Chapter 6

"Poor devil! I suppose he never had the chance afterward. How did he come here?" said the colonel.

The dingy heap in the chair could give no answer.

"Do you know who you are?"

It laughed weakly.

"Do you know that you are Limmason—Lieutenant Limmason, of the White Hussars?"

Swift as a shot came the answer, in a slightly surprised tone, "Yes, I'm Limmason, of course." The light died out in his eyes, and he collapsed afresh, watching every motion of Dirkovitch with terror. A flight from Siberia may fix a few elementary facts in the mind, but it does not lead to continuity of thought. The man could not explain how, like a homing pigeon, he had found his way to his own old mess again. Of what he had suffered or seen he knew nothing. He cringed before Dirkovitch as instinctively as he had pressed the spring of the candlestick, sought the picture of the drum-horse, and answered to the Queen's toast. The rest was a blank that the dreaded Russian tongue could only in part remove. His head bowed on his breast, and he giggled and cowered alternately.

The devil that lived in the brandy prompted Dirkovitch at this extremely inopportune moment to make a speech. He rose, swaying slightly, gripped the table edge, while his eyes glowed like opals, and began:—"Fellow-soldiers glorious—true friends and hospitables. It was an accident, and deplorable—most deplorable." Here he smiled sweetly all round the mess. "But you will think of this little, little thing. So little, is it not? The czar! Posh! I slap my fingers—I snap my fingers at him. Do I believe in him? No! But the Slav who has done nothing, _him_ I believe. Seventy—how much?—millions that have done nothing—not one thing. Napoleon was an episode." He banged a hand on the table. "Hear you, old peoples, we have done nothing in the world—out here. All our work is to do: and it shall be done, old peoples. Get away!" He waved his hand imperiously, and pointed to the man. "You see him. He is not good to see. He was just one little—oh, so little—accident, that no one remembered. Now he is _That_. So will you be, brother-soldiers so brave—so will you be. But you will never come back. You will all go where he has gone, or"—he pointed to the great coffin shadow on the ceiling, and muttering, "Seventy millions—get away, you old people," fell asleep.

"Sweet, and to the point," said Little Mildred. "What's the use of getting wroth? Let's make the poor devil comfortable."

But that was a matter suddenly and swiftly taken from the loving hands of the White Hussars. The lieutenant had returned only to go away again three days later, when the wail of the "Dead March" and the tramp of the squadrons told the wondering station, that saw no gap in the table, an officer of the regiment had resigned his new-found commission.

And Dirkovitch—bland, supple, and always genial—went away too by a night train. Little Mildred and another saw him off, for he was the guest of the mess, and even had he smitten the colonel with the open hand the law of the mess allowed no relaxation of hospitality.

"Good-by, Dirkovitch, and a pleasant journey," said Little Mildred.

"_Au revoir[22]_ my true friends," said the Russian.

"Indeed! But we thought you were going home?"

"Yes; but I will come again. My friends, is that road shut?" He pointed to where the north star burned over the Khyber Pass.

"By Jove! I forgot. Of course. Happy to meet you, old man, any time you like. Got everything you want,—cheroots, ice, bedding? That's all right. Well, _au revoir_, Dirkovitch."

"Um," said the other man, as the tail-lights of the train grew small. "Of—all—the—unmitigated[23]—"

Little Mildred answered nothing, but watched the north star, and hummed a selection from a recent burlesque that had much delighted the White Hussars. It ran:—

"I'm sorry for Mister Bluebeard,

I'm sorry to cause him pain;

But a terrible spree there's sure to be

When he comes back again."

NOTES

[1] _The Man Who Was_ was written in 1889.

[2] 46:6 anomaly. Deviation from type.

[3] 47:1 Hussars. Light-horse troopers armed with sabre and carbine.

[4] 47:1 Peshawur. City in British India.

[5] 47:7 Tyrones. From a county in Ireland by this name.

[6] 47:26 Burmah. In southeastern Asia. Part of the British Empire.

[7] 47:27 Irrawaddy. Chief river of Burma.

[8] 48:27 Sotnia. Company of the Cossacks.

[9] 50:14 rupee. Indian coin worth about forty-eight cents.

[10] 50:21 vendettas. Private blood-feuds.

[11] 51:14 Punjab. Country of five rivers, tributaries of the Indus.

[12] 81:26 Sambhur. A rusine deer found in India.

[13] 51:26 nilghai. Antelope with hind legs shorter than its fore-legs.

[14] 54:9 expurgated. Purified.

[15] 57:23 renegade. One who deserts his faith.

[16] 58:26 candelabrum. Stand supporting several lamps.

[17] 61:3 urbanely. Politely.

[18] 63:2 Chepany. Town in Siberia.

[19] 63:4 Zhigansk. Town in Siberia.

[20] 63:4 Irkutsk. Province and city in Siberia.

[21] 63:17 Sebastopol. Seaport in Russia.

[22] 65:26 Au revoir. Till we meet again.

[23] 66:6 unmitigated. As bad as can be.

BIOGRAPHICAL REFERENCES

_Essays on Modern Novelists_, William Lyon Phelps.

_A Kipling Primer_, Knowles.

_Rudyard Kipling_, Richard Le Galliene.

"Kipling to French Eyes," _Bookman_, 26: 584.

"Life of Kipling," _Encyclopaedia Britannica.

"Life of Kipling," _The Universal Encyclopedia_.

BIOGRAPHY

Rudyard Kipling, the most vigorous, versatile, and highly endowed of the present-day writers of fiction, was born in Bombay, India, December 30, 1865. His place of birth and extensive travelling make him more Anglo-Saxon than British. His father was for many years connected with the schools of art at Bombay and Lahore in India. His mother, Alice MacDonald, was the daughter of a Methodist clergyman.

Kipling was brought to England when he was five years old to be educated. While in college at Westward Ho he edited the _College Chronicle_. For this paper he contributed regularly, poetry and stories. After his school days and on his return to India, he served on the editorial staff of the Lahore _Civil and Military Gazette_ from 1882 to 1887, and was assistant editor of the _Pioneer_ at Allahabad from 1887 to 1889.

Kipling has travelled extensively. He is at home in India, China, Japan, Africa, Australia, England, and America. The odd part about his realistic observations, however, is that his notes, whether written about California or India, are often repudiated by the people whom he has visited. After visiting England and the United States in a vain effort to find a publisher for his writings, he returned to India and published in the _Pioneer_ his _American Notes_, which were immediately reproduced in book form in New York in 1891.

He married Miss Balestier of New York in 1892. They settled at Brattleboro, Vermont, immediately after their marriage and lived there until 1896. Kipling revisited the United States in 1899. While on this trip he suffered a severe attack of pneumonia which brought out a demonstration of interest from the American people that clearly showed their appreciation of him as a man and a writer.

CRITICISMS

Kipling is journalistic in all his writings. Oftentimes his material is very thin, flippant, and sensational, but he always is interesting, for he possesses the expert reporter's unerring judgment for choosing the essentials of his situation, character, or description, that catch and hold the reader's attention. In his earlier writings, like _Plain Tales from the Hills_ or _The Jungle Books_, the radical racial differences between his characters and readers, and the background of primitive, mysterious India caught the reading world and instantly established Kipling's fame.

His technique is brilliant, his wit keen, and his energy of the bold and dashing military type. This audacious energy leads him very often into sprawling situations, a worship of imperialism, and reckless statements concerning moral and spiritual laws. Unlike Bret Harte, who was in many respects one of Kipling's ideals, he leaves his bad and coarse characters disreputable to the end. This is due in a large measure to the lack of warmth and light in his writings. In contradiction to this type of his works his _William the Conqueror_ and _An Habitation Enforced_ are filled with a gentle-human sympathy that causes us to forget and forgive any vulgarity he may have used in his more primitive and coarse characters. Even Kipling partisans must sometimes wish that Kipling's vision were not so dimmed by the British flag and that he might forget for a time the British soldier he loves so ardently.

His writings since 1899 are much more mechanical than his earlier works. He seems, at times, to resort to the orator's superficial tricks in his attempts to attract readers. The _Athenaeum_, a friendly organ, says of his later work: "In his new part—the missionary of Empire—Mr. Kipling is living the strenuous life. He has frankly abandoned story telling, and is using his complete and powerful armory in the interests of patriotic zeal."

Whatever may be the final judgment of the world concerning Kipling's claim to literary genius, the young student may rest assured that there is no one in England who can compare with this strenuous and versatile writer. He is original and powerful, interesting and realistic. He is a lover of the men who earn their bread by the sweat of their faces and a despiser of "flannelled fools." He lacks the day-dreams of Stevenson and preaches from every housetop the gospel of virile, acting morality. Many of his readers have criticised adversely his spiritual teachings, because of the furious energy with which he denounces an apathetic religion and eulogizes the person who works with all his might, day after day, for the highest he knows and never fears the day of death and judgment.

GENERAL REFERENCES

_The Book of the Short Story_, Alexander Jessup.

_The Short Story in English_, Henry Seidel Canby.

_Bibliography of Kipling's Works_, Eugene P, Saxton.

"Contradictory Elements in Rudyard Kipling," _Current Literature_, 44: 274.

"Where Kipling Stands," _Bookman_, 29: 120-122.

"Are there two Kiplings?" _Cosmopolitan_, 31: 653-660.

"Literary Style of Kipling," _Lippincott_, 73: 99-103.

COLLATERAL READINGS

_The Man Who Would be King_, Rudyard Kipling.

_William the Conqueror_, Rudyard Kipling.

_Phantom Rickshaw_, Rudyard Kipling.

_The Finest Story in the World_, Rudyard Kipling.

_Under the Deodars_, Rudyard Kipling.

_An Habitation Enforced_, Rudyard Kipling.

_Plain Tales from the Hills_, Rudyard Kipling.

_The Light that Failed_, Rudyard Kipling.

_Wee Willie Winkie_, Rudyard Kipling.

_Baa Baa Black Sheep_, Rudyard Kipling.

_Captains Courageous_, Rudyard Kipling.

_The Jungle Books_, Rudyard Kipling.

_They_, Rudyard Kipling.

_The Brushwood Boy_, Rudyard Kipling.

_Christ in Flanders_, Honoré de Balzac.

_The Old Gentleman of the Black Stock_, Thomas Nelson Page.

_A New England Nun_, Mary Wilkins Freeman.

_Outcasts of Poker Flat_, Bret Harte.

_The Siege of Berlin_, Alphonse Dadoed.

_The Prisoner of Assiout_, Grant Allen.

_A Terribly Strange Bed_, Wilkie Collins.

_The Prisoners_, Guy de Maupassant.

_Mr. Isaacs_, F. Marion Crawford.

_Where Love Is, There God Is Also_, Leo Tolstoi.

THE FALL OF THE HOUSE OF USHER [1]

_By Edgar Allan Poe (1809-1849)_

Son coeur est un luth suspendu;

Sitôt qu'on le touche il résonne.

—De Béranger.[2]

During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was; but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible. I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—a few rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium—the bitter lapse into every-day life—the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart—an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime. What was it—I paused to think—what was it that so unnerved me in the contemplation of the House of Usher? It was a mystery all insoluble; nor could I grapple with the shadowy fancies that crowded upon me as I pondered. I was forced to fall back upon the unsatisfactory conclusion that while, beyond doubt, there _are_ combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth. It was possible, I reflected, that a mere different arrangement of the particulars of the scene, of the details of the picture, would be sufficient to modify, or perhaps to annihilate its capacity for sorrowful impression; and, acting upon this idea, I reined my horse to the precipitous brink of a black and lurid tarn[3] that lay in unruffled lustre by the dwelling, and gazed down—but with a shudder even more thrilling than before—upon the remodelled and inverted images of the gray sedge, and the ghastly tree stems, and the vacant and eye-like windows.

Nevertheless, in this mansion of gloom I now proposed to myself a sojourn of some weeks. Its proprietor, Roderick Usher, had been one of my boon companions in boyhood; but many years had elapsed since our last meeting. A letter, however, had lately reached me in a distant part of the country—a letter from him—which, in its wildly importunate nature, had admitted of no other than a personal reply. The Ms. gave evidence of nervous agitation. The writer spoke of acute bodily illness, of a mental disorder which oppressed him, and of an earnest desire to see me, as his best, and indeed his only, personal friend, with a view of attempting, by the cheerfulness of my society, some alleviation of his malady. It was the manner in which all this, and much more, was said—it was the apparent _heart_ that went with his request—which allowed me no room for hesitation; and I accordingly obeyed forthwith what I still considered a very singular summons.

Although, as boys, we had been even intimate associates, yet I really knew little of my friend. His reserve had been always excessive and habitual. I was aware, however, that his very ancient family had been noted, time out of mind, for a peculiar sensibility of temperament, displaying itself, through long ages, in many works of exalted art, and manifested, of late, in repeated deeds of munificent, yet unobtrusive, charity, as well as in a passionate devotion to the intricacies, perhaps even more than to the orthodox and easily recognizable beauties, of musical science. I had learned, too, the very remarkable fact that the stem of the Usher race, all time-honored as it was, had put forth, at no period, any enduring branch; in other words, that the entire family lay in the direct line of descent, and had always, with very trifling and very temporary variation, so lain. It was this deficiency, I considered, while running over in thought the perfect keeping of the character of the premises with the accredited character of the people, and while speculating upon the possible influence which the one, in the long lapse of centuries, might have exercised upon the other—it was this deficiency, perhaps, of collateral issue, and the consequent undeviating transmission, from sire to son, of the patrimony with the name, which had, at length, so identified the two as to merge the original title of the estate in the quaint and equivocal appellation of the _House of Usher_—an appellation which seemed to include, in the minds of the peasantry who used it, both the family and the family mansion.

I have said that the sole effect of my somewhat childish experiment of looking down within the tarn had been to deepen the first singular impression. There can be no doubt that the consciousness of the rapid increase of my superstition—for why should I not so term it?—served mainly to accelerate the increase itself. Such, I have long known, is the paradoxical law of all sentiments having terror as a basis. And it might have been for this reason only, that, when I again uplifted my eyes to the house itself, from its image in the pool, there grew in my mind a strange fancy—a fancy so ridiculous, indeed, that I but mention it to show the vivid force of the sensations which oppressed me. I had so worked upon my imagination as really to believe that about the whole mansion and domain there hung an atmosphere peculiar to themselves and their immediate vicinity—an atmosphere which had no affinity with the air of heaven, but which had reeked up from the decayed trees, and the gray wall, and the silent tarn—a pestilent and mystic vapor, dull, sluggish, faintly discernible, and leaden-hued.

Shaking off from my spirit what _must_ have been a dream, I scanned more narrowly the real aspect of the building. Its principal feature seemed to be that of an excessive antiquity. The discoloration of ages had been great. Minute fungi overspread the whole exterior, hanging in a fine, tangled web-work from the eaves. Yet all this was apart from any extraordinary dilapidation. No portion of the masonry had fallen; and there appeared to be a wild inconsistency between its still perfect adaptation of parts, and the crumbling condition of the individual stones. In this there was much that reminded me of the specious totality of old woodwork which has rotted for years in some neglected vault, with no disturbance from the breath of the external air. Beyond this indication of extensive decay, however, the fabric gave little token of instability. Perhaps the eye of a scrutinizing observer might have discovered a barely perceptible fissure, which, extending from the roof of the building in front, made its way down the wall in a zigzag direction, until it became lost in the sullen waters of the tarn.

Noticing these things, I rode over a short causeway to the house. A servant in waiting took my horse, and I entered the Gothic archway of the hall. A valet, of stealthy step, thence conducted me, in silence, through many dark and intricate passages in my progress to the _studio_ of his master. Much that I encountered on the way contributed, I know not how, to heighten the vague sentiments of which I have already spoken. While the objects around me—while the carvings of the ceilings, the sombre tapestries of the walls, the ebon blackness of the floors, and the phantasmagoric armorial trophies which rattled as I strode, were but matters to which, or to such as which, I had been accustomed from my infancy—while I hesitated not to acknowledge how familiar was all this—I still wondered to find how unfamiliar were the fancies which ordinary images were stirring up. On one of the staircases I met the physician of the family. His countenance, I thought, wore a mingled expression of low cunning and perplexity. He accosted me with trepidation and passed on. The valet now threw open a door and ushered me into the presence of his master.

The room in which I found myself was very large and lofty. The windows were long, narrow, and pointed, and at so vast a distance from the black oaken floor as to be altogether inaccessible from within. Feeble gleams of encrimsoned light made their way through the trellised panes, and served to render sufficiently distinct the more prominent objects around; the eye, however, struggled in vain to reach the remoter angles of the chamber, or the recesses of the vaulted and fretted ceiling. Dark draperies hung upon the walls. The general furniture was profuse, comfortless, antique, and tattered. Many books and musical instruments lay scattered about, but failed to give any vitality to the scene. I felt that I breathed an atmosphere of sorrow. An air of stern, deep, and irredeemable gloom hung over and pervaded all.

Upon my entrance, Usher arose from a sofa on which he had been lying at full length, and greeted me with, a vivacious warmth which had much in it, I at first thought, of an overdone cordiality—of the constrained effort of the _ennuyé_[4] man of the world. A glance, however, at his countenance convinced me of his perfect sincerity. We sat down; and for some moments, while he spoke not. I gazed upon him with a feeling half of pity, half of awe. Surely, man had never before so terribly altered, in so brief a period, as had Roderick Usher! It was with difficulty that I could bring myself to admit the identity of the wan being before me with the companion of my early boyhood. Yet the character of his face had been at all times remarkable. A cadaverousness of complexion; an eye large, liquid, and luminous beyond comparison; lips somewhat thin and very pallid, but of a surpassingly beautiful curve; a nose of a delicate Hebrew model, but with a breadth of nostril unusual in similar formations; a finely moulded chin, speaking, in its want of prominence, of a want of moral energy; hair of a more than web-like softness and tenuity; these features, with an inordinate expansion above the regions of the temple, made up altogether a countenance not easily to be forgotten. And now in the mere exaggeration of the prevailing character of these features, and of the expression they were wont to convey, lay so much of change that I doubted to whom I spoke. The now ghastly pallor of the skin, and the now miraculous lustre of the eye, above all things startled, and even awed me. The silken hair, too, had been suffered to grow all unheeded, and as, in its wild gossamer texture, it floated rather than fell about the face, I could not, even with effort, connect its arabesque expression with any idea of simple humanity.

In the manner of my friend I was at once struck with an incoherence—an inconsistency; and I soon found this to arise from a series of feeble and futile struggles to overcome an habitual trepidancy, an excessive nervous agitation. For something of this nature I had indeed been prepared, no less by his letter than by reminiscences of certain boyish traits, and by conclusions deduced from his peculiar physical conformation and temperament. His action was alternately vivacious and sullen. His voice varied rapidly from a tremulous indecision (when the animal spirits seemed utterly in abeyance) to that species of energetic concision—that abrupt, weighty, unhurried, and hollow-sounding enunciation—that leaden, self-balanced, and perfectly modulated guttural utterance, which may be observed in the lost drunkard, or the irreclaimable eater of opium, during the periods of his most intense excitement.