Out of the Dark: Tales of Terror by Robert W. Chambers. Robert W. ChambersЧитать онлайн книгу.
was a sound from the window, the soft murmur of snow blotting glass panes. The wind, too, muttered under the eaves. Presently it would begin to whisper to him from the chimney – he knew it – and he held his hands over his ears and stared at the clock.
In the hamlet of Mort-Dieu the panes sing all day of the sea secrets, but in the night the ghosts of little gray birds fill the branches, singing of the sunshine of past years. He heard the song as he sat, and he crushed his hands over his ears; but the gray birds joined with the wind in the chimney, and he heard all that he dared not hear, and he thought all that he dared not hope or think, and the swift tears scalded his eyes.
In Mort-Dieu the nights are longer than anywhere on earth; he knew it – why should he not know? This had been so for a year; it was different before. There were so many things different before; days and nights vanished like minutes then; the pines told no secrets of the sea, and the gray birds had not yet come to Mort-Dieu. Also, there was Jeanne, passeur at the Carmes.
When he first saw her she was poling the square, flat-bottomed ferry-skiff from the Carmes to Mort-Dieu, a red skirt fluttering just below her knees. The next time he saw her he had to call to her across the placid river, ‘Ohé! Ohé! passeur!’ She came, poling that flat skiff, her deep blue eyes fixed pensively on him, the scarlet skirt and kerchief idly flapping in the April wind. Then day followed day when the far call ‘Passeur!’ grew clearer and more joyous, and the faint answering cry, ‘I come!’ rippled across the water like music tinged with laughter. Then spring came, and with spring came love – love, carried free across the ferry from the Carmes to Mort-Dieu.
The flame above the charred log whistled, flickered, and went out in a jet of wood vapour, only to play like lightning above the gas and relight again. The clock ticked more loudly, and the song from the pines filled the room. But in his straining eyes a summer landscape was reflected, where white clouds sailed and white foam curled under the square bow of a little skiff. And he pressed his numbed hands tighter to his ears to drown the cry, ‘Passeur! Passeur!’
And now for a moment the clock ceased ticking. It was time to go – who but he should know it, he who went out into the night swinging his lantern? And he went. He had gone each night from the first – from that first strange winter evening when a strange voice answered him across the river, the voice of the new passeur. He had never heard her voice again.
So he passed down the windy wooden stairs, lantern hanging lighted in his hand, and stepped out into the storm. Through sheets of drifting snow, over heaps of frozen seaweed and icy drift he moved, shifting his lantern right and left, until its glimmer on the water warned him. Then he called out into the night, ‘Passeur!’ The frozen spray spattered his face and crusted the lantern; he heard the distant boom of breakers beyond the bar, and the noise of mighty winds among the seaward cliffs.
‘Passeur!’
Across the broad flat river, black as a sea of pitch, a tiny light sparkled a moment. Again he cried, ‘Passeur!’
‘I come!’
He turned ghastly white, for it was her voice – or was he crazy? – and he sprang waist deep into the icy current and cried out again, but his voice ended in a sob.
Slowly through the snow the flat skiff took shape, creeping nearer and nearer. But she was not at the pole – he saw that; there was a tall, thin man, shrouded to his eyes in oilskin; and he leaped into the boat and bade the ferryman hasten.
Halfway across he rose in the skiff, and called, ‘Jeanne!’ But the roar of the storm and the thrashing of the icy waves drowned his voice. Yet he heard her again, and she called to him by name.
When at last the boat grated upon the invisible shore, he lifted his lantern, stumbling among the rocks, and calling to her, as though his voice could silence the voice that had spoken a year ago that night. And it could not. He sank shivering upon his knees, and looked out into the darkness, where an ocean rolled across a world. Then his stiff lips moved, and he repeated her name, but the hand of the ferryman fell gently upon his head.
And when he raised his eyes he saw that the ferryman was Death.
‘Oh Thou who burn’st in heart for those who burn
In Hell, whose fires thyself shall feed in turn;
How long be crying, “Mercy on them, God!”
Why, who are thou to teach and He to learn?’
In the Church of St Barnabé vespers were over; the clergy left the altar; the little choir-boys flocked across the chancel and settled in the stalls. A Suisse in rich uniform marched down the south aisle, sounding his staff at every fourth step on the stone pavement; behind him came that eloquent preacher and good man, Monseigneur C—.
My chair was near the chancel rail. I now turned toward the west end of the church. The other people between the altar and the pulpit turned too. There was a little scraping and rustling while the congregation seated itself again; the preacher mounted the pulpit stairs, and the organ voluntary ceased.
I had always found the organ-playing at St Barnabé highly interesting. Learned and scientific it was, too much so for my small knowledge, but expressing a vivid if cold intelligence. Moreover, it possessed the French quality of taste; taste reigned supreme, self-controlled, dignified and reticent.
Today, however, from the first choir I had felt a change for the worse, a sinister change. During vespers it had been chiefly the chancel organ which supported the beautiful choir, but now and again, quite wantonly as it seemed, from the west gallery where the great organ stands, a heavy hand had struck across the church, at the serene peace of those clear voices. It was something more than harsh and dissonant, and it betrayed no lack of skill. As it recurred again and again, it set me thinking of what my architect’s books say about the custom in early times to consecrate the choir as soon as it was built, and that the nave, being finished sometimes half a century later, often did not get any blessing at all: I wondered idly if that had been the case at St Barnabé, and whether something not usually supposed to be at home in a Christian church, might have entered undetected, and taken possession of the west gallery. I had read of such things happening too, but not in works on architecture.
Then I remembered that St Barnabé was not much more than a hundred years old, and smiled at the incongruous association of mediaeval superstitions with that cheerful little piece of eighteenth century rococo.
But now vespers were over, and there should have followed a few quiet chords, fit to accompany meditation, while we waited for the sermon. Instead of that, the discord at the lower end of the church broke out with the departure of the clergy, as if now nothing could control it.
I belong to those children of an older and simpler generation, who do not love to seek for psychological subtleties in art; and I have ever refused to find in music anything more than melody and harmony, but I felt that in the labyrinth of sounds now issuing from that instrument there was something being hunted. Up and down the pedals chased him, while the manuals blared approval. Poor devil! whoever he was there seemed small hope of escape!
My nervous annoyance changed to anger. Who was doing this? How dare he play like that in the midst of divine service? I glanced at the people near me: not one appeared to be in the least disturbed. The placid brows of the kneeling nuns, still turned toward the altar, lost none of their devout abstraction, under the pale shadow of their white head-dress. The fashionable lady beside me was looking expectantly at Monseigneur C—. For all her face betrayed, the organ might have been singing an Ave Maria.
But now, at last, the preacher had made the sign of the cross, and commanded silence. I turned to him gladly. Thus far I had not found the rest I had counted on, when I entered St Barnabé that afternoon.
I was worn out by three nights of physical suffering and mental trouble: the last had been the worst, and it was an exhausted body, and a mind benumbed and yet acutely sensitive, which I had