begin as a means of becoming oblivious to the discomfort of this car is a ghost story!"
"Well?"
"Well! Has the reader no duties corresponding to his privileges? You have paid five cents for that newspaper. It is yours. You have the right to read it when and where you will. Much of what is in it is neither helped nor harmed by time and place and mood; some of it actually requires to be read at once—while it is fizzing. But my story is not of that character. It is not 'the very latest advices' from Ghostland. You are not expected to keep yourself au courant with what is going on in the realm of spooks. The stuff will keep until you have leisure to put yourself into the frame of mind appropriate to the sentiment of the piece—which I respectfully submit that you cannot do in a street car, even if you are the only passenger. The solitude is not of the right sort. An author has rights which the reader is bound to respect."
"For specific example?"
"The right to the reader's undivided attention. To deny him this is immoral. To make him share your attention with the rattle of a street car, the moving panorama of the crowds on the sidewalks, and the buildings beyond—with any of the thousands of distractions which make our customary environment—is to treat him with gross injustice. By God, it is infamous!"
The speaker had risen to his feet and was steadying himself by one of the straps hanging from the roof of the car. The other man looked up at him in sudden astonishment, wondering how so trivial a grievance could seem to justify so strong language. He saw that his friend's face was uncommonly pale and that his eyes glowed like living coals.
"You know what I mean," continued the writer, impetuously crowding his words—"you know what I mean, Marsh. My stuff in this morning's Messenger is plainly sub-headed 'A Ghost Story.' That is ample notice to all. Every honorable reader will understand it as prescribing by implication the conditions under which the work is to be read."
The man addr
essed as Marsh winced a trifle, then asked with a smile: "What conditions? You know that I am only a plain business man who cannot be supposed to understand such things. How, when, where should I read your ghost story?"
"In solitude—at night—by the light of a candle. There are certain emotions which a writer can easily enough excite—such as compassion or merriment. I can move you to tears or laughter under almost any circumstances. But for my ghost story to be effective you must be made to feel fear—at least a strong sense of the supernatural—and that is a difficult matter. I have a right to expect that if you read me at all you will give me a chance; that you will make yourself accessible to the emotion that I try to inspire."
The car had now arrived at its terminus and stopped. The trip just completed was its first for the day and the conversation of the two early passengers had not been interrupted. The streets were yet silent and desolate; the house tops were just touched by the rising sun. As they stepped from the car and walked away together Marsh narrowly eyed his companion, who was reported, like most men of uncommon literary ability, to be addicted to various destructive vices. That is the revenge which dull minds take upon bright ones in resentment of their superiority. Mr. Colston was known as a man of genius. There are honest souls who believe that genius is a mode of excess. It was known that Colston did not drink liquor, but many said that he ate opium. Something in his appearance that morning—a certain wildness of the eyes, an unusual pallor, a thickness and rapidity of speech—were taken by Mr. Marsh to confirm the report. Nevertheless, he had not the self-denial to abandon a subject which he found interesting, however it might excite his friend.
"Do you mean to say," he began, "that if I take the trouble to observe your directions—place myself in the conditions that you demand: solitude, night and a tallow candle—you can with your ghostly work give me an uncomfortable sense of the supernatural, as you call it? Can you accelerate my pulse, make me start at sudden noises, send a nervous chill along my spine and cause my hair to rise?"
The Collected Works of Ambrose Bierce — Volume II: In the Midst of Life: Tales of Soldiers and Civilians Page 20