The Hauntings: 20 Chilling Tales of Macabre & Mystery. M. R. James

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СКАЧАТЬ perhaps best of all, there were twenty leaves of uncial writing in Latin, which, as a few words seen here and there told him at once, must belong to some very early unknown patristic treatise. Could it possibly be a fragment of the copy of Papias ‘On the Words of Our Lord’, which was known to have existed as late as the twelfth century at Nimes?¹ In any case, his mind was made up; that book must return to Cambridge with him, even if he had to draw the whole of his balance from the bank and stay at St. Bertrand till the money came. He glanced up at the sacristan to see if his face yielded any hint that the book was for sale. The sacristan was pale, and his lips were working.

      ‘If monsieur will turn on to the end,’ he said.

      So monsieur turned on, meeting new treasures at every rise of a leaf; and at the end of the book he came upon two sheets of paper, of much more recent date than anything he had seen yet, which puzzled him considerably. They must be contemporary, he decided, with the unprincipled Canon Alberic, who had doubtless plundered the Chapter library of St Bertrand to form this priceless scrap-book. On the first of the paper sheets was a plan, carefully drawn and instantly recognizable by a person who knew the ground, of the south aisle and cloisters of St Bertrand’s. There were curious signs looking like planetary symbols, and a few Hebrew words in the corners; and in the north-west angle of the cloister was a cross drawn in gold paint. Below the plan were some lines of writing in Latin, which ran thus:

      Responsa 12(mi) Dec. 1694. Interrogatum est: Inveniamne? Responsum est: Invenies. Fiamne dives? Fies. Vivamne invidendus? Vives. Moriarne in lecto meo? Ita. (Answers of the 12th of December, 1694. It was asked: Shall I find it? Answer: Thou shalt. Shall I become rich? Thou wilt. Shall I live an object of envy? Thou wilt. Shall I die in my bed? Thou wilt.)

      ‘A good specimen of the treasure-hunter’s record — quite reminds one of Mr Minor–Canon Quatremain in Old St Paul’s,’ was Dennistoun’s comment, and he turned the leaf.

      What he then saw impressed him, as he has often told me, more than he could have conceived any drawing or picture capable of impressing him. And, though the drawing he saw is no longer in existence, there is a photograph of it (which I possess) which fully bears out that statement. The picture in question was a sepia drawing at the end of the seventeenth century, representing, one would say at first sight, a Biblical scene; for the architecture (the picture represented an interior) and the figures had that semi-classical flavour about them which the artists of two hundred years ago thought appropriate to illustrations of the Bible. On the right was a king on his throne, the throne elevated on twelve steps, a canopy overhead, soldiers on either side — evidently King Solomon. He was bending forward with outstretched sceptre, in attitude of command; his face expressed horror and disgust, yet there was in it also the mark of imperious command and confident power. The left half of the picture was the strangest, however. The interest plainly centred there.

      On the pavement before the throne were grouped four soldiers, surrounding a crouching figure which must be described in a moment. A fifth soldier lay dead on the pavement, his neck distorted, and his eye-balls starting from his head. The four surrounding guards were looking at the King. In their faces, the sentiment of horror was intensified; they seemed, in fact, only restrained from flight by their implicit trust in their master. All this terror was plainly excited by the being that crouched in their midst.

      I entirely despair of conveying by any words the impression which this figure makes upon anyone who looks at it. I recollect once showing the photograph of the drawing to a lecturer on morphology — a person of, I was going to say, abnormally sane and unimaginative habits of mind. He absolutely refused to be alone for the rest of that evening, and he told me afterwards that for many nights he had not dared to put out his light before going to sleep. However, the main traits of the figure I can at least indicate.

      At first you saw only a mass of coarse, matted black hair; presently it was seen that this covered a body of fearful thinness, almost a skeleton, but with the muscles standing out like wires. The hands were of a dusky pallor, covered, like the body, with long, coarse hairs, and hideously taloned. The eyes, touched in with a burning yellow, had intensely black pupils, and were fixed upon the throned King with a look of beast-like hate. Imagine one of the awful bird-catching spiders of South America translated into human form, and endowed with intelligence just less than human, and you will have some faint conception of the terror inspired by the appalling effigy. One remark is universally made by those to whom I have shown the picture: ‘It was drawn from the life.’

      As soon as the first shock of his irresistible fright had subsided, Dennistoun stole a look at his hosts. The sacristan’s hands were pressed upon his eyes; his daughter, looking up at the cross on the wall, was telling her beads feverishly.

      At last the question was asked: ‘Is this book for sale?’

      There was the same hesitation, the same plunge of determination that he had noticed before, and then came the welcome answer: ‘If monsieur pleases.’

      ‘How much do you ask for it?’

      ‘I will take two hundred and fifty francs.’

      This was confounding. Even a collector’s conscience is sometimes stirred, and Dennistoun’s conscience was tenderer than a collector’s.

      ‘My good man!’ he said again and again, ‘your book is worth far more than two hundred and fifty francs. I assure you — far more.’

      But the answer did not vary: ‘I will take two hundred and fifty francs — not more.’

      There was really no possibility of refusing such a chance. The money was paid, the receipt signed, a glass of wine drunk over the transaction, and then the sacristan seemed to become a new man. He stood upright, he ceased to throw those suspicious glances behind him, he actually laughed or tried to laugh. Dennistoun rose to go.

      ‘I shall have the honour of accompanying monsieur to his hotel?’ said the sacristan.

      ‘Oh, no, thanks! it isn’t a hundred yards. I know the way perfectly, and there is a moon.’

      The offer was pressed three or four times and refused as often.

      ‘Then, monsieur will summon me if — if he finds occasion; he will keep the middle of the road, the sides are so rough.’

      ‘Certainly, certainly,’ said Dennistoun, who was impatient to examine his prize by himself; and he stepped out into the passage with his book under his arm.

      Here he was met by the daughter; she, it appeared, was anxious to do a little business on her own account; perhaps, like Gehazi, to ‘take somewhat’ from the foreigner whom her father had spared.

      ‘A silver crucifix and chain for the neck; monsieur would perhaps be good enough to accept it?’

      Well, really, Dennistoun hadn’t much use for these things. What did mademoiselle want for it?

      ‘Nothing — nothing in the world. Monsieur is more than welcome to it.’

      The tone in which this and much more was said was unmistakably genuine, so that Dennistoun was reduced to profuse thanks, and submitted to have the chain put round his neck. It really seemed as if he had rendered the father and daughter some service which they hardly knew how to repay. As he set off with his book they stood at the door looking after him, and they were still looking when he waved them a last good night from the steps of the Chapeau Rouge.

      Dinner was over, and Dennistoun was in his bedroom, shut up alone with his acquisition. The landlady had manifested СКАЧАТЬ