The Third Ghost Story Megapack

by Wildside Press

  * * * *

  Now Pu was the most cunning of all the P’ei-se-kong—the men who marry colors together; of all the Hoa-yang-kong, who draw the shapes of vase-decoration; of all the Hoei-sse-kong, who paint in enamel; of all the T’ien-thsai-kong, who brighten color; of all the Chao-lou-kong, who watch the furnace-fires and the porcelain-ovens. But he went away sorrowing from the Palace of the Son of Heaven, notwithstanding the gift of five thousand silver liang which had been given to him. For he thought to himself: “Surely the mystery of the comeliness of flesh, and the mystery of that by which it is moved, are the secrets of the Supreme Tao. How shall man lend the aspect of sentient life to dead clay? Who save the Infinite can give soul?”

  Now Pu had discovered those witchcrafts of color, those surprises of grace, that make the art of the ceramist. He had found the secret of the feng-hong, the wizard flush of the Rose; of the hoa-hong, the delicious incarnadine; of the mountain-green called chan-lou; of the pale soft yellow termed hiao-hoang-yeou; and of the hoang-kin, which is the blazing beauty of gold. He had found those eel-tints, those serpent-greens, those pansy-violets, those furnace-crimsons, those carminates and lilacs, subtle as spirit-flame, which our enamellists of the Occident long sought without success to reproduce. But he trembled at the task assigned him, as he returned to the toil of his studio, saying: “How shall any miserable man render in clay the quivering of flesh to an Idea—the inexplicable horripilation of a Thought? Shall a man venture to mock the magic of that Eternal Moulder by whose infinite power a million suns are shapen more readily than one small jar might be rounded upon my wheel?”

  * * * *

  Yet the command of the Celestial and August might never be disobeyed; and the patient workman strove with all his power to fulfil the Son of Heaven’s desire. But vainly for days, for weeks, for months, for season after season, did he strive; vainly also he prayed unto the gods to aid him; vainly he besought the Spirit of the Furnace, crying: “O thou Spirit of Fire, hear me, heed me, help me! how shall I—a miserable man, unable to breathe into clay a living soul—how shall I render in this inanimate substance the aspect of flesh made to creep by the utterance of a Word, sentient to the horripilation of a Thought?”

  For the Spirit of the Furnace made strange answer to him with whisperingof fire: “Vast thy faith, weird thy prayer! Has Thought feet, that man may perceive the trace of its passing? Canst thou measure me the blast of the Wind?”

  * * * *

  Nevertheless, with purpose unmoved, nine-and-forty times did Pu seek to fulfil the Emperor’s command; nine-and-forty times he strove to obey the behest of the Son of Heaven. Vainly, alas! did he consume his substance; vainly did he expend his strength; vainly did he exhaust his knowledge: success smiled not upon him; and Evil visited his home, and Poverty sat in his dwelling, and Misery shivered at his hearth.

  Sometimes, when the hour of trial came, it was found that the colors had become strangely transmuted in the firing, or had faded into ashen pallor, or had darkened into the fuliginous hue of forest-mould. And Pu, beholding these misfortunes, made wail to the Spirit of the Furnace, praying: “O thou Spirit of Fire, how shall I render the likeness of lustrous flesh, the warm glow of living color, unless thou aid me?”

  And the Spirit of the Furnace mysteriously answered him with murmuring of fire: “Canst thou learn the art of that Infinite Enameller who hath made beautiful the Arch of Heaven—whose brush is Light; whose paints are the Colors of the Evening?”

  Sometimes, again, even when the tints had not changed, after the pricked and labored surface had seemed about to quicken in the heat, to assume the vibratility of living skin—even at the last hour all the labor of the workers proved to have been wasted; for the fickle substance rebelled against their efforts, producing only crinklings grotesque as those upon the rind of a withered fruit, or granulations like those upon the skin of a dead bird from which the feathers have been rudely plucked. And Pu wept, and cried out unto the Spirit of the Furnace: “O thou Spirit of Flame, how shall I be able to imitate the thrill of flesh touched by a Thought, unless thou wilt vouchsafe to lend me thine aid?”

  And the Spirit of the Furnace mysteriously answered him with muttering of fire: “Canst thou give ghost unto a stone? Canst thou thrill with a Thought the entrails of the granite hills?”

  Sometimes it was found that all the work indeed had not failed; for the color seemed good, and all faultless the matter of the vase appeared to be, having neither crack nor wrinkling nor crinkling; but the pliant softness of warm skin did not meet the eye; the flesh-tinted surface offered only the harsh aspect and hard glimmer of metal. All their exquisite toil to mock the pulpiness of sentient substance had left no trace; had been brought to nought by the breath of the furnace. And Pu, in his despair, shrieked to the Spirit of the Furnace: “O thou merciless divinity! O thou most pitiless god!—thou whom I have worshipped with ten thousand sacrifices!—for what fault hast thou abandoned me? for what error hast thou forsaken me? How may I, most wretched of men! ever render the aspect of flesh made to creep with the utterance of a Word, sentient to the titillation of a Thought, if thou wilt not aid me?”

  And the Spirit of the Furnace made answer unto him with roaring of fire: “Canst thou divide a Soul? Nay!… Thy life for the life of thy work!—thy soul for the soul of thy Vase!”

  And hearing these words Pu arose with a terrible resolve swelling at his heart, and made ready for the last and fiftieth time to fashion his work for the oven.

  One hundred times did he sift the clay and the quartz, the kao-lingand the tun; one hundred times did he purify them in clearest water; one hundred times with tireless hands did he knead the creamy paste, mingling it at last with colors known only to himself. Then was the vase shapen and reshapen, and touched and retouched by the hands of Pu, until its blandness seemed to live, until it appeared to quiver and to palpitate, as with vitality from within, as with the quiver of rounded muscle undulating beneath the integument. For the hues of life were upon it and infiltrated throughout its innermost substance, imitating the carnation of blood-bright tissue, and the reticulated purple of the veins; and over all was laid the envelope of sun-colored Pe-kia-ho, the lucid and glossy enamel, half diaphanous, even like the substance that it counterfeited—the polished skin of a woman. Never since the making of the world had any work comparable to this been wrought by the skill of man.

  Then Pu bade those who aided him that they should feed the furnace well with wood of tcha; but he told his resolve unto none. Yet after the oven began to glow, and he saw the work of his hands blossoming and blushing in the heat, he bowed himself before the Spirit of Flame, and murmured: “O thou Spirit and Master of Fire, I know the truth of thy words! I know that a Soul may never be divided! Therefore my life for the life of my work!—my soul for the soul of my Vase!”

  And for nine days and for eight nights the furnaces were fed unceasingly with wood of tcha; for nine days and for eight nights men watched the wondrous vase crystallizing into being, rose-lighted by the breath of the flame. Now upon the coming of the ninth night, Pu bade all his weary comrades retire to, rest, for that the work was well-nigh done, and the success assured. “If you find me not here at sunrise,” he said, “fear not to take forth the vase; for I know that the task will have been accomplished according to the command of the August.” So they departed.

  But in that same ninth night Pu entered the flame, and yielded up his ghost in the embrace of the Spirit of the Furnace, giving his life for the life of his work—his soul for the soul of his Vase.

  And when the workmen came upon the tenth morning to take forth the porcelain marvel, even the bones of Pu had ceased to be; but lo! the Vase lived as they looked upon it: seeming to be flesh moved by the utterance of a Word, creeping to the titillation of a Thought. And whenever tapped by the finger it uttered a voice and a name—the voice of its maker, the name of its creator: PU.


  * * * *

  And the son of Heaven, hearing of these things, and viewing the miracle of the vase, said unto those about him: “Verily, the Impossible hath been wrought by the strength of faith, by the force of obedience! Yet never was it our desire that so cruel a sacrifice should have been; we sought only to know whether the skill of the matchless artificer came from the Divinities or from the Demons—from heaven or from hell. Now, indeed, we discern that Pu hath taken his place among the gods.” And the Emperor mourned exceedingly for his faithful servant. But he ordained that godlike honors should be paid unto the spirit of the marvellous artist, and that his memory should be revered forevermore, and that fair statues of him should be set up in all the cities of the Celestial Empire, and above all the toiling of the potteries, that the multitude of workers might unceasingly call upon his name and invoke his benediction upon their labors.

  THE BELL IN THE FOG, by Gertrude Atherton

  I

  The great author had realized one of the dreams of his ambitious youth, the possession of an ancestral hall in England. It was not so much the good American’s reverence for ancestors that inspired the longing to consort with the ghosts of an ancient line, as artistic appreciation of the mellowness, the dignity, the aristocratic aloofness of walls that have sheltered, and furniture that has embraced, generations and generations of the dead. To mere wealth, only his astute and incomparably modern brain yielded respect; his ego raised its goose-flesh at the sight of rooms furnished with a single check, conciliatory as the taste might be. The dumping of the old interiors of Europe into the glistening shells of the United States not only roused him almost to passionate protest, but offended his patriotism—which he classified among his unworked ideals. The average American was not an artist, therefore he had no excuse for even the affectation of cosmopolitanism. Heaven knew he was national enough in everything else, from his accent to his lack of repose; let his surroundings be in keeping.

  Orth had left the United States soon after his first successes, and, his art being too great to be confounded with locality, he had long since ceased to be spoken of as an American author. All civilized Europe furnished stages for his puppets, and, if never picturesque nor impassioned, his originality was as overwhelming as his style. His subtleties might not always be understood—indeed, as a rule, they were not—but the musical mystery of his language and the penetrating charm of his lofty and cultivated mind induced raptures in the initiated, forever denied to those who failed to appreciate him.

  His following was not a large one, but it was very distinguished. The aristocracies of the earth gave to it; and not to understand and admire Ralph Orth was deliberately to relegate one’s self to the ranks. But the elect are few, and they frequently subscribe to the circulating libraries; on the Continent, they buy the Tauchnitz edition; and had not Mr. Orth inherited a sufficiency of ancestral dollars to enable him to keep rooms in Jermyn Street, and the wardrobe of an Englishman of leisure, he might have been forced to consider the tastes of the middle-class at a desk in Hampstead. But, as it mercifully was, the fashionable and exclusive sets of London knew and sought him. He was too wary to become a fad, and too sophisticated to grate or bore; consequently, his popularity continued evenly from year to year, and long since he had come to be regarded as one of them. He was not keenly addicted to sport, but he could handle a gun, and all men respected his dignity and breeding. They cared less for his books than women did, perhaps because patience is not a characteristic of their sex. I am alluding, however, in this instance, to men-of-the-world. A group of young literary men—and one or two women—put him on a pedestal and kissed the earth before it. Naturally, they imitated him, and as this flattered him, and he had a kindly heart deep among the cere-cloths of his formalities, he sooner or later wrote “appreciations” of them all, which nobody living could understand, but which owing to the sub-title and signature answered every purpose.

  With all this, however, he was not utterly content. From the 12th of August until late in the winter—when he did not go to Homburg and the Riviera—he visited the best houses in England, slept in state chambers, and meditated in historic parks; but the country was his one passion, and he longed for his own acres.

  He was turning fifty when his great-aunt died and made him her heir: “as a poor reward for his immortal services to literature,” read the will of this phenomenally appreciative relative. The estate was a large one. There was a rush for his books; new editions were announced. He smiled with cynicism, not unmixed with sadness; but he was very grateful for the money, and as soon as his fastidious taste would permit he bought him a country-seat.

  The place gratified all his ideals and dreams—for he had romanced about his sometime English possession as he had never dreamed of woman. It had once been the property of the Church, and the ruin of cloister and chapel above the ancient wood was sharp against the low pale sky. Even the house itself was Tudor, but wealth from generation to generation had kept it in repair; and the lawns were as velvety, the hedges as rigid, the trees as aged as any in his own works. It was not a castle nor a great property, but it was quite perfect; and for a long while he felt like a bridegroom on a succession of honeymoons. He often laid his hand against the rough ivied walls in a lingering caress.

  After a time, he returned the hospitalities of his friends, and his invitations, given with the exclusiveness of his great distinction, were never refused. Americans visiting England eagerly sought for letters to him; and if they were sometimes benumbed by that cold and formal presence, and awed by the silences of Chillingsworth—the few who entered there—they thrilled in anticipation of verbal triumphs, and forthwith bought an entire set of his books. It was characteristic that they dared not ask him for his autograph.

  Although women invariably described him as “brilliant,” a few men affirmed that he was gentle and lovable, and any one of them was well content to spend weeks at Chillingsworth with no other companion. But, on the whole, he was rather a lonely man.

  It occurred to him how lonely he was one gay June morning when the sunlight was streaming through his narrow windows, illuminating tapestries and armor, the family portraits of the young profligate from whom he had made this splendid purchase, dusting its gold on the black wood of wainscot and floor. He was in the gallery at the moment, studying one of his two favorite portraits, a gallant little lad in the green costume of Robin Hood. The boy’s expression was imperious and radiant, and he had that perfect beauty which in any disposition appealed so powerfully to the author. But as Orth stared today at the brilliant youth, of whose life he knew nothing, he suddenly became aware of a human stirring at the foundations of his aesthetic pleasure.

  “I wish he were alive and here,” he thought, with a sigh. “What a jolly little companion he would be! And this fine old mansion would make a far more complementary setting for him than for me.”

  He turned away abruptly, only to find himself face to face with the portrait of a little girl who was quite unlike the boy, yet so perfect in her own way, and so unmistakably painted by the same hand, that he had long since concluded they had been brother and sister. She was angelically fair, and, young as she was—she could not have been more than six years old—her dark-blue eyes had a beauty of mind which must have been remarkable twenty years later. Her pouting mouth was like a little scarlet serpent, her skin almost transparent, her pale hair fell waving—not curled with the orthodoxy of childhood—about her tender bare shoulders. She wore a long white frock, and clasped tightly against her breast a doll far more gorgeously arrayed than herself. Behind her were the ruins and the woods of Chillingsworth.

  Orth had studied this portrait many times, for the sake of an art which he understood almost as well as his own; but today he saw only the lovely child. He forgot even the boy in the intensity of this new and personal absorption.

  “Did she live to grow up, I wonder?” he thought. “She shoul
d have made a remarkable, even a famous woman, with those eyes and that brow, but—could the spirit within that ethereal frame stand the enlightenments of maturity? Would not that mind—purged, perhaps, in a long probation from the dross of other existences—flee in disgust from the commonplace problems of a woman’s life? Such perfect beings should die while they are still perfect. Still, it is possible that this little girl, whoever she was, was idealized by the artist, who painted into her his own dream of exquisite childhood.”

  Again he turned away impatiently. “I believe I am rather fond of children,” he admitted. “I catch myself watching them on the street when they are pretty enough. Well, who does not like them?” he added, with some defiance.

  He went back to his work; he was chiselling a story which was to be the foremost excuse of a magazine as yet unborn. At the end of half an hour he threw down his wondrous instrument—which looked not unlike an ordinary pen—and making no attempt to disobey the desire that possessed him, went back to the gallery. The dark splendid boy, the angelic little girl were all he saw—even of the several children in that roll-call of the past—and they seemed to look straight down his eyes into depths where the fragmentary ghosts of unrecorded ancestors gave faint musical response.

  “The dead’s kindly recognition of the dead,” he thought. “But I wish these children were alive.”

  For a week he haunted the gallery, and the children haunted him. Then he became impatient and angry. “I am mooning like a barren woman,” he exclaimed. “I must take the briefest way of getting those youngsters off my mind.”