by G. K. Datlow
“The beginning of it was a dressing-gown,” said Father Brown simply. “It was the one really good disguise I’ve ever known. When you meet a man in a house with a dressing-gown on, you assume quite automatically that he’s in his own house. I assumed it myself; but afterwards queer little things began to happen. When he took the pistol down he clicked it at arm’s length, as a man does to make sure a strange weapon isn’t loaded; of course he would know whether the pistols in his own hall were loaded or not. I didn’t like the way he looked for the brandy, or the way he nearly barged into the bowl of fishes. For a man who has a fragile thing of that sort as a fixture in his rooms gets a quite mechanical habit of avoiding it. But these things might possibly have been fancies; the first real point was this. He came out from the little passage between the two doors; and in that passage there’s only one other door leading to a room; so I assumed it was the bedroom he had just come from. I tried the handle; but it was locked. I thought this odd; and looked through the keyhole. It was an utterly bare room, obviously deserted; no bed, no anything. Therefore he had not come from inside any room, but from outside the house. And when I saw that, I think I saw the whole picture.
“Poor Arnold Aylmer doubtless slept and perhaps lived upstairs, and came down in his dressing-gown and passed through the red glass door. At the end of the passage, black against the winter daylight, he saw the enemy of his house. He saw a tall bearded man in a broad-brimmed black hat and a large flapping black cloak. He did not see much more in this world. Strake sprang at him, throttling or stabbing him; we cannot be sure till the inquest. Then Strake, standing in the narrow passage between the hat-stand and the old sideboard, and looking down in triumph on the last of his foes heard something he had not expected. He heard footsteps in the parlour beyond. It was myself entering by the french windows.
“His masquerade was a miracle of promptitude. It involved not only a disguise but a romance—an impromptu romance. He took off his big black hat and cloak and put on the dead man’s dressing-gown. Then he did a rather grisly thing; at least a thing that affects my fancy as more grisly than the rest. He hung the corpse like a coat on one of the hat pegs. He draped it in his own long cloak, and found it hung well below the heels; he covered the head entirely with his own wide hat. It was the only possible way of hiding it in that little passage with the locked door; but it was really a very clever one. I myself walked past the hat-stand once without knowing it was anything but a hat-stand. I think that unconsciousness of mine will always give me a shiver.
“He might perhaps have left it at that; but I might have discovered the corpse at any minute; and, hung where it was, it was a corpse calling for what you might call an explanation. He adopted the bolder stroke of discovering it himself and explaining it himself.
“Then there dawned on this strange and frightfully fertile mind the conception of a story of substitution; the reversal of the parts. He had already assumed the part of Arnold Aylmer. Why should not his dead enemy assume the part of John Strake? There must have been something in that topsy-turvydom to take the fancy of that darkly fanciful man. It was like some frightful fancy-dress ball to which the two mortal enemies were to go dressed up as each other. Only, the fancy-dress ball was to be a dance of death: and one of the dancers would be dead. That is why I can imagine that man putting it in his own mind, and I can imagine him smiling.”
Father Brown was gazing into vacancy with his large grey eyes, which, when not blurred by his trick of blinking, were the one notable thing in his face. He went on speaking simply and seriously: “All things are from God; and above all, reason and imagination and the great gifts of the mind. They are good in themselves; and we must not altogether forget their origin even in their perversion. Now this man had in him a very noble power to be perverted; the power of telling stories. He was a great novelist; only he had twisted his fictive power to practical and to evil ends; to deceiving men with false fact instead of with true fiction. It began with his deceiving old Aylmer with elaborate excuses and ingeniously detailed lies; but even that may have been, at the beginning, little more than the tall stories and tarradiddles of the child who may say equally he has seen the King of England or the King of the Fairies. It grew strong in him through the vice that perpetuates all vices, pride; he grew more and more vain of his promptitude in producing stories of his originality, and subtlety in developing them. That is what the young Aylmers meant by saying that he could always cast a spell over their father; and it was true. It was the sort of spell that the storyteller cast over the tyrant in the Arabian Nights. And to the last he walked the world with the pride of a poet, and with the false yet unfathomable courage of a great liar. He could always produce more Arabian Nights if ever his neck was in danger. And today his neck was in danger.
“But I am sure, as I say, that he enjoyed it as a fantasy as well as a conspiracy. He set about the task of telling the true story the wrong way round: of treating the dead man as living and the live man as dead. He had already got into Aylmer’s dressing-gown; he proceeded to get into Aylmer’s body and soul. He looked at the corpse as if it were his own corpse lying cold in the snow. Then he spread-eagled it in that strange fashion to suggest the sweeping descent of a bird of prey, and decked it out not only in his own dark and flying garments but in a whole dark fairy-tale about the black bird that could only fall by the silver bullet. I do not know whether it was the silver glittering on the sideboard or the snow shining beyond the door that suggested to his intensely artistic temperament the theme of white magic and the white metal used against magicians. But whatever its origin, he made it his own like a poet; and did it very promptly, like a practical man. He completed the exchange and reversal of parts by flinging the corpse out on to the snow as the corpse of Strake. He did his best to work up a creepy conception of Strake as something hovering in the air everywhere, a harpy with wings of speed and claws of death; to explain the absence of footprints and other things. For one piece of artistic impudence I hugely admire him. He actually turned one of the contradictions in his case into an argument for it; and said that the man’s cloak being too long for him proved that he never walked on the ground like an ordinary mortal. But he looked at me very hard while he said that; and something told me that he was at that moment trying a very big bluff.”
Dr Boyne looked thoughtful. “Had you discovered the truth by then?” he asked. “There is something very queer and close to the nerves, I think, about notions affecting identity. I don’t know whether it would be more weird to get a guess like that swiftly or slowly. I wonder when you suspected and when you were sure.”
“I think I really suspected when I telephoned to you,” replied his friend. “And it was nothing more than the red light from the closed door brightening and darkening on the carpet. It looked like a splash of blood that grew vivid as it cried for vengeance. Why should it change like that? I knew the sun had not come out; it could only be because the second door behind it had been opened and shut on the garden. But if he had gone out and seen his enemy then, he would have raised the alarm then; and it was some time afterwards that the fracas occurred. I began to feel he had gone out to do something…to prepare something…but as to when I was certain, that is a different matter. I knew that right at the end he was trying to hypnotize me, to master me by the black art of eyes like talismans and a voice like an incantation. That’s what he used to do with old Aylmer, no doubt. But it wasn’t only the way he said it, it was what he said. It was the religion and philosophy of it.”
“I’m afraid I’m a practical man,” said the doctor with gruff humour, “and I don’t bother much about religion and philosophy.”
“You’ll never be a practical man till you do,” said Father Brown. “Look here, doctor; you know me pretty well; I think you know I’m not a bigot. You know I know there are all sorts in all religions; good men in bad ones and bad men in good ones. But there’s just one little fact I’ve learned simply as a practical man, an entirely practical point, that I�
��ve picked up by experience, like the tricks of an animal or the trade-mark of a good wine. I’ve scarcely ever met a criminal who philosophized at all, who didn’t philosophize along those lines of orientalism and recurrence and reincarnation, and the wheel of destiny and the serpent biting its own tail. I have found merely in practice that there is a curse on the servants of that serpent; on their belly shall they go and the dust shall they eat; and there was never a blackguard or a profligate born who could not talk that sort of spirituality. It may not be like that in its real religious origins; but here in our working world it is the religion of rascals; and I knew it was a rascal who was speaking.”
“Why,” said Boyne, “I should have thought that a rascal could pretty well profess any religion he chose.”
“Yes,” assented the other; “he could profess any religion; that is he could pretend to any religion, if it was all a pretence. If it was mere mechanical hypocrisy and nothing else, no doubt it could be done by a mere mechanical hypocrite. Any sort of mask can be put on any sort of face. Anybody can learn certain phrases or state verbally that he holds certain views. I can go out into the street and state that I am a Wesleyan Methodist or a Sandemanian, though I fear in no very convincing accent. But we are talking about an artist; and for the enjoyment of the artist the mask must be to some extent moulded on the face. What he makes outside him must correspond to something inside him; he can only make his effects out of some of the materials of his soul. I suppose he could have said he was a Wesleyan Methodist; but he could never be an eloquent Methodist as he can be an eloquent mystic and fatalist. I am talking of the sort of ideal such a man thinks of if he really tries to be idealistic. It was his whole game with me to be as idealistic as possible; and whenever that is attempted by that sort of man, you will generally find it is that sort of ideal. That sort of man may be dripping with gore; but he will always be able to tell you quite sincerely that Buddhism is better than Christianity. Nay, he will tell you quite sincerely that Buddhism is more Christian than Christianity. That alone is enough to throw a hideous and ghastly ray of light on his notion of Christianity.”
“Upon my soul,” said the doctor, laughing, “I can’t make out whether you’re denouncing or defending him.”
“It isn’t defending a man to say he is a genius,” said Father Brown. “Far from it. And it is simply a psychological fact that an artist will betray himself by some sort of sincerity. Leonardo da Vinci cannot draw as if he couldn’t draw. Even if he tried, it will always be a strong parody of a weak thing. This man would have made something much too fearful and wonderful out of the Wesleyan Methodist.”
When the priest went forth again and set his face homeward, the cold had grown more intense and yet was somehow intoxicating. The trees stood up like silver candelabra of some incredible cold candlemas of purification. It was a piercing cold, like that silver sword of pure pain that once pierced the very heart of purity. But it was not a killing cold, save in the sense of seeming to kill all the mortal obstructions to our immortal and immeasurable vitality. The pale green sky of twilight, with one star like the star of Bethlehem, seemed by some strange contradiction to be a cavern of clarity. It was as if there could be a green furnace of cold which wakened all things to life like warmth, and that the deeper they went into those cold crystalline colours the more were they light like winged creatures and clear like coloured glass! It tingled with truth and it divided truth from error with a blade like ice; but all that was left had never felt so much alive. It was as if all joy were a jewel in the heart of an iceberg. The priest hardly understood his own mood as he advanced deeper and deeper into the green gloaming, drinking deeper and deeper draughts of that virginal vivacity of the air. Some forgotten muddle and morbidity seemed to be left behind, or wiped out as the snow had painted out the footprints of the man of blood. As he shuffled homewards through the snow, he muttered to himself: “And yet he is right enough about there being a white magic, if he only knows where to look for it.”
The Doom of the Darnaways
Two landscape-painters stood looking at one landscape, which was also a seascape, and both were curiously impressed by it, though their impressions were not exactly the same. To one of them, who was a rising artist from London, it was new as well as strange. To the other, who was a local artist but with something more than a local celebrity, it was better known; but perhaps all the more strange for what he knew of it.
In terms of tone and form, as these men saw it, it was a stretch of sands against a stretch of sunset, the whole scene lying in strips of sombre colour, dead green and bronze and brown and a drab that was not merely dull but in that gloaming in some way more mysterious than gold. All that broke these level lines was a long building which ran out from the fields into the sands of the sea, so that its fringe of dreary weeds and rushes seemed almost to meet the seaweed. But its most singular feature was that the upper part of it had the ragged outlines of a ruin, pierced by so many wide windows and large rents as to be a mere dark skeleton against the dying light; while the lower bulk of the building had hardly any windows at all, most of them being blind and bricked up and their outlines only faintly traceable in the twilight. But one window at least was still a window; and it seemed strangest of all that it showed a light.
“Who on earth can live in that old shell?” exclaimed the Londoner, who was a big, bohemian-looking man, young but with a shaggy red beard that made him look older; Chelsea knew him familiarly as Harry Payne.
“Ghosts, you might suppose,” replied his friend Martin Wood. “Well, the people who live there really are rather like ghosts.”
It was perhaps rather a paradox that the London artist seemed almost bucolic in his boisterous freshness and wonder, while the local artist seemed a more shrewd and experienced person, regarding him with mature and amiable amusement; indeed, the latter was altogether a quieter and more conventional figure, wearing darker clothes and with his square and stolid face clean shaven.
“It is only a sign of the times, of course,” he went on,” or of the passing of old times and old families with them. The last of the great Darnaways live in that house, and not many of the new poor are as poor as they are. They can’t even afford to make their own top-storey habitable; but have to live in the lower rooms of a ruin, like bats and owls. Yet they have family portraits that go back to the Wars of the Roses and the first portrait-painting in England, and very fine some of them are; I happen to know, because they asked for my professional advice in overhauling them. There’s one of them especially, and one of the earliest, but it’s so good that it gives you the creeps.”
“The whole place gives you the creeps, I should think by the look of it,” replied Payne.
“Well,” said his friend, “to tell you the truth, it does.”
The silence that followed was stirred by a faint rustle among the rushes by the moat; and it gave them, rationally enough, a slight nervous start when a dark figure brushed along the bank, moving rapidly and almost like a startled bird. But it was only a man walking briskly with a black bag in his hand: a man with a long sallow face and sharp eyes that glanced at the London stranger in a slightly darkling and suspicious manner.
“It’s only Dr Barnet,” said Wood with a sort of relief. “Good evening, Doctor. Are you going up to the house? I hope nobody’s ill.”
“Everybody’s always ill in a place like that,” growled the doctor; “only sometimes they’re too ill to know it. The very air of the place is a blight and a pestilence. I don’t envy the young man from Australia.”
“And who,” asked Payne abruptly and rather absently, “may the young man from Australia be?”
“Ah!” snorted the doctor; “hasn’t your friend told you about him? As a matter of fact I believe he is arriving today. Quite a romance in the old style of melodrama: the heir back from the colonies to his ruined castle, all complete even down to an old family compact for his marrying the lady watching in the ivied tower. Queer old stuff, isn’t it? but it really ha
ppens sometimes. He’s even got a little money, which is the only bright spot there ever was in this business.”
“What does Miss Darnaway herself, in her ivied tower, think of the business?” asked Martin Wood dryly.
“What she thinks of everything else by this time,” replied the doctor. “They don’t think in this weedy old den of superstitions, they only dream and drift. I think she accepts the family contract and the colonial husband as part of the Doom of the Darnaways, don’t you know. I really think that if he turned out to be a humpbacked Negro with one eye and a homicidal mania, she would only think it added a finishing touch and fitted in with the twilight scenery.”
“You’re not giving my friend from London a very lively picture of my friends in the country,” said Wood, laughing. “I had intended taking him there to call; no artist ought to miss those Darnaway portraits if he gets the chance. But perhaps I’d better postpone it if they’re in the middle of the Australian invasion.”
“Oh, do go in and see them, for the Lord’s sake,” said Dr Barnet warmly. “Anything that will brighten their blighted lives will make my task easier. It will need a good many colonial cousins to cheer things up, I should think; and the more the merrier. Come, I’ll take you in myself.”
As they drew nearer to the house it was seen to be isolated like an island in a moat of brackish water which they crossed by a bridge. On the other side spread a fairly wide stony floor or embankment with great cracks across it, in which little tufts of weed and thorn sprouted here and there. This rock platform looked large and bare in the grey twilight, and Payne could hardly have believed that such a corner of space could have contained so much of the soul of a wilderness. This platform only jutted out on one side, like a giant door-step and beyond it was the door; a very low-browed Tudor archway standing open, but dark like a cave.