The Mystery of the Skeleton Key. Bernard Capes
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Название: The Mystery of the Skeleton Key

Автор: Bernard Capes

Издательство: HarperCollins

Жанр: Юмористическая фантастика

Серия: Detective Club Crime Classics

isbn: 9780008137151

isbn:

СКАЧАТЬ of the artistic conscience of Stevenson; the technical liberality of writing a penny-dreadful so as to make it worth a pound. In his short stories, as in his historical studies, he did indeed permit himself to be poetic in a more direct and serious fashion; but in his touch upon such tales as this the same truth may be traced. It is a good general rule that a poet can be known not only in his poems, but in the very titles of his poems. In the case of many works of Bernard Capes, The Lake of Wine, for instance, the title is itself a poem. And that case would alone illustrate what I mean about a certain transforming individual magic, with which he touched the mere melodrama of mere modernity. Numberless novels of crime have been concerned with a lost or stolen jewel; and The Lake of Wine was merely the name of a ruby. Yet even the name is original, exactly in the detail that is hardly ever original. Hundreds of such precious stones have been scattered through sensational fiction; and hundreds of them have been called ‘The Sun of the Sultan’ or ‘The Eye of Vishnu’ or ‘The Star of Bengal’. But even in such a trifle as the choice of the title, an indescribable and individual fancy is felt; a sub-conscious dream of some sea like a sunset, red as blood and intoxicant as wine. This is but a small example; but the same element clings, as if unconsciously, to the course of the same story. Many another eighteenth century hero has ridden on a long road to a lonely house; but Bernard Capes, by something fine and personal in the treatment, does succeed in suggesting that at least along that particular road, to that particular house, no man had ever ridden before. We might put this truth flippantly, and therefore falsely, by saying he put superior work into inferior works. I should not admit the distinction; for I deny that there is necessarily anything inferior in sensationalism, when it can really awaken sensations. But the truer way of stating it would perhaps be this; that to a type of work which generally is, for him or anybody else, a work of invention, he always added at least one touch of imagination

      The detective or mystery tale, in which this last book is an experiment, involves in itself a problem for the artist, as odd as any of the problems which it puts to the policeman. A detective story might well be in a special sense a spiritual tragedy; since it is a story in which even the moral sympathies may be in doubt. A police romance is almost the only romance in which the hero may turn out to be the villain, or the villain to be the hero. We know that Mr Osbaldistone’s business has not been betrayed by his son Frank, though possibly by his nephew Rashleigh. We are quite sure that Colonel Newcome’s company has not been conspired against by his son Clive, though possibly by his nephew Barnes. But there is a stage in a story like The Moonstone, when we are meant to suspect Franklin Blake the hero, as he is suspected by Rachel Verinder the heroine; there is a stage in Mr Bentley’s Trent’s Last Case when the figure of Mr Marlowe is as sinister as the figure of Mr Manderson. The obvious result of this technical trick is to make it impossible, or at least unfair, to comment, not only on the plot, but even on the characters; since each of the characters should be an unknown quantity. The Italians say that translation is treason; and here at least is a case where criticism is treason. I have too great a love or lust for the roman policier to spoil sport in so unsportsmanlike a fashion; but I cannot forbear to comment on the ingenious inspiration by which in this story, one of the characters contrives to remain really an unknown quantity, by a trick of verbal evasion, which he himself defends, half convincingly, as a scruple of verbal veracity. That is the quality of Bernard Capes’ romances that remains in my own memory; a quality, as it were, too subtle for its own subject. Men may well go back to find the poems thus embedded in his prose.

      G. K. CHESTERTON

       CHAPTER I

       MY FIRST MEETING WITH THE BARON

      (From the late Mr Bickerdike’s ‘Apologia’, found in manuscript)

      SOME few years ago, in the month of September, I happened to be kicking my heels in Paris, awaiting the arrival there of my friend Hugo Kennett. We had both been due from the south, I from Vaucluse and Kennett from the Riviera, and the arrangement had been that we should meet together for a week in the capital before returning home. Enfants perdus! Kennett was never anything but unpunctual, and he failed to turn up to time, or anywhere near it, at the rendezvous. I was a trifle hipped, as I had come to the end of my circular notes, and had rather looked to him to help me through with a passing difficulty; but there was nothing for it but to wait philosophically on, and to get, pending his appearance, what enjoyment I could out of life. It was not very much. The Parisian may be a saving man, but Paris is no city to save in. It is surprising how dull an empty purse can make it. It had come to this after two days, either that I must shift my quarters from the Ritz into cheaper lodgings, or abandon my engagement altogether and go back alone.

      One afternoon, aimless and thirsty, I turned into the Café l’Univers in the Place du Palais Royal, and sat down at one of the little tables under the awning where was a vacant chair. This is a busy spot, upon which many streets converge, and one may rest there idly and study an infinite variety of human types. There was a man seated not far from me, against the glass side of the verandah whose occupation caught my attention. He was making very rapidly in a minute-book pencil notes of all the conspicuous ladies’ hats that passed him. It was extraordinary to observe the speed and fidelity with which he secured his transcripts. A few, apparently random, sweeps of the pencil in his thin nervous fingers, and there, in the flitting of a figure, was some unconscious head ravished of its most individual idea. It reminded me of the ‘wig-snatching’ of the eighteenth century; yet I could not but admire the dexterity of the thief, as, sitting behind him, I followed his skilful movements.

      ‘A clever dog that, sir,’ said a throaty voice beside me.

      It came from a near neighbour, whom I had not much observed until now—a large-faced, clean-shaved gentleman of a very full body and a comfortable complacent expression. He was dressed in a baggy light-grey suit, wore a loose Panama hat on his head, and smelt, pleasantly and cleanly, of snuff. On the table before him stood a tumbler of grenadine and soda stuffed with lumps of ice, and with a couple of straws sticking from it.

      ‘Most,’ I answered. ‘What would you take him to be?’

      ‘Eh?’ said the stranger. ‘Without prejudice, now, a milliner’s pander—will that do?’

      I thought it an admissible term, and said so, adding, ‘or a fashion-plate artist?’

      ‘Surely,’ replied the stranger. ‘A distinction without a difference, is it not?’

      No more was said for the moment, while I sat covertly studying the speaker. He reminded me a little of the portraits of Thiers, only without the spectacles. A placid, well-nourished benevolence had been his prominent feature, were it not somehow for the qualification of the eyes. Those were as perpetually alert, busy, observant, as the rest was seemingly supine. They appeared to ‘peck’ for interests among the moving throng, as a hen pecks for scattered grain.

      ‘Wonderful hands,’ he said suddenly, coming back to the artist. ‘Do you notice anything characteristic about them now?’

      ‘No,’ I said. ‘What?’

      He did not answer, but applied for a refreshing moment or two to his grenadine.

      ‘Ah!’ he said, leaning back again, with a relishing motion of his lips. ‘A comfortable seat and a cool glass, and we have here the best café-chantant in the world.’

      ‘Well, it suits me,’ I agreed—‘to pass the time.’

      ‘Ah!’ he said, ‘your friend is unpunctual?’

      I yawned inexcusably.

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