Langley exploded. “I like a joke myself,” he said, “but I’ll be skinned alive if I can see the point of this one.”
“Why, the point is,” Trent told him, “that nobody ever rowed for All Souls. There never were more than four undergraduates there at one time, all the other members being Fellows.”
The Gylston Slander
Herbert Jenkins
In 1912, Herbert Jenkins founded a publishing company that soon became highly successful. Jenkins (1876–1923) had an eye for talent and a flair for publicity; the most prominent author on his firm’s list was P.G. Wodehouse, and he also published a portion of J.S. Fletcher’s colossal output. The business survived Jenkins’ premature death, and after a series of takeovers, it eventually became part of the Random House empire.
Jenkins was himself a writer, whose work included biography and humorous fiction. He also dabbled in detective stories, creating the private investigator Malcolm Sage, whose cases were collected in book form in 1921. This story, very much of its time, features a trope of Golden Age detective fiction, a rural community torn apart by a spate of poison pen letters.
***
“It’s all very well for the Chief to sit in there like a five-guinea palmist,” Gladys Norman cried one morning, as after interviewing the umpteenth caller that day she proceeded vigorously to powder her nose, to the obvious interest of William Johnson; “but what about me? If anyone else comes I must speak the truth. I haven’t an unused lie left.”
“Then you had better let Johnson have a turn,” said a quiet voice behind her.
She span round, with flaming cheeks and white-flecked nose, to see the steel grey eyes of Malcolm Sage gazing on her quizzically through gold-rimmed spectacles. There was only the slightest fluttering at the corners of his mouth.
As his activities enlarged, Malcolm Sage’s fame had increased, and he was overwhelmed with requests for assistance. Clients bore down upon him from all parts of the country; some even crossing the Channel, whilst from America and the Colonies came a flood of letters giving long, rambling details of mysteries, murders and disappearances, all of which he was expected to solve.
Those who wrote, however, were as nothing to those who called. They arrived in various stages of excitement and agitation, only to be met by Miss Gladys Norman with a stereotyped smile and the equally stereotyped information that Mr. Malcolm Sage saw no one except by appointment, which was never made until the nature of the would-be client’s business had been stated in writing.
The Surrey cattle-maiming affair, and the consequent publicity it gave to the name of Malcolm Sage, had resulted in something like a siege of the Bureau’s offices.
“I told you so,” said Lady Dene gaily to her husband, and he had nodded his head in entire agreement.
Malcolm Sage’s success was largely due to the very quality that had rendered him a failure as a civil servant, the elasticity of his mind.
He approached each problem entirely unprejudiced, weighed the evidence, and followed the course it indicated, prepared at any moment to retrace his steps, should they lead to a cul-de-sac.
He admitted the importance of the Roman judicial interrogation, “cui bono?” (whom benefits it?); yet he realised that there was always the danger of confusing the pathological with the criminal.
“The obvious is the correct solution of most mysteries,” he had once remarked to Sir James Walton; but there is always the possibility of exception.
The Surrey cattle-maiming mystery had been a case in point. Even more so was the affair that came to be known as “The Gylston Slander.” In this case Malcolm Sage arrived at the truth by a refusal to accept what, on the face of it, appeared to be the obvious solution.
It was through Robert Freynes, the eminent K.C., that he first became interested in the series of anonymous letters that had created considerable scandal in the little village of Gylston.
Tucked away in the north-west corner of Hampshire, Gylston was a village of some eight hundred inhabitants. The vicar, the Rev. John Crayne, had held the living for some twenty years. Aided by his wife and daughter, Muriel, a pretty and high-spirited girl of nineteen, he devoted himself to the parish, and in return enjoyed great popularity.
Life at the vicarage was an ideal of domestic happiness. Mr. and Mrs. Crayne were devoted to each other and to their daughter, and she to them. Muriel Crayne had grown up among the villagers, devoting herself to parish work as soon as she was old enough to do so. She seemed to find her life sufficient for her needs, and many were the comparisons drawn by other parents in Gylston between the vicar’s daughter and their own restless offspring.
A year previously a new curate had arrived in the person of the Rev. Charles Blade. His frank, straightforward personality, coupled with his good looks and masculine bearing, had caused him to be greatly liked, not only by the vicar and his family, but by all the parishioners.
Suddenly and without warning the peace of the vicarage was destroyed. One morning Mr. Crayne received by post an anonymous letter, in which the names of his daughter and the curate were linked together in a way that caused him both pain and anxiety.
A man with a strong sense of honour himself, he cordially despised the anonymous letter-writer, and his first instinct had been to ignore that which he had just received. On second thoughts, however, he reasoned that the writer would be unlikely to rest content with a single letter; but would, in all probability, make the same calumnious statements to others.
After consulting with his wife, he had reluctantly questioned his daughter. At first she was inclined to treat the matter lightly; but on the grave nature of the accusations being pointed out to her, she had become greatly embarrassed and assured him that the curate had never been more than ordinarily attentive to her.
The vicar decided to allow the matter to rest there, and accordingly he made no mention of the letter to Blade.
A week later his daughter brought him a letter she had found lying in the vicarage grounds. It contained a passionate declaration of love, and ended with a threat of what might happen if the writer’s passion were not reciprocated.
Although the letter was unsigned, the vicar could not disguise from himself the fact that there was a marked similarity between the handwriting of the two anonymous letters and that of his curate. He decided, therefore, to ask Blade if he could throw any light on the matter.
At first the young man had appeared bewildered; then he had pledged his word of honour, not only that he had not written the letters, but that there was no truth in the statements they contained.
With that the vicar had to rest content; but worse was to follow.
Two evenings later, one of the churchwardens called at the vicarage and, after behaving in what to the vicar seemed a very strange manner, he produced from his pocket a letter he had received that morning, in which were repeated the scandalous statements contained in the first epistle.
From then on the district was deluged with anonymous letters, all referring to the alleged passion of the curate for the vicar’s daughter, and the intrigue they were carrying on together. Some of the letters were frankly indelicate in their expression and, as the whole parish seethed with the scandal, the vicar appealed to the police for aid.
One peculiarity of the letters was that all were written upon the same paper, known as “Olympic Script.” This was supplied locally to a number of people in the neighbourhood, among others, the vicar, the curate, and the schoolmaster.
Soon the story began to find its way into the newspapers, and Blade’s position became one full of difficulty and embarrassment. He had consulted Robert Freynes, who had been at Oxford with his father, and the K.C., convinced of the young man’s innocence, had sought Malcolm Sage’s aid.
“You see, Sage,” Freynes had remarked, “I’m sure the boy is straight and incapable of such conduct; but it’s impossible to talk to that ass Murdy. He
has no more imagination than a tin-linnet.”
Freynes’s reference was to Chief Inspector Murdy, of Scotland Yard, who had been entrusted with the enquiry, the local police having proved unequal to the problem.
Although Malcolm Sage had promised Robert Freynes that he would undertake the enquiry into the Gylston scandal, it was not until nearly a week later that he found himself at liberty to motor down into Hampshire.
One afternoon the vicar of Gylston, on entering his church, found a stranger on his knees in the chancel. Note-book in hand, he was transcribing the inscription of a monumental brass.
As the vicar approached, he observed that the stranger was vigorously shaking a fountain-pen, from which the ink had evidently been exhausted.
At the sound of Mr. Crayne’s footsteps the stranger looked up, turning towards him a pair of gold-rimmed spectacles, above which a bald conical head seemed to contradict the keenness of the eyes and the youthful lines of the face beneath.
“You are interested in monumental brasses?” enquired the vicar, as he entered the chancel, and the stranger rose to his feet. “I am the vicar,” he explained. There was a look of eager interest in the pale grey eyes that looked out from a placid, scholarly face.
“I was taking the liberty of copying the inscription on this,” replied Malcolm Sage, indicating the time-worn brass at his feet, “only unfortunately my fountain-pen has given out.”
“There is pen and ink in the vestry,” said the vicar, impressed by the fact that the stranger had chosen the finest brass in the church, one that had been saved from Cromwell’s Puritans by the ingenuity of the then incumbent, who had caused it to be covered with cement. Then as an after-thought the vicar added, “I can get your pen filled at the vicarage. My daughter has some ink; she always uses a fountain-pen.”
Malcolm Sage thanked him, and for the next half-hour the vicar forgot the worries of the past few weeks in listening to a man who seemed to have the whole subject of monumental brasses and Norman architecture at his finger-ends.
Subsequently Malcolm Sage was invited to the vicarage, where another half-hour was occupied in Mr. Crayne showing him his collection of books on brasses.
As Malcolm Sage made a movement to depart, the vicar suddenly remembered the matter of the ink, apologised for his remissness, and left the room, returning a few minutes later with a bottle of fountain-pen ink. Malcolm Sage drew from his pocket his pen, and proceeded to replenish the ink from the bottle. Finally he completed the transcription of the lettering of the brass from a rubbing produced by the vicar.
Reluctant to allow so interesting a visitor to depart, Mr. Crayne pressed him to take tea; but Malcolm Sage pleaded an engagement.
As they crossed the hall, a fair girl suddenly rushed out from a door on the right. She was crying hysterically. Her hair was disordered, her deep violet eyes rimmed with red, and her moist lips seemed to stand out strangely red against the alabaster paleness of her skin.
“Muriel!”
Malcolm Sage glanced swiftly at the vicar. The look of scholarly calm had vanished from his features, giving place to a set sternness that reflected the tone in which he had uttered his daughter’s name.
At the sight of a stranger the girl had paused, then, as if realising her tear-stained face and disordered hair, she turned and disappeared through the door from which she had rushed.
“My daughter,” murmured the vicar, a little sadly, Malcolm Sage thought. “She has always been very highly strung and emotional,” he added, as if considering some explanation necessary. “We have to be very stern with her on such occasions. It is the only way to repress it.”
“You find it answer?” remarked Malcolm Sage.
“She has been much better lately, although she has been sorely tried. Perhaps you have heard.”
Malcolm Sage nodded absently, as he gazed intently at the thumb-nail of his right hand. A minute later he was walking down the drive, his thoughts occupied with the pretty daughter of the vicar of Gylston.
At the curate’s lodgings he was told that Mr. Blade was away, and would not return until late that night.
As he turned from the gate, Malcolm Sage encountered a pale-faced, narrow-shouldered man with a dark moustache and a hard, peevish mouth.
To Malcolm Sage’s question as to which was the way to the inn, he nodded in the direction from which he had come and continued on his way.
“A man who has failed in what he set out to accomplish,” was Malcolm Sage’s mental diagnosis of John Gray, the Gylston schoolmaster.
It was not long before Malcolm Sage realised that the village of Gylston was intensely proud of itself. It had seen in the London papers accounts of the mysterious scandal of which it was the centre. A Scotland Yard officer had been down, and had subjected many of the inhabitants to a careful cross-examination. In consequence Gylston realised that it was a village to be reckoned with.
The Tired Traveller was the centre of all rumour and gossip. Here each night in the public-bar, or in the private-parlour, according to their social status, the inhabitants would forgather and discuss the problem of the mysterious letters. Every sort of theory was advanced, and every sort of explanation offered. Whilst popular opinion tended to the view that the curate was the guilty party, there were some who darkly shook their heads and muttered, “We shall see.”
It was remembered and discussed with relish that John Gray, the schoolmaster, had for some time past shown a marked admiration for the vicar’s daughter. She, however, had made it clear that the cadaverous, saturnine pedagogue possessed for her no attractions.
During the half-hour that Malcolm Sage spent at The Tired Traveller, eating a hurried meal, he heard all there was to be heard about local opinion.
The landlord, a rubicund old fellow whose baldness extended to his eyelids, was bursting with information. By nature capable of making a mystery out of a sunbeam, he revelled in the scandal that hummed around him.
After a quarter of an hour’s conversation, the landlord’s conversation, Malcolm Sage found himself possessed of a bewildering amount of new material.
“A young gal don’t have them highsterics for nothin’,” mine host remarked darkly. “Has fits of ’em every now and then ever since she was a flapper, sobbin’ and cryin’ fit to break ’er heart, and the vicar that cross with her.”
“That is considered the best way to treat hysterical people,” remarked Malcolm Sage.
“Maybe,” was the reply, “but she’s only a gal, and a pretty one too,” he added inconsequently.
“Then there’s the schoolmaster,” he continued, “’ates the curate like poison, he does. Shouldn’t be surprised if it was him that done it. ’E’s always been a bit sweet in that quarter himself, has Mr. Gray. Got talked about a good deal one time, ’angin’ about arter Miss Muriel,” added the loquacious publican.
By the time Malcolm Sage had finished his meal, the landlord was well in his stride of scandalous reminiscence. It was with obvious reluctance that he allowed so admirable a listener to depart, and it was with manifest regret that he watched Malcolm Sage’s car disappear round the curve in the road.
A little way beyond the vicarage, an admonitory triangle caused Tims to slow up. Just by the bend Malcolm Sage observed a youth and a girl standing in the recess of a gate giving access to a meadow. Although they were in the shadow cast by the hedge, Malcolm Sage’s quick eyes recognised in the girl the vicar’s daughter. The youth looked as if he might be one of the lads of the village.
In the short space of two or three seconds Malcolm Sage noticed the change in the girl. Although he could not see her face very clearly, the vivacity of her bearing and the ready laugh were suggestive of a gaiety contrasting strangely with the tragic figure he had seen in the afternoon.
Muriel Crayne was obviously of a very mercurial temperament, he decided, as the car swung round the bend.
&nbs
p; The next morning, in response to a telephone message, Inspector Murdy called on Malcolm Sage.
“Well, Mr. Sage,” he cried, as he shook hands, “going to have another try to teach us our job,” and his blue eyes twinkled good-humouredly.
The inspector had already made up his mind. He was a man with many successes to his record, achieved as a result of undoubted astuteness in connection with the grosser crimes, such as train-murders, post-office hold-ups and burglaries. He was incapable, however, of realising that there existed a subtler form of law-breaking, arising from something more intimately associated with the psychic than the material plane.
“Did you see Mr. Blade?” enquired Malcolm Sage.
“Saw the whole blessed lot,” was the cheery reply. “It’s all as clear as milk,” and he laughed.
“What did Mr. Blade say?” enquired Malcolm Sage, looking keenly across at the inspector.
“Just that he had nothing to say.”
“His exact words. Can you remember them?” queried Malcolm Sage.
“Oh, yes!” replied the inspector. “He said, ‘Inspector Murdy, I have nothing to say,’ and then he shut up like a real Whitstable.”
“He was away yesterday,” remarked Malcolm Sage, who then told the inspector of his visit. “How about John Gray, the schoolmaster?” he queried.
“He practically told me to go to the devil,” was the genial reply. Inspector Murdy was accustomed to rudeness; his profession invited it, and to his rough-and-ready form of reasoning, rudeness meant innocence; politeness guilt.
He handed to Malcolm Sage a copy of a list of people who purchased “Olympic Script” from Mr. Grainger, the local Whiteley, volunteering the information that the curate was the biggest consumer, as if that settled the question of his guilt.
“And yet the vicar would not hear of the arrest of Blade,” murmured Malcolm Sage, turning the copper ash-tray round with his restless fingers.
The inspector shrugged his massive shoulders.
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