ARTHUR MACHEN Ultimate Collection: The Greatest Occult & Supernatural Classics in One Volume (Including Translations, Essays & Autobiography). Arthur Machen

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СКАЧАТЬ into the University Eleven in his first term. Cricketers have not yet forgotten a certain performance of his at the Oval, when, as a poetic journalist observed, wickets fell before him as ripe corn falls before the sickle. N. disappeared in the middle of term. The whole school was in a ferment; masters and boys looked at one another with wild faces; search parties were sent out to scour the country; the police were communicated with; on every side one heard the strangest surmises as to what had happened. The affair got into the papers; most people thought it was a case of breakdown and loss of memory from overwork and mental strain. Nothing could be heard of N., till, at the end of a fortnight, his Housemaster came into our room looking, as I thought, puzzled and frightened.

      "'I don't understand,' he said. 'I've had this by the second post. It's in N.'s handwriting. I can't make head or tail of it. It's some sort of French, I suppose.'

      "He held out a paper closely written in N.'s exquisite, curious script, which always reminded me vaguely of some Oriental character. The masters shook their heads as the manuscript went from hand to hand, and one of them suggested sending for the French master. But, as it happened, I was something of a student of Old French myself, and I found I could make out the drift of the document that N. had sent his master.

      "It was written in the manner and in the language of Rabelais. It was quite diabolically clever, and beyond all question the filthiest thing I have ever read. The writer had really exceeded his master in obscenity, impossible as that might seem: the purport of it all was a kind of nightmare vision of the school, the masters and the boys. Everybody and everything were distorted in the most horrible manner, seen, we might say, through an abominable glass, and yet every feature was easily recognisable; it reminded me of Swift's disgusting description of the Yahoos, over which one may shudder and grow sick, but which one cannot affect to misunderstand. There was a fantastic episode which I remember especially. One of us, an ambitious man, who for some reason or other had become unpopular with a few of his colleagues, was described as endeavouring to climb the school clock-tower, on the top of which a certain object was said to be placed. The object was defended, so the writer affirmed, by 'the Dark Birds of Night,' who resisted the master's approach in all possible and impossible manners. Even to indicate the way in which this extraordinary theme was treated would be utterly out of the question; but I shall never forget the description of the master's face, turned up towards the object of his quest, as he painfully climbed the wall. I have never read even in the most filthy pages of Rabelais, or in the savagest passages of Swift, anything which approached the revolting cruelty of those few lines. They were compounded of hell-fire and the Cloaca Maxima.

      "I read out and translated a few of the least abominable sentences. I can hardly say whether the feeling of disgust or that of bewilderment predominated amongst us. One of my colleagues stopped me and said they had heard enough; we stared at one another in silence. The astounding ability, ferocity and obscenity of the whole thing left us quite dumbfounded, and I remember saying that if a volcano were suddenly to belch forth volumes of flame and filth in the middle of the playing fields I should scarcely be more astonished. And all this was the work of N., whose brilliant abilities in games and in the schools were to have been worth many thousands a year to X., as one of us put it! This was the boy that for the last four years we had considered as a great example of the formative influences of the school! This was the N. who we thought would have died for the honour of the school, who spoke as if he could never do enough to repay what X. had done for him! As I say, we looked at one another with faces of blank amazement and horror. At last somebody said that N. must have gone mad, and we tried to believe that it was so, for madness, awful calamity as it is, would be more endurable than sanity under such circumstances as these. I need scarcely say that this charitable hypothesis turned out to be quite unfounded: N. was perfectly sane; he was simply revenging himself for the suppression of his true feelings for the four last years of his school life. The 'conversion' on which we prided ourselves had been an utter sham; the whole of his life had been an elaborately organised hypocrisy maintained with unfailing and unflinching skill term after term and year after year. One cannot help wondering when one considers the inner life of this unhappy fellow. Every morning, I suppose, he woke up with curses in his soul; he smiled at us all and joined in the games with black rage devouring him. So far as one can say, he was quite sincere in his concealed opinions at all events. The hatred, loathing and contempt of the whole system of the place displayed in that extraordinary and terrible document struck me as quite genuine; and while I was reading it I could not help thinking of his eager, enthusiastic face as he joined with a will in the school songs; he seemed to inspire all the boys about him with something of his own energy and devotion. The apparition was a shocking one; I felt that for a moment I had caught a glimpse of a region that was very like hell itself.

      "I remember that the French master contributed a characteristic touch of his own. Of course, the Headmaster had to be told of the matter, and it was arranged that M. and myself should collaborate in the unpleasant task of making a translation. M. read the horrible stuff through with an expression on his face that, to my astonishment, bordered on admiration, and when he laid down the paper he said:

      "'Eh bien: Maître François est encore en vie, évidemment. C'est le vrai renouveau de la Renaissance; de la Renaissance en très mauvaise humeur, si vous voulez, mais de la Renaissance tout-de-même. Si, si; c'est de la crû véritable, je vous assure. Mais, notre bon N. est un Rabelais qui a habité une terre affreusement sèche.'

      "I really think that to the Frenchman the terrible moral aspect of the case was either entirely negligible or absolutely non-existent; he simply looked on N.'s detestable and filthy performance as a little masterpiece in a particular literary genre. Heaven knows! One does not want to be a Pharisee; but as I saw M. grinning appreciatively over this dung-heap I could not help feeling that the collapse of France before Germany offered no insoluble problem to the historian.

      "There is little more to be said as to this extraordinary and most unpleasant affair. It was all hushed up as much as possible. No further attempts to discover N.'s whereabouts were made. It was some months before we heard by indirect means that the wretched fellow had abandoned the Balliol Scholarship and the most brilliant prospects in life to attach himself to a company of greasy barnstormers—or 'Dramatic Artists,' as I suppose they would be called nowadays. I believe that his subsequent career has been of a piece with these beginnings; but of that I desire to say nothing."

      The passage has been quoted merely in evidence of the great success with which Ambrose Meyrick adapted himself to his environment at Lupton. Palmer, the writer, who was a very well-meaning though intensely stupid person, has told the bare facts as he saw them accurately enough; it need not be said that his inferences and deductions from the facts are invariably ridiculous. He was a well-educated man; but in his heart of hearts he thought that Rabelais, Maria Monk, Gay Life in Paris and La Terre all came to much the same thing.

      IV

      In an old notebook kept by Ambrose Meyrick in those long-past days there are some curious entries which throw light on the extraordinary experiences that befell him during the period which poor Palmer has done his best to illustrate. The following is interesting:

      "I told her she must not come again for a long time. She was astonished and asked me why—was I not fond of her? I said it was because I was so fond of her, that I was afraid that if I saw her often I could not live. I should pass away in delight because our bodies are not meant to live for long in the middle of white fire. I was lying on my bed and she stood beside it. I looked up at her. The room was very dark and still. I could only just see her faintly, though she was so close to me that I could hear her breathing quite well. I thought of the white flowers that grew in the dark corners of the old garden at the Wern, by the great ilex tree. I used to go out on summer nights when the air was still and all the sky cloudy. One could hear the brook just a little, down beyond the watery meadow, and all the woods and hills were dim. One could not see the mountain at all. But I liked to stand by the wall and look into the darkest place, and in a little time those flowers would seem to grow СКАЧАТЬ