At half-past ten he heard the family going to bed. For some time he was disturbed by wild shrieks of laughter from the twins, who, with the light-hearted gaiety of schoolboys, were evidently amusing themselves before they retired to rest, but at a quarter past eleven all was still, and, as midnight sounded, he sallied forth. The owl beat against the window panes, the raven croaked from the old yew- tree, and the wind wandered moaning round the house like a lost soul; but the Otis family slept unconscious of their doom, and high above the rain and storm he could hear the steady snoring of the Minister for the United States. He stepped stealthily out of the wainscoting, with an evil smile on his cruel, wrinkled mouth, and the moon hid her face in a cloud as he stole past the great oriel window, where his own arms and those of his murdered wife were blazoned in azure and gold. On and on he glided, like an evil shadow, the very darkness seeming to loathe him as he passed. Once he thought he heard something call, and stopped; but it was only the baying of a dog from the Red Farm, and he went on, muttering strange sixteenth-century curses, and ever and anon brandishing the rusty dagger in the midnight air. Finally he reached the corner of the passage that led to luckless Washington's room. For a moment he paused there, the wind blowing his long grey locks about his head, and twisting into grotesque and fantastic folds the nameless horror of the dead man's shroud. Then the clock struck the quarter, and he felt the time was come. He chuckled to himself, and turned the corner; but no sooner had he done so, than, with a piteous wail of terror, he fell back, and hid his blanched face in his long, bony hands. Right in front of him was standing a horrible spectre, motionless as a carven image, and monstrous as a madman's dream! Its head was bald and burnished; its face round, and fat, and white; and hideous laughter seemed to have writhed its features into an eternal grin. From the eyes streamed rays of scarlet light, the mouth was a wide well of fire, and a hideous garment, like to his own, swathed with its silent snows the Titan form. On its breast was a placard with strange writing in antique characters, some scroll of shame it seemed, some record of wild sins, some awful calendar of crime, and, with its right hand, it bore aloft a falchion of gleaming steel.

Never having seen a ghost before, he naturally was terribly frightened, and, after a second hasty glance at the awful phantom, he fled back to his room, tripping up in his long winding-sheet as he sped down the corridor, and finally dropping the rusty dagger into the Minister's jack-boots, where it was found in the morning by the butler. Once in the privacy of his own apartment, he flung himself down on a small pallet-bed, and hid his face under the clothes. After a time, however, the brave old Canterville spirit asserted itself, and he determined to go and speak to the other ghost as soon as it was daylight. Accordingly, just as the dawn was touching the hills with silver, he returned towards the spot where he had first laid eyes on the grisly phantom, feeling that, after all, two ghosts were better than one, and that, by the aid of his new friend, he might safely grapple with the twins. On reaching the spot, however, a terrible sight met his gaze. Something had evidently happened to the spectre, for the light had entirely faded from its hollow eyes, the gleaming falchion had fallen from its hand, and it was leaning up against the wall in a strained and uncomfortable attitude. He rushed forward and seized it in his arms, when, to his horror, the head slipped off and rolled on the floor, the body assumed a recumbent posture, and he found himself clasping a white dimity bed-curtain, with a sweeping-brush, a kitchen cleaver, and a hollow turnip lying at his feet! Unable to understand this curious transformation, he clutched the placard with feverish haste, and there, in the grey morning light, he read these fearful words:-

YE OLDE GHOSTE

Ye Onlie True and Originale Spook. Beware of Ye Imitationes. All others are Counterfeite.

The whole thing flashed across him. He had been tricked, foiled, and outwitted! The old Canterville look came into his eyes; he ground his toothless gums together; and, raising his withered hands high above his head, swore, according to the picturesque phraseology of the antique school, that when Chanticleer had sounded twice his merry horn, deeds of blood would be wrought, and Murder walk abroad with silent feet.

Hardly had he finished this awful oath when, from the red-tiled roof of a distant homestead, a cock crew. He laughed a long, low, bitter laugh, and waited. Hour after hour he waited, but the cock, for some strange reason, did not crow again. Finally, at half-past seven, the arrival of the housemaids made him give up his fearful vigil, and he stalked back to his room, thinking of his vain hope and baffled purpose. There he consulted several books of ancient chivalry, of which he was exceedingly fond, and found that, on every occasion on which his oath had been used, Chanticleer had always crowed a second time. 'Perdition seize the naughty fowl,' he muttered, 'I have seen the day when, with my stout spear, I would have run him through the gorge, and made him crow for me an 'twere in death!' He then retired to a comfortable lead coffin, and stayed there till evening.



CHAPTER IV



The next day the ghost was very weak and tired. The terrible excitement of the last four weeks was beginning to have its effect. His nerves were completely shattered, and he started at the slightest noise. For five days he kept his room, and at last made up his mind to give up the point of the blood-stain on the library floor. If the Otis family did not want it, they clearly did not deserve it. They were evidently people on a low, material plane of existence, and quite incapable of appreciating the symbolic value of sensuous phenomena. The question of phantasmic apparitions, and the development of astral bodies, was of course quite a different matter, and really not under his control. It was his solemn duty to appear in the corridor once a week, and to gibber from the large oriel window on the first and third Wednesday in every month, and he did not see how he could honourably escape from his obligations. It is quite true that his life had been very evil, but, upon the other hand, he was most conscientious in all things connected with the supernatural. For the next three Saturdays, accordingly, he traversed the corridor as usual between midnight and three o'clock, taking every possible precaution against being either heard or seen. He removed his boots, trod as lightly as possible on the old worm- eaten boards, wore a large black velvet cloak, and was careful to use the Rising Sun Lubricator for oiling his chains. I am bound to acknowledge that it was with a good deal of difficulty that he brought himself to adopt this last mode of protection. However, one night, while the family were at dinner, he slipped into Mr. Otis's bedroom and carried off the bottle. He felt a little humiliated at first, but afterwards was sensible enough to see that there was a great deal to be said for the invention, and, to a certain degree, it served his purpose. Still, in spite of everything, he was not left unmolested. Strings were continually being stretched across the corridor, over which he tripped in the dark, and on one occasion, while dressed for the part of 'Black Isaac, or the Huntsman of Hogley Woods,' he met with a severe fall, through treading on a butter-slide, which the twins had constructed from the entrance of the Tapestry Chamber to the top of the oak staircase. This last insult so enraged him, that he resolved to make one final effort to assert his dignity and social position, and determined to visit the insolent young Etonians the next night in his celebrated character of 'Reckless Rupert, or the Headless Earl.'

He had not appeared in this disguise for more than seventy years; in fact, not since he had so frightened pretty Lady Barbara Modish by means of it, that she suddenly broke off her engagement with the present Lord Canterville's grandfather, and ran away to Gretna Green with handsome Jack Castleton, declaring that nothing in the world would induce her to marry into a family that allowed such a horrible phantom to walk up and down the terrace at twilight. Poor Jack was afterwards shot in a duel by Lord Canterville on Wandsworth Common, and Lady Barbara died of a broken heart at Tunbridge Wells before the year was out, so, in every way, it had been a great success. It was, however, an extremely difficult 'make-up,' if I may use such a theatrical expression in connection with one of the greatest mysteries of the supernatural, or, to employ a more scientific term, the higher-natural world, and it took him fully three hours to make his preparations. At last everything was ready, and he was very pleased with his appearance. The big leather riding-boots that went with the dress were just a little too large for him, and he could only find one of the two horse-pistols, but, on the whole, he was quite satisfied, and at a quarter past one he glided out of the wainscoting and crept down the corridor. On reaching the room occupied by the twins, which I should mention was called the Blue Bed Chamber, on account of the colour of its hangings, he found the door just ajar. Wishing to make an effective entrance, he flung it wide open, when a heavy jug of water fell right down on him, wetting him to the skin, and just missing his left shoulder by a couple of inches. At the same moment he heard stifled shrieks of laughter proceeding from the four-post bed. The shock to his nervous system was so great that he fled back to his room as hard as he could go, and the next day he was laid up with a severe cold. The only thing that at all consoled him in the whole affair was the fact that he had not brought his head with him, for, had he done so, the consequences might have been very serious.

He now gave up all hope of ever frightening this rude American family, and contented himself, as a rule, with creeping about the passages in list slippers, with a thick red muffler round his throat for fear of draughts, and a small arquebuse, in case he should be attacked by the twins. The final blow he received occurred on the 19th of September. He had gone downstairs to the great entrance- hall, feeling sure that there, at any rate, he would be quite unmolested, and was amusing himself by making satirical remarks on the large Saroni photographs of the United States Minister and his wife, which had now taken the place of the Canterville family pictures. He was simply but neatly clad in a long shroud, spotted with churchyard mould, had tied up his jaw with a strip of yellow linen, and carried a small lantern and a sexton's spade. In fact, he was dressed for the character of 'Jonas the Graveless, or the Corpse-Snatcher of Chertsey Barn,' one of his most remarkable impersonations, and one which the Cantervilles had every reason to remember, as it was the real origin of their quarrel with their neighbour, Lord Rufford. It was about a quarter past two o'clock in the morning, and, as far as he could ascertain, no one was stirring. As he was strolling towards the library, however, to see if there were any traces left of the blood-stain, suddenly there leaped out on him from a dark corner two figures, who waved their arms wildly above their heads, and shrieked out 'BOO!' in his ear.

Seized with a panic, which, under the circumstances, was only natural, he rushed for the staircase, but found Washington Otis waiting for him there with the big garden-syringe; and being thus hemmed in by his enemies on every side, and driven almost to bay, he vanished into the great iron stove, which, fortunately for him, was not lit, and had to make his way home through the flues and chimneys, arriving at his own room in a terrible state of dirt, disorder, and despair.

After this he was not seen again on any nocturnal expedition. The twins lay in wait for him on several occasions, and strewed the passages with nutshells every night to the great annoyance of their parents and the servants, but it was of no avail. It was quite evident that his feelings were so wounded that he would not appear. Mr. Otis consequently resumed his great work on the history of the Democratic Party, on which he had been engaged for some years; Mrs. Otis organised a wonderful clam-bake, which amazed the whole county; the boys took to lacrosse, euchre, poker, and other American national games; and Virginia rode about the lanes on her pony, accompanied by the young Duke of Cheshire, who had come to spend the last week of his holidays at Canterville Chase. It was generally assumed that the ghost had gone away, and, in fact, Mr. Otis wrote a letter to that effect to Lord Canterville, who, in reply, expressed his great pleasure at the news, and sent his best congratulations to the Minister's worthy wife.

The Otises, however, were deceived, for the ghost was still in the house, and though now almost an invalid, was by no means ready to let matters rest, particularly as he heard that among the guests was the young Duke of Cheshire, whose grand-uncle, Lord Francis Stilton, had once bet a hundred guineas with Colonel Carbury that he would play dice with the Canterville ghost, and was found the next morning lying on the floor of the card-room in such a helpless paralytic state, that though he lived on to a great age, he was never able to say anything again but 'Double Sixes.' The story was well known at the time, though, of course, out of respect to the feelings of the two noble families, every attempt was made to hush it up; and a full account of all the circumstances connected with it will be found in the third volume of Lord Tattle's Recollections of the Prince Regent and his Friends. The ghost, then, was naturally very anxious to show that he had not lost his influence over the Stiltons, with whom, indeed, he was distantly connected, his own first cousin having been married en secondes noces to the Sieur de Bulkeley, from whom, as every one knows, the Dukes of Cheshire are lineally descended. Accordingly, he made arrangements for appearing to Virginia's little lover in his celebrated impersonation of 'The Vampire Monk, or, the Bloodless Benedictine,' a performance so horrible that when old Lady Startup saw it, which she did on one fatal New Year's Eve, in the year 1764, she went off into the most piercing shrieks, which culminated in violent apoplexy, and died in three days, after disinheriting the Cantervilles, who were her nearest relations, and leaving all her money to her London apothecary. At the last moment, however, his terror of the twins prevented his leaving his room, and the little Duke slept in peace under the great feathered canopy in the Royal Bedchamber, and dreamed of Virginia.



CHAPTER V



A few days after this, Virginia and her curly-haired cavalier went out riding on Brockley meadows, where she tore her habit so badly in getting through a hedge, that, on her return home, she made up her mind to go up by the back staircase so as not to be seen. As she was running past the Tapestry Chamber, the door of which happened to be open, she fancied she saw some one inside, and thinking it was her mother's maid, who sometimes used to bring her work there, looked in to ask her to mend her habit. To her immense surprise, however, it was the Canterville Ghost himself! He was sitting by the window, watching the ruined gold of the yellowing trees fly through the air, and the red leaves dancing madly down the long avenue. His head was leaning on his hand, and his whole attitude was one of extreme depression. Indeed, so forlorn, and so much out of repair did he look, that little Virginia, whose first idea had been to run away and lock herself in her room, was filled with pity, and determined to try and comfort him. So light was her footfall, and so deep his melancholy, that he was not aware of her presence till she spoke to him.

'I am so sorry for you,' she said, 'but my brothers are going back to Eton to-morrow, and then, if you behave yourself, no one will annoy you.'

'It is absurd asking me to behave myself,' he answered, looking round in astonishment at the pretty little girl who had ventured to address him, 'quite absurd. I must rattle my chains, and groan through keyholes, and walk about at night, if that is what you mean. It is my only reason for existing.'

'It is no reason at all for existing, and you know you have been very wicked. Mrs. Umney told us, the first day we arrived here, that you had killed your wife.'

'Well, I quite admit it,' said the Ghost petulantly, 'but it was a purely family matter, and concerned no one else.'

'It is very wrong to kill any one,' said Virginia, who at times had a sweet Puritan gravity, caught from some old New England ancestor.

'Oh, I hate the cheap severity of abstract ethics! My wife was very plain, never had my ruffs properly starched, and knew nothing about cookery. Why, there was a buck I had shot in Hogley Woods, a magnificent pricket, and do you know how she had it sent up to table? However, it is no matter now, for it is all over, and I don't think it was very nice of her brothers to starve me to death, though I did kill her.'

'Starve you to death? Oh, Mr. Ghost, I mean Sir Simon, are you hungry? I have a sandwich in my case. Would you like it?'

'No, thank you, I never eat anything now; but it is very kind of you, all the same, and you are much nicer than the rest of your horrid, rude, vulgar, dishonest family.'

'Stop!' cried Virginia, stamping her foot, 'it is you who are rude, and horrid, and vulgar, and as for dishonesty, you know you stole the paints out of my box to try and furbish up that ridiculous blood-stain in the library. First you took all my reds, including the vermilion, and I couldn't do any more sunsets, then you took the emerald-green and the chrome-yellow, and finally I had nothing left but indigo and Chinese white, and could only do moonlight scenes, which are always depressing to look at, and not at all easy to paint. I never told on you, though I was very much annoyed, and it was most ridiculous, the whole thing; for who ever heard of emerald- green blood?'

'Well, really,' said the Ghost, rather meekly, 'what was I to do? It is a very difficult thing to get real blood nowadays, and, as your brother began it all with his Paragon Detergent, I certainly saw no reason why I should not have your paints. As for colour, that is always a matter of taste: the Cantervilles have blue blood, for instance, the very bluest in England; but I know you Americans don't care for things of this kind.'

'You know nothing about it, and the best thing you can do is to emigrate and improve your mind. My father will be only too happy to give you a free passage, and though there is a heavy duty on spirits of every kind, there will be no difficulty about the Custom House, as the officers are all Democrats. Once in New York, you are sure to be a great success. I know lots of people there who would give a hundred thousand dollars to have a grandfather, and much more than that to have a family Ghost.'

'I don't think I should like America.'

'I suppose because we have no ruins and no curiosities,' said Virginia satirically.

'No ruins! no curiosities!' answered the Ghost; 'you have your navy and your manners.'

'Good evening; I will go and ask papa to get the twins an extra week's holiday.'

'Please don't go, Miss Virginia,' he cried; 'I am so lonely and so unhappy, and I really don't know what to do. I want to go to sleep and I cannot.'

'That's quite absurd! You have merely to go to bed and blow out the candle. It is very difficult sometimes to keep awake, especially at church, but there is no difficulty at all about sleeping. Why, even babies know how to do that, and they are not very clever.'

'I have not slept for three hundred years,' he said sadly, and Virginia's beautiful blue eyes opened in wonder; 'for three hundred years I have not slept, and I am so tired.'

Virginia grew quite grave, and her little lips trembled like rose- leaves. She came towards him, and kneeling down at his side, looked up into his old withered face.

'Poor, poor Ghost,' she murmured; 'have you no place where you can sleep?'

'Far away beyond the pine-woods,' he answered, in a low dreamy voice, 'there is a little garden. There the grass grows long and deep, there are the great white stars of the hemlock flower, there the nightingale sings all night long. All night long he sings, and the cold, crystal moon looks down, and the yew-tree spreads out its giant arms over the sleepers.'

Virginia's eyes grew dim with tears, and she hid her face in her hands.

'You mean the Garden of Death,' she whispered.

'Yes, Death. Death must be so beautiful. To lie in the soft brown earth, with the grasses waving above one's head, and listen to silence. To have no yesterday, and no to-morrow. To forget time, to forgive life, to be at peace. You can help me. You can open for me the portals of Death's house, for Love is always with you, and Love is stronger than Death is.'

Virginia trembled, a cold shudder ran through her, and for a few moments there was silence. She felt as if she was in a terrible dream.

Then the Ghost spoke again, and his voice sounded like the sighing of the wind.

'Have you ever read the old prophecy on the library window?'

'Oh, often,' cried the little girl, looking up; 'I know it quite well. It is painted in curious black letters, and it is difficult to read. There are only six lines:

When a golden girl can win Prayer from out the lips of sin, When the barren almond bears, And a little child gives away its tears, Then shall all the house be still And peace come to Canterville.

But I don't know what they mean.'

'They mean,' he said sadly, 'that you must weep for me for my sins, because I have no tears, and pray with me for my soul, because I have no faith, and then, if you have always been sweet, and good, and gentle, the Angel of Death will have mercy on me. You will see fearful shapes in darkness, and wicked voices will whisper in your ear, but they will not harm you, for against the purity of a little child the powers of Hell cannot prevail.'

Virginia made no answer, and the Ghost wrung his hands in wild despair as he looked down at her bowed golden head. Suddenly she stood up, very pale, and with a strange light in her eyes. 'I am not afraid,' she said firmly, 'and I will ask the Angel to have mercy on you.'

He rose from his seat with a faint cry of joy, and taking her hand bent over it with old-fashioned grace and kissed it. His fingers were as cold as ice, and his lips burned like fire, but Virginia did not falter, as he led her across the dusky room. On the faded green tapestry were broidered little huntsmen. They blew their tasselled horns and with their tiny hands waved to her to go back. 'Go back! little Virginia,' they cried, 'go back!' but the Ghost clutched her hand more tightly, and she shut her eyes against them. Horrible animals with lizard tails, and goggle eyes, blinked at her from the carven chimney-piece, and murmured 'Beware! little Virginia, beware! we may never see you again,' but the Ghost glided on more swiftly, and Virginia did not listen. When they reached the end of the room he stopped, and muttered some words she could not understand. She opened her eyes, and saw the wall slowly fading away like a mist, and a great black cavern in front of her. A bitter cold wind swept round them, and she felt something pulling at her dress. 'Quick, quick,' cried the Ghost, 'or it will be too late,' and, in a moment, the wainscoting had closed behind them, and the Tapestry Chamber was empty.



CHAPTER VI



About ten minutes later, the bell rang for tea, and, as Virginia did not come down, Mrs. Otis sent up one of the footmen to tell her. After a little time he returned and said that he could not find Miss Virginia anywhere. As she was in the habit of going out to the garden every evening to get flowers for the dinner-table, Mrs. Otis was not at all alarmed at first, but when six o'clock struck, and Virginia did not appear, she became really agitated, and sent the boys out to look for her, while she herself and Mr. Otis searched every room in the house. At half-past six the boys came back and said that they could find no trace of their sister anywhere. They were all now in the greatest state of excitement, and did not know what to do, when Mr. Otis suddenly remembered that, some few days before, he had given a band of gypsies permission to camp in the park. He accordingly at once set off for Blackfell Hollow, where he knew they were, accompanied by his eldest son and two of the farm- servants. The little Duke of Cheshire, who was perfectly frantic with anxiety, begged hard to be allowed to go too, but Mr. Otis would not allow him, as he was afraid there might be a scuffle. On arriving at the spot, however, he found that the gypsies had gone, and it was evident that their departure had been rather sudden, as the fire was still burning, and some plates were lying on the grass. Having sent off Washington and the two men to scour the district, he ran home, and despatched telegrams to all the police inspectors in the county, telling them to look out for a little girl who had been kidnapped by tramps or gypsies. He then ordered his horse to be brought round, and, after insisting on his wife and the three boys sitting down to dinner, rode off down the Ascot Road with a groom. He had hardly, however, gone a couple of miles when he heard somebody galloping after him, and, looking round, saw the little Duke coming up on his pony, with his face very flushed and no hat. 'I'm awfully sorry, Mr. Otis,' gasped out the boy, 'but I can't eat any dinner as long as Virginia is lost. Please, don't be angry with me; if you had let us be engaged last year, there would never have been all this trouble. You won't send me back, will you? I can't go! I won't go!'

The Minister could not help smiling at the handsome young scapegrace, and was a good deal touched at his devotion to Virginia, so leaning down from his horse, he patted him kindly on the shoulders, and said, 'Well, Cecil, if you won't go back I suppose you must come with me, but I must get you a hat at Ascot.'

'Oh, bother my hat! I want Virginia!' cried the little Duke, laughing, and they galloped on to the railway station. There Mr. Otis inquired of the station-master if any one answering the description of Virginia had been seen on the platform, but could get no news of her. The station-master, however, wired up and down the line, and assured him that a strict watch would be kept for her, and, after having bought a hat for the little Duke from a linen- draper, who was just putting up his shutters, Mr. Otis rode off to Bexley, a village about four miles away, which he was told was a well-known haunt of the gypsies, as there was a large common next to it. Here they roused up the rural policeman, but could get no information from him, and, after riding all over the common, they turned their horses' heads homewards, and reached the Chase about eleven o'clock, dead-tired and almost heart-broken. They found Washington and the twins waiting for them at the gate-house with lanterns, as the avenue was very dark. Not the slightest trace of Virginia had been discovered. The gypsies had been caught on Brockley meadows, but she was not with them, and they had explained their sudden departure by saying that they had mistaken the date of Chorton Fair, and had gone off in a hurry for fear they might be late. Indeed, they had been quite distressed at hearing of Virginia's disappearance, as they were very grateful to Mr. Otis for having allowed them to camp in his park, and four of their number had stayed behind to help in the search. The carp-pond had been dragged, and the whole Chase thoroughly gone over, but without any result. It was evident that, for that night at any rate, Virginia was lost to them; and it was in a state of the deepest depression that Mr Otis and the boys walked up to the house, the groom following behind with the two horses and the pony. In the hall they found a group of frightened servants, and lying on a sofa in the library was poor Mrs. Otis, almost out of her mind with terror and anxiety, and having her forehead bathed with eau-de-cologne by the old housekeeper. Mr. Otis at once insisted on her having something to eat, and ordered up supper for the whole party. It was a melancholy meal, as hardly any one spoke, and even the twins were awestruck and subdued, as they were very fond of their sister. When they had finished, Mr. Otis, in spite of the entreaties of the little Duke, ordered them all to bed, saying that nothing more could be done that night, and that he would telegraph in the morning to Scotland Yard for some detectives to be sent down immediately. Just as they were passing out of the dining-room, midnight began to boom from the clock tower, and when the last stroke sounded they heard a crash and a sudden shrill cry; a dreadful peal of thunder shook the house, a strain of unearthly music floated through the air, a panel at the top of the staircase flew back with a loud noise, and out on the landing, looking very pale and white, with a little casket in her hand, stepped Virginia. In a moment they had all rushed up to her. Mrs. Otis clasped her passionately in her arms, the Duke smothered her with violent kisses, and the twins executed a wild war-dance round the group.

'Good heavens! child, where have you been?' said Mr. Otis, rather angrily, thinking that she had been playing some foolish trick on them. 'Cecil and I have been riding all over the country looking for you, and your mother has been frightened to death. You must never play these practical jokes any more.'

'Except on the Ghost! except on the Ghost!' shrieked the twins, as they capered about.

'My own darling, thank God you are found; you must never leave my side again,' murmured Mrs. Otis, as she kissed the trembling child, and smoothed the tangled gold of her hair.

'Papa,' said Virginia quietly, 'I have been with the Ghost. He is dead, and you must come and see him. He had been very wicked, but he was really sorry for all that he had done, and he gave me this box of beautiful jewels before he died.'

The whole family gazed at her in mute amazement, but she was quite grave and serious; and, turning round, she led them through the opening in the wainscoting down a narrow secret corridor, Washington following with a lighted candle, which he had caught up from the table. Finally, they came to a great oak door, studded with rusty nails. When Virginia touched it, it swung back on its heavy hinges, and they found themselves in a little low room, with a vaulted ceiling, and one tiny grated window. Imbedded in the wall was a huge iron ring, and chained to it was a gaunt skeleton, that was stretched out at full length on the stone floor, and seemed to be trying to grasp with its long fleshless fingers an old-fashioned trencher and ewer, that were placed just out of its reach. The jug had evidently been once filled with water, as it was covered inside with green mould. There was nothing on the trencher but a pile of dust. Virginia knelt down beside the skeleton, and, folding her little hands together, began to pray silently, while the rest of the party looked on in wonder at the terrible tragedy whose secret was now disclosed to them.

'Hallo!' suddenly exclaimed one of the twins, who had been looking out of the window to try and discover in what wing of the house the room was situated. 'Hallo! the old withered almond-tree has blossomed. I can see the flowers quite plainly in the moonlight.'

'God has forgiven him,' said Virginia gravely, as she rose to her feet, and a beautiful light seemed to illumine her face.

'What an angel you are!' cried the young Duke, and he put his arm round her neck and kissed her.



CHAPTER VII



Four days after these curious incidents a funeral started from Canterville Chase at about eleven o'clock at night. The hearse was drawn by eight black horses, each of which carried on its head a great tuft of nodding ostrich-plumes, and the leaden coffin was covered by a rich purple pall, on which was embroidered in gold the Canterville coat-of-arms. By the side of the hearse and the coaches walked the servants with lighted torches, and the whole procession was wonderfully impressive. Lord Canterville was the chief mourner, having come up specially from Wales to attend the funeral, and sat in the first carriage along with little Virginia. Then came the United States Minister and his wife, then Washington and the three boys, and in the last carriage was Mrs. Umney. It was generally felt that, as she had been frightened by the ghost for more than fifty years of her life, she had a right to see the last of him. A deep grave had been dug in the corner of the churchyard, just under the old yew-tree, and the service was read in the most impressive manner by the Rev. Augustus Dampier. When the ceremony was over, the servants, according to an old custom observed in the Canterville family, extinguished their torches, and, as the coffin was being lowered into the grave, Virginia stepped forward and laid on it a large cross made of white and pink almond-blossoms. As she did so, the moon came out from behind a cloud, and flooded with its silent silver the little churchyard, and from a distant copse a nightingale began to sing. She thought of the ghost's description of the Garden of Death, her eyes became dim with tears, and she hardly spoke a word during the drive home.

The next morning, before Lord Canterville went up to town, Mr. Otis had an interview with him on the subject of the jewels the ghost had given to Virginia. They were perfectly magnificent, especially a certain ruby necklace with old Venetian setting, which was really a superb specimen of sixteenth-century work, and their value was so great that Mr. Otis felt considerable scruples about allowing his daughter to accept them.

'My lord,' he said, 'I know that in this country mortmain is held to apply to trinkets as well as to land, and it is quite clear to me that these jewels are, or should be, heirlooms in your family. I must beg you, accordingly, to take them to London with you, and to regard them simply as a portion of your property which has been restored to you under certain strange conditions. As for my daughter, she is merely a child, and has as yet, I am glad to say, but little interest in such appurtenances of idle luxury. I am also informed by Mrs. Otis, who, I may say, is no mean authority upon Art—having had the privilege of spending several winters in Boston when she was a girl—that these gems are of great monetary worth, and if offered for sale would fetch a tall price. Under these circumstances, Lord Canterville, I feel sure that you will recognise how impossible it would be for me to allow them to remain in the possession of any member of my family; and, indeed, all such vain gauds and toys, however suitable or necessary to the dignity of the British aristocracy, would be completely out of place among those who have been brought up on the severe, and I believe immortal, principles of republican simplicity. Perhaps I should mention that Virginia is very anxious that you should allow her to retain the box as a memento of your unfortunate but misguided ancestor. As it is extremely old, and consequently a good deal out of repair, you may perhaps think fit to comply with her request. For my own part, I confess I am a good deal surprised to find a child of mine expressing sympathy with mediaevalism in any form, and can only account for it by the fact that Virginia was born in one of your London suburbs shortly after Mrs. Otis had returned from a trip to Athens.'

Lord Canterville listened very gravely to the worthy Minister's speech, pulling his grey moustache now and then to hide an involuntary smile, and when Mr. Otis had ended, he shook him cordially by the hand, and said, 'My dear sir, your charming little daughter rendered my unlucky ancestor, Sir Simon, a very important service, and I and my family are much indebted to her for her marvellous courage and pluck. The jewels are clearly hers, and, egad, I believe that if I were heartless enough to take them from her, the wicked old fellow would be out of his grave in a fortnight, leading me the devil of a life. As for their being heirlooms, nothing is an heirloom that is not so mentioned in a will or legal document, and the existence of these jewels has been quite unknown. I assure you I have no more claim on them than your butler, and when Miss Virginia grows up I daresay she will be pleased to have pretty things to wear. Besides, you forget, Mr. Otis, that you took the furniture and the ghost at a valuation, and anything that belonged to the ghost passed at once into your possession, as, whatever activity Sir Simon may have shown in the corridor at night, in point of law he was really dead, and you acquired his property by purchase.'

Mr. Otis was a good deal distressed at Lord Canterville's refusal, and begged him to reconsider his decision, but the good-natured peer was quite firm, and finally induced the Minister to allow his daughter to retain the present the ghost had given her, and when, in the spring of 1890, the young Duchess of Cheshire was presented at the Queen's first drawing-room on the occasion of her marriage, her jewels were the universal theme of admiration. For Virginia received the coronet, which is the reward of all good little American girls, and was married to her boy-lover as soon as he came of age. They were both so charming, and they loved each other so much, that every one was delighted at the match, except the old Marchioness of Dumbleton, who had tried to catch the Duke for one of her seven unmarried daughters, and had given no less than three expensive dinner-parties for that purpose, and, strange to say, Mr. Otis himself. Mr. Otis was extremely fond of the young Duke personally, but, theoretically, he objected to titles, and, to use his own words, 'was not without apprehension lest, amid the enervating influences of a pleasure-loving aristocracy, the true principles of republican simplicity should be forgotten.' His objections, however, were completely overruled, and I believe that when he walked up the aisle of St. George's, Hanover Square, with his daughter leaning on his arm, there was not a prouder man in the whole length and breadth of England.

The Duke and Duchess, after the honeymoon was over, went down to Canterville Chase, and on the day after their arrival they walked over in the afternoon to the lonely churchyard by the pine-woods. There had been a great deal of difficulty at first about the inscription on Sir Simon's tombstone, but finally it had been decided to engrave on it simply the initials of the old gentleman's name, and the verse from the library window. The Duchess had brought with her some lovely roses, which she strewed upon the grave, and after they had stood by it for some time they strolled into the ruined chancel of the old abbey. There the Duchess sat down on a fallen pillar, while her husband lay at her feet smoking a cigarette and looking up at her beautiful eyes. Suddenly he threw his cigarette away, took hold of her hand, and said to her, 'Virginia, a wife should have no secrets from her husband.'

'Dear Cecil! I have no secrets from you.'

'Yes, you have,' he answered, smiling, 'you have never told me what happened to you when you were locked up with the ghost.'

'I have never told any one, Cecil,' said Virginia gravely.

'I know that, but you might tell me.'

'Please don't ask me, Cecil, I cannot tell you. Poor Sir Simon! I owe him a great deal. Yes, don't laugh, Cecil, I really do. He made me see what Life is, and what Death signifies, and why Love is stronger than both.'

The Duke rose and kissed his wife lovingly.

'You can have your secret as long as I have your heart,' he murmured.

'You have always had that, Cecil.'

'And you will tell our children some day, won't you?'

Virginia blushed.



THE SPHINX WITHOUT A SECRET



One afternoon I was sitting outside the Cafe de la Paix, watching the splendour and shabbiness of Parisian life, and wondering over my vermouth at the strange panorama of pride and poverty that was passing before me, when I heard some one call my name. I turned round, and saw Lord Murchison. We had not met since we had been at college together, nearly ten years before, so I was delighted to come across him again, and we shook hands warmly. At Oxford we had been great friends. I had liked him immensely, he was so handsome, so high-spirited, and so honourable. We used to say of him that he would be the best of fellows, if he did not always speak the truth, but I think we really admired him all the more for his frankness. I found him a good deal changed. He looked anxious and puzzled, and seemed to be in doubt about something. I felt it could not be modern scepticism, for Murchison was the stoutest of Tories, and believed in the Pentateuch as firmly as he believed in the House of Peers; so I concluded that it was a woman, and asked him if he was married yet.

'I don't understand women well enough,' he answered.

'My dear Gerald,' I said, 'women are meant to be loved, not to be understood.'

'I cannot love where I cannot trust,' he replied.

'I believe you have a mystery in your life, Gerald,' I exclaimed; 'tell me about it.'

'Let us go for a drive,' he answered, 'it is too crowded here. No, not a yellow carriage, any other colour—there, that dark green one will do'; and in a few moments we were trotting down the boulevard in the direction of the Madeleine.

'Where shall we go to?' I said.

'Oh, anywhere you like!' he answered—'to the restaurant in the Bois; we will dine there, and you shall tell me all about yourself.'

'I want to hear about you first,' I said. 'Tell me your mystery.'

He took from his pocket a little silver-clasped morocco case, and handed it to me. I opened it. Inside there was the photograph of a woman. She was tall and slight, and strangely picturesque with her large vague eyes and loosened hair. She looked like a clairvoyante, and was wrapped in rich furs.

'What do you think of that face?' he said; 'is it truthful?'

I examined it carefully. It seemed to me the face of some one who had a secret, but whether that secret was good or evil I could not say. Its beauty was a beauty moulded out of many mysteries—the beauty, in fact, which is psychological, not plastic—and the faint smile that just played across the lips was far too subtle to be really sweet.

'Well,' he cried impatiently, 'what do you say?'

'She is the Gioconda in sables,' I answered. 'Let me know all about her.'

'Not now,' he said; 'after dinner,' and began to talk of other things.

When the waiter brought us our coffee and cigarettes I reminded Gerald of his promise. He rose from his seat, walked two or three times up and down the room, and, sinking into an armchair, told me the following story:-

'One evening,' he said, 'I was walking down Bond Street about five o'clock. There was a terrific crush of carriages, and the traffic was almost stopped. Close to the pavement was standing a little yellow brougham, which, for some reason or other, attracted my attention. As I passed by there looked out from it the face I showed you this afternoon. It fascinated me immediately. All that night I kept thinking of it, and all the next day. I wandered up and down that wretched Row, peering into every carriage, and waiting for the yellow brougham; but I could not find ma belle inconnue, and at last I began to think she was merely a dream. About a week afterwards I was dining with Madame de Rastail. Dinner was for eight o'clock; but at half-past eight we were still waiting in the drawing-room. Finally the servant threw open the door, and announced Lady Alroy. It was the woman I had been looking for. She came in very slowly, looking like a moonbeam in grey lace, and, to my intense delight, I was asked to take her in to dinner. After we had sat down, I remarked quite innocently, "I think I caught sight of you in Bond Street some time ago, Lady Alroy." She grew very pale, and said to me in a low voice, "Pray do not talk so loud; you may be overheard." I felt miserable at having made such a bad beginning, and plunged recklessly into the subject of the French plays. She spoke very little, always in the same low musical voice, and seemed as if she was afraid of some one listening. I fell passionately, stupidly in love, and the indefinable atmosphere of mystery that surrounded her excited my most ardent curiosity. When she was going away, which she did very soon after dinner, I asked her if I might call and see her. She hesitated for a moment, glanced round to see if any one was near us, and then said, "Yes; to-morrow at a quarter to five." I begged Madame de Rastail to tell me about her; but all that I could learn was that she was a widow with a beautiful house in Park Lane, and as some scientific bore began a dissertation on widows, as exemplifying the survival of the matrimonially fittest, I left and went home.

'The next day I arrived at Park Lane punctual to the moment, but was told by the butler that Lady Alroy had just gone out. I went down to the club quite unhappy and very much puzzled, and after long consideration wrote her a letter, asking if I might be allowed to try my chance some other afternoon. I had no answer for several days, but at last I got a little note saying she would be at home on Sunday at four and with this extraordinary postscript: "Please do not write to me here again; I will explain when I see you." On Sunday she received me, and was perfectly charming; but when I was going away she begged of me, if I ever had occasion to write to her again, to address my letter to "Mrs. Knox, care of Whittaker's Library, Green Street." "There are reasons," she said, "why I cannot receive letters in my own house."

'All through the season I saw a great deal of her, and the atmosphere of mystery never left her. Sometimes I thought that she was in the power of some man, but she looked so unapproachable, that I could not believe it. It was really very difficult for me to come to any conclusion, for she was like one of those strange crystals that one sees in museums, which are at one moment clear, and at another clouded. At last I determined to ask her to be my wife: I was sick and tired of the incessant secrecy that she imposed on all my visits, and on the few letters I sent her. I wrote to her at the library to ask her if she could see me the following Monday at six. She answered yes, and I was in the seventh heaven of delight. I was infatuated with her: in spite of the mystery, I thought then—in consequence of it, I see now. No; it was the woman herself I loved. The mystery troubled me, maddened me. Why did chance put me in its track?'

'You discovered it, then?' I cried.

'I fear so,' he answered. 'You can judge for yourself.'

'When Monday came round I went to lunch with my uncle, and about four o'clock found myself in the Marylebone Road. My uncle, you know, lives in Regent's Park. I wanted to get to Piccadilly, and took a short cut through a lot of shabby little streets. Suddenly I saw in front of me Lady Alroy, deeply veiled and walking very fast. On coming to the last house in the street, she went up the steps, took out a latch-key, and let herself in. "Here is the mystery," I said to myself; and I hurried on and examined the house. It seemed a sort of place for letting lodgings. On the doorstep lay her handkerchief, which she had dropped. I picked it up and put it in my pocket. Then I began to consider what I should do. I came to the conclusion that I had no right to spy on her, and I drove down to the club. At six I called to see her. She was lying on a sofa, in a tea-gown of silver tissue looped up by some strange moonstones that she always wore. She was looking quite lovely. "I am so glad to see you," she said; "I have not been out all day." I stared at her in amazement, and pulling the handkerchief out of my pocket, handed it to her. "You dropped this in Cumnor Street this afternoon, Lady Alroy," I said very calmly. She looked at me in terror but made no attempt to take the handkerchief. "What were you doing there?" I asked. "What right have you to question me?" she answered. "The right of a man who loves you," I replied; "I came here to ask you to be my wife." She hid her face in her hands, and burst into floods of tears. "You must tell me," I continued. She stood up, and, looking me straight in the face, said, "Lord Murchison, there is nothing to tell you."—"You went to meet some one," I cried; "this is your mystery." She grew dreadfully white, and said, "I went to meet no one."—"Can't you tell the truth?" I exclaimed. "I have told it," she replied. I was mad, frantic; I don't know what I said, but I said terrible things to her. Finally I rushed out of the house. She wrote me a letter the next day; I sent it back unopened, and started for Norway with Alan Colville. After a month I came back, and the first thing I saw in the Morning Post was the death of Lady Alroy. She had caught a chill at the Opera, and had died in five days of congestion of the lungs. I shut myself up and saw no one. I had loved her so much, I had loved her so madly. Good God! how I had loved that woman!'

'You went to the street, to the house in it?' I said.

'Yes,' he answered.

'One day I went to Cumnor Street. I could not help it; I was tortured with doubt. I knocked at the door, and a respectable- looking woman opened it to me. I asked her if she had any rooms to let. "Well, sir," she replied, "the drawing-rooms are supposed to be let; but I have not seen the lady for three months, and as rent is owing on them, you can have them."—"Is this the lady?" I said, showing the photograph. "That's her, sure enough," she exclaimed; "and when is she coming back, sir?"—"The lady is dead," I replied. "Oh sir, I hope not!" said the woman; "she was my best lodger. She paid me three guineas a week merely to sit in my drawing-rooms now and then." "She met some one here?" I said; but the woman assured me that it was not so, that she always came alone, and saw no one. "What on earth did she do here?" I cried. "She simply sat in the drawing-room, sir, reading books, and sometimes had tea," the woman answered. I did not know what to say, so I gave her a sovereign and went away. Now, what do you think it all meant? You don't believe the woman was telling the truth?'

'I do.'

'Then why did Lady Alroy go there?'

'My dear Gerald,' I answered, 'Lady Alroy was simply a woman with a mania for mystery. She took these rooms for the pleasure of going there with her veil down, and imagining she was a heroine. She had a passion for secrecy, but she herself was merely a Sphinx without a secret.'

'Do you really think so?'

'I am sure of it,' I replied.

He took out the morocco case, opened it, and looked at the photograph. 'I wonder?' he said at last.



THE MODEL MILLIONAIRE



Unless one is wealthy there is no use in being a charming fellow. Romance is the privilege of the rich, not the profession of the unemployed. The poor should be practical and prosaic. It is better to have a permanent income than to be fascinating. These are the great truths of modern life which Hughie Erskine never realised. Poor Hughie! Intellectually, we must admit, he was not of much importance. He never said a brilliant or even an ill-natured thing in his life. But then he was wonderfully good-looking, with his crisp brown hair, his clear-cut profile, and his grey eyes. He was as popular with men as he was with women and he had every accomplishment except that of making money. His father had bequeathed him his cavalry sword and a History of the Peninsular War in fifteen volumes. Hughie hung the first over his looking-glass, put the second on a shelf between Ruff's Guide and Bailey's Magazine, and lived on two hundred a year that an old aunt allowed him. He had tried everything. He had gone on the Stock Exchange for six months; but what was a butterfly to do among bulls and bears? He had been a tea-merchant for a little longer, but had soon tired of pekoe and souchong. Then he had tried selling dry sherry. That did not answer; the sherry was a little too dry. Ultimately he became nothing, a delightful, ineffectual young man with a perfect profile and no profession.

To make matters worse, he was in love. The girl he loved was Laura Merton, the daughter of a retired Colonel who had lost his temper and his digestion in India, and had never found either of them again. Laura adored him, and he was ready to kiss her shoe-strings. They were the handsomest couple in London, and had not a penny-piece between them. The Colonel was very fond of Hughie, but would not hear of any engagement.

'Come to me, my boy, when you have got ten thousand pounds of your own, and we will see about it,' he used to say; and Hughie looked very glum in those days, and had to go to Laura for consolation.

One morning, as he was on his way to Holland Park, where the Mertons lived, he dropped in to see a great friend of his, Alan Trevor. Trevor was a painter. Indeed, few people escape that nowadays. But he was also an artist, and artists are rather rare. Personally he was a strange rough fellow, with a freckled face and a red ragged beard. However, when he took up the brush he was a real master, and his pictures were eagerly sought after. He had been very much attracted by Hughie at first, it must be acknowledged, entirely on account of his personal charm. 'The only people a painter should know,' he used to say, 'are people who are bete and beautiful, people who are an artistic pleasure to look at and an intellectual repose to talk to. Men who are dandies and women who are darlings rule the world, at least they should do so.' However, after he got to know Hughie better, he liked him quite as much for his bright, buoyant spirits and his generous, reckless nature, and had given him the permanent entree to his studio.

When Hughie came in he found Trevor putting the finishing touches to a wonderful life-size picture of a beggar-man. The beggar himself was standing on a raised platform in a corner of the studio. He was a wizened old man, with a face like wrinkled parchment, and a most piteous expression. Over his shoulders was flung a coarse brown cloak, all tears and tatters; his thick boots were patched and cobbled, and with one hand he leant on a rough stick, while with the other he held out his battered hat for alms.

'What an amazing model!' whispered Hughie, as he shook hands with his friend.

'An amazing model?' shouted Trevor at the top of his voice; 'I should think so! Such beggars as he are not to be met with every day. A trouvaille, mon cher; a living Velasquez! My stars! what an etching Rembrandt would have made of him!'

'Poor old chap!' said Hughie, 'how miserable he looks! But I suppose, to you painters, his face is his fortune?'

'Certainly,' replied Trevor, 'you don't want a beggar to look happy, do you?'

'How much does a model get for sitting?' asked Hughie, as he found himself a comfortable seat on a divan.

'A shilling an hour.'

'And how much do you get for your picture, Alan?'

'Oh, for this I get two thousand!'

'Pounds?'

'Guineas. Painters, poets, and physicians always get guineas.'

'Well, I think the model should have a percentage,' cried Hughie, laughing; 'they work quite as hard as you do.'

'Nonsense, nonsense! Why, look at the trouble of laying on the paint alone, and standing all day long at one's easel! It's all very well, Hughie, for you to talk, but I assure you that there are moments when Art almost attains to the dignity of manual labour. But you mustn't chatter; I'm very busy. Smoke a cigarette, and keep quiet.'

After some time the servant came in, and told Trevor that the framemaker wanted to speak to him.

'Don't run away, Hughie,' he said, as he went out, 'I will be back in a moment.'

The old beggar-man took advantage of Trevor's absence to rest for a moment on a wooden bench that was behind him. He looked so forlorn and wretched that Hughie could not help pitying him, and felt in his pockets to see what money he had. All he could find was a sovereign and some coppers. 'Poor old fellow,' he thought to himself, 'he wants it more than I do, but it means no hansoms for a fortnight'; and he walked across the studio and slipped the sovereign into the beggar's hand.

The old man started, and a faint smile flitted across his withered lips. 'Thank you, sir,' he said, 'thank you.'

Then Trevor arrived, and Hughie took his leave, blushing a little at what he had done. He spent the day with Laura, got a charming scolding for his extravagance, and had to walk home.

That night he strolled into the Palette Club about eleven o'clock, and found Trevor sitting by himself in the smoking-room drinking hock and seltzer.

'Well, Alan, did you get the picture finished all right?' he said, as he lit his cigarette.

'Finished and framed, my boy!' answered Trevor; 'and, by the bye, you have made a conquest. That old model you saw is quite devoted to you. I had to tell him all about you—who you are, where you live, what your income is, what prospects you have—'

'My dear Alan,' cried Hughie, 'I shall probably find him waiting for me when I go home. But of course you are only joking. Poor old wretch! I wish I could do something for him. I think it is dreadful that any one should be so miserable. I have got heaps of old clothes at home—do you think he would care for any of them? Why, his rags were falling to bits.'

'But he looks splendid in them,' said Trevor. 'I wouldn't paint him in a frock coat for anything. What you call rags I call romance. What seems poverty to you is picturesqueness to me. However, I'll tell him of your offer.'

'Alan,' said Hughie seriously, 'you painters are a heartless lot.'

'An artist's heart is his head,' replied Trevor; 'and besides, our business is to realise the world as we see it, not to reform it as we know it. A chacun son metier. And now tell me how Laura is. The old model was quite interested in her.'

'You don't mean to say you talked to him about her?' said Hughie.

'Certainly I did. He knows all about the relentless colonel, the lovely Laura, and the 10,000 pounds.'

'You told that old beggar all my private affairs?' cried Hughie, looking very red and angry.

'My dear boy,' said Trevor, smiling, 'that old beggar, as you call him, is one of the richest men in Europe. He could buy all London to-morrow without overdrawing his account. He has a house in every capital, dines off gold plate, and can prevent Russia going to war when he chooses.'

'What on earth do you mean?' exclaimed Hughie.

'What I say,' said Trevor. 'The old man you saw to-day in the studio was Baron Hausberg. He is a great friend of mine, buys all my pictures and that sort of thing, and gave me a commission a month ago to paint him as a beggar. Que voulez-vous? La fantaisie d'un millionnaire! And I must say he made a magnificent figure in his rags, or perhaps I should say in my rags; they are an old suit I got in Spain.'

'Baron Hausberg!' cried Hughie. 'Good heavens! I gave him a sovereign!' and he sank into an armchair the picture of dismay.

'Gave him a sovereign!' shouted Trevor, and he burst into a roar of laughter. 'My dear boy, you'll never see it again. Son affaire c'est l'argent des autres.'

'I think you might have told me, Alan,' said Hughie sulkily, 'and not have let me make such a fool of myself.'

'Well, to begin with, Hughie,' said Trevor, 'it never entered my mind that you went about distributing alms in that reckless way. I can understand your kissing a pretty model, but your giving a sovereign to an ugly one—by Jove, no! Besides, the fact is that I really was not at home to-day to any one; and when you came in I didn't know whether Hausberg would like his name mentioned. You know he wasn't in full dress.'

'What a duffer he must think me!' said Hughie.

'Not at all. He was in the highest spirits after you left; kept chuckling to himself and rubbing his old wrinkled hands together. I couldn't make out why he was so interested to know all about you; but I see it all now. He'll invest your sovereign for you, Hughie, pay you the interest every six months, and have a capital story to tell after dinner.'

'I am an unlucky devil,' growled Hughie. 'The best thing I can do is to go to bed; and, my dear Alan, you mustn't tell any one. I shouldn't dare show my face in the Row.'

'Nonsense! It reflects the highest credit on your philanthropic spirit, Hughie. And don't run away. Have another cigarette, and you can talk about Laura as much as you like.'

However, Hughie wouldn't stop, but walked home, feeling very unhappy, and leaving Alan Trevor in fits of laughter.

The next morning, as he was at breakfast, the servant brought him up a card on which was written, 'Monsieur Gustave Naudin, de la part de M. le Baron Hausberg.' 'I suppose he has come for an apology,' said Hughie to himself; and he told the servant to show the visitor up.

An old gentleman with gold spectacles and grey hair came into the room, and said, in a slight French accent, 'Have I the honour of addressing Monsieur Erskine?'

Hughie bowed.

'I have come from Baron Hausberg,' he continued. 'The Baron—'

'I beg, sir, that you will offer him my sincerest apologies,' stammered Hughie.

'The Baron,' said the old gentleman with a smile, 'has commissioned me to bring you this letter'; and he extended a sealed envelope.

On the outside was written, 'A wedding present to Hugh Erskine and Laura Merton, from an old beggar,' and inside was a cheque for 10,000 pounds.

When they were married Alan Trevor was the best man, and the Baron made a speech at the wedding breakfast.

'Millionaire models,' remarked Alan, 'are rare enough; but, by Jove, model millionaires are rarer still!'



THE PORTRAIT OF MR. W. H.



CHAPTER I



I had been dining with Erskine in his pretty little house in Birdcage Walk, and we were sitting in the library over our coffee and cigarettes, when the question of literary forgeries happened to turn up in conversation. I cannot at present remember how it was that we struck upon this somewhat curious topic, as it was at that time, but I know that we had a long discussion about Macpherson, Ireland, and Chatterton, and that with regard to the last I insisted that his so-called forgeries were merely the result of an artistic desire for perfect representation; that we had no right to quarrel with an artist for the conditions under which he chooses to present his work; and that all Art being to a certain degree a mode of acting, an attempt to realise one's own personality on some imaginative plane out of reach of the trammelling accidents and limitations of real life, to censure an artist for a forgery was to confuse an ethical with an aesthetical problem.

Erskine, who was a good deal older than I was, and had been listening to me with the amused deference of a man of forty, suddenly put his hand upon my shoulder and said to me, 'What would you say about a young man who had a strange theory about a certain work of art, believed in his theory, and committed a forgery in order to prove it?'

'Ah! that is quite a different matter,' I answered.

Erskine remained silent for a few moments, looking at the thin grey threads of smoke that were rising from his cigarette. 'Yes,' he said, after a pause, 'quite different.'

There was something in the tone of his voice, a slight touch of bitterness perhaps, that excited my curiosity. 'Did you ever know anybody who did that?' I cried.

'Yes,' he answered, throwing his cigarette into the fire,—'a great friend of mine, Cyril Graham. He was very fascinating, and very foolish, and very heartless. However, he left me the only legacy I ever received in my life.'

'What was that?' I exclaimed. Erskine rose from his seat, and going over to a tall inlaid cabinet that stood between the two windows, unlocked it, and came back to where I was sitting, holding in his hand a small panel picture set in an old and somewhat tarnished Elizabethan frame.

It was a full-length portrait of a young man in late sixteenth- century costume, standing by a table, with his right hand resting on an open book. He seemed about seventeen years of age, and was of quite extraordinary personal beauty, though evidently somewhat effeminate. Indeed, had it not been for the dress and the closely cropped hair, one would have said that the face with its dreamy wistful eyes, and its delicate scarlet lips, was the face of a girl. In manner, and especially in the treatment of the hands, the picture reminded one of Francois Clouet's later work. The black velvet doublet with its fantastically gilded points, and the peacock-blue background against which it showed up so pleasantly, and from which it gained such luminous value of colour, were quite in Clouet's style; and the two masks of Tragedy and Comedy that hung somewhat formally from the marble pedestal had that hard severity of touch— so different from the facile grace of the Italians—which even at the Court of France the great Flemish master never completely lost, and which in itself has always been a characteristic of the northern temper.

'It is a charming thing,' I cried, 'but who is this wonderful young man, whose beauty Art has so happily preserved for us?'

'This is the portrait of Mr. W. H.,' said Erskine, with a sad smile. It might have been a chance effect of light, but it seemed to me that his eyes were quite bright with tears.

'Mr. W. H.!' I exclaimed; 'who was Mr. W. H.?'

'Don't you remember?' he answered; 'look at the book on which his hand is resting.'

'I see there is some writing there, but I cannot make it out,' I replied.

'Take this magnifying-glass and try,' said Erskine, with the same sad smile still playing about his mouth.

I took the glass, and moving the lamp a little nearer, I began to spell out the crabbed sixteenth-century handwriting. 'To the onlie begetter of these insuing sonnets.' . . . 'Good heavens!' I cried, 'is this Shakespeare's Mr. W. H.?'

'Cyril Graham used to say so,' muttered Erskine.

'But it is not a bit like Lord Pembroke,' I answered. 'I know the Penshurst portraits very well. I was staying near there a few weeks ago.'

'Do you really believe then that the sonnets are addressed to Lord Pembroke?' he asked.

'I am sure of it,' I answered. 'Pembroke, Shakespeare, and Mrs. Mary Fitton are the three personages of the Sonnets; there is no doubt at all about it.'

'Well, I agree with you,' said Erskine, 'but I did not always think so. I used to believe—well, I suppose I used to believe in Cyril Graham and his theory.'

'And what was that?' I asked, looking at the wonderful portrait, which had already begun to have a strange fascination for me.

'It is a long story,' said Erskine, taking the picture away from me- -rather abruptly I thought at the time—'a very long story; but if you care to hear it, I will tell it to you.'

'I love theories about the Sonnets,' I cried; 'but I don't think I am likely to be converted to any new idea. The matter has ceased to be a mystery to any one. Indeed, I wonder that it ever was a mystery.'

'As I don't believe in the theory, I am not likely to convert you to it,' said Erskine, laughing; 'but it may interest you.'

'Tell it to me, of course,' I answered. 'If it is half as delightful as the picture, I shall be more than satisfied.'

'Well,' said Erskine, lighting a cigarette, 'I must begin by telling you about Cyril Graham himself. He and I were at the same house at Eton. I was a year or two older than he was, but we were immense friends, and did all our work and all our play together. There was, of course, a good deal more play than work, but I cannot say that I am sorry for that. It is always an advantage not to have received a sound commercial education, and what I learned in the playing fields at Eton has been quite as useful to me as anything I was taught at Cambridge. I should tell you that Cyril's father and mother were both dead. They had been drowned in a horrible yachting accident off the Isle of Wight. His father had been in the diplomatic service, and had married a daughter, the only daughter, in fact, of old Lord Crediton, who became Cyril's guardian after the death of his parents. I don't think that Lord Crediton cared very much for Cyril. He had never really forgiven his daughter for marrying a man who had not a title. He was an extraordinary old aristocrat, who swore like a costermonger, and had the manners of a farmer. I remember seeing him once on Speech-day. He growled at me, gave me a sovereign, and told me not to grow up "a damned Radical" like my father. Cyril had very little affection for him, and was only too glad to spend most of his holidays with us in Scotland. They never really got on together at all. Cyril thought him a bear, and he thought Cyril effeminate. He was effeminate, I suppose, in some things, though he was a very good rider and a capital fencer. In fact he got the foils before he left Eton. But he was very languid in his manner, and not a little vain of his good looks, and had a strong objection to football. The two things that really gave him pleasure were poetry and acting. At Eton he was always dressing up and reciting Shakespeare, and when we went up to Trinity he became a member of the A.D.C. his first term. I remember I was always very jealous of his acting. I was absurdly devoted to him; I suppose because we were so different in some things. I was a rather awkward, weakly lad, with huge feet, and horribly freckled. Freckles run in Scotch families just as gout does in English families. Cyril used to say that of the two he preferred the gout; but he always set an absurdly high value on personal appearance, and once read a paper before our debating society to prove that it was better to be good-looking than to be good. He certainly was wonderfully handsome. People who did not like him, Philistines and college tutors, and young men reading for the Church, used to say that he was merely pretty; but there was a great deal more in his face than mere prettiness. I think he was the most splendid creature I ever saw, and nothing could exceed the grace of his movements, the charm of his manner. He fascinated everybody who was worth fascinating, and a great many people who were not. He was often wilful and petulant, and I used to think him dreadfully insincere. It was due, I think, chiefly to his inordinate desire to please. Poor Cyril! I told him once that he was contented with very cheap triumphs, but he only laughed. He was horribly spoiled. All charming people, I fancy, are spoiled. It is the secret of their attraction.

'However, I must tell you about Cyril's acting. You know that no actresses are allowed to play at the A.D.C. At least they were not in my time. I don't know how it is now. Well, of course, Cyril was always cast for the girls' parts, and when As You Like It was produced he played Rosalind. It was a marvellous performance. In fact, Cyril Graham was the only perfect Rosalind I have ever seen. It would be impossible to describe to you the beauty, the delicacy, the refinement of the whole thing. It made an immense sensation, and the horrid little theatre, as it was then, was crowded every night. Even when I read the play now I can't help thinking of Cyril. It might have been written for him. The next term he took his degree, and came to London to read for the diplomatic. But he never did any work. He spent his days in reading Shakespeare's Sonnets, and his evenings at the theatre. He was, of course, wild to go on the stage. It was all that I and Lord Crediton could do to prevent him. Perhaps if he had gone on the stage he would be alive now. It is always a silly thing to give advice, but to give good advice is absolutely fatal. I hope you will never fall into that error. If you do, you will be sorry for it.

'Well, to come to the real point of the story, one day I got a letter from Cyril asking me to come round to his rooms that evening. He had charming chambers in Piccadilly overlooking the Green Park, and as I used to go to see him every day, I was rather surprised at his taking the trouble to write. Of course I went, and when I arrived I found him in a state of great excitement. He told me that he had at last discovered the true secret of Shakespeare's Sonnets; that all the scholars and critics had been entirely on the wrong tack; and that he was the first who, working purely by internal evidence, had found out who Mr. W. H. really was. He was perfectly wild with delight, and for a long time would not tell me his theory. Finally, he produced a bundle of notes, took his copy of the Sonnets off the mantelpiece, and sat down and gave me a long lecture on the whole subject.

'He began by pointing out that the young man to whom Shakespeare addressed these strangely passionate poems must have been somebody who was a really vital factor in the development of his dramatic art, and that this could not be said either of Lord Pembroke or Lord Southampton. Indeed, whoever he was, he could not have been anybody of high birth, as was shown very clearly by the 25th Sonnet, in which Shakespeare contrasting himself with those who are "great princes' favourites," says quite frankly -

Let those who are in favour with their stars Of public honour and proud titles boast, Whilst I, whom fortune of such triumph bars, Unlook'd for joy in that I honour most.

And ends the sonnet by congratulating himself on the mean state of him he so adored.

Then happy I, that love and am beloved Where I may not remove nor be removed.

This sonnet Cyril declared would be quite unintelligible if we fancied that it was addressed to either the Earl of Pembroke or the Earl of Southampton, both of whom were men of the highest position in England and fully entitled to be called "great princes"; and he in corroboration of his view read me Sonnets CXXIV. and CXXV., in which Shakespeare tells us that his love is not "the child of state," that it "suffers not in smiling pomp," but is "builded far from accident." I listened with a good deal of interest, for I don't think the point had ever been made before; but what followed was still more curious, and seemed to me at the time to dispose entirely of Pembroke's claim. We know from Meres that the Sonnets had been written before 1598, and Sonnet CIV. informs us that Shakespeare's friendship for Mr. W. H. had been already in existence for three years. Now Lord Pembroke, who was born in 1580, did not come to London till he was eighteen years of age, that is to say till 1598, and Shakespeare's acquaintance with Mr. W. H. must have begun in 1594, or at the latest in 1595. Shakespeare, accordingly, could not have known Lord Pembroke till after the Sonnets had been written.

'Cyril pointed out also that Pembroke's father did not die till 1601; whereas it was evident from the line,

You had a father; let your son say so,

that the father of Mr. W. H. was dead in 1598. Besides, it was absurd to imagine that any publisher of the time, and the preface is from the publisher's hand, would have ventured to address William Herbert, Earl of Pembroke, as Mr. W. H.; the case of Lord Buckhurst being spoken of as Mr. Sackville being not really a parallel instance, as Lord Buckhurst was not a peer, but merely the younger son of a peer, with a courtesy title, and the passage in England's Parnassus, where he is so spoken of, is not a formal and stately dedication, but simply a casual allusion. So far for Lord Pembroke, whose supposed claims Cyril easily demolished while I sat by in wonder. With Lord Southampton Cyril had even less difficulty. Southampton became at a very early age the lover of Elizabeth Vernon, so he needed no entreaties to marry; he was not beautiful; he did not resemble his mother, as Mr. W. H. did -

Thou art thy mother's glass, and she in thee Calls back the lovely April of her prime;

and, above all, his Christian name was Henry, whereas the punning sonnets (CXXXV. and CXLIII.) show that the Christian name of Shakespeare's friend was the same as his own—Will.

'As for the other suggestions of unfortunate commentators, that Mr. W. H. is a misprint for Mr. W. S., meaning Mr. William Shakespeare; that "Mr. W. H. all" should be read "Mr. W. Hall"; that Mr. W. H. is Mr. William Hathaway; and that a full stop should be placed after "wisheth," making Mr. W. H. the writer and not the subject of the dedication,—Cyril got rid of them in a very short time; and it is not worth while to mention his reasons, though I remember he sent me off into a fit of laughter by reading to me, I am glad to say not in the original, some extracts from a German commentator called Barnstorff, who insisted that Mr. W. H. was no less a person than "Mr. William Himself." Nor would he allow for a moment that the Sonnets are mere satires on the work of Drayton and John Davies of Hereford. To him, as indeed to me, they were poems of serious and tragic import, wrung out of the bitterness of Shakespeare's heart, and made sweet by the honey of his lips. Still less would he admit that they were merely a philosophical allegory, and that in them Shakespeare is addressing his Ideal Self, or Ideal Manhood, or the Spirit of Beauty, or the Reason, or the Divine Logos, or the Catholic Church. He felt, as indeed I think we all must feel, that the Sonnets are addressed to an individual,—to a particular young man whose personality for some reason seems to have filled the soul of Shakespeare with terrible joy and no less terrible despair.

'Having in this manner cleared the way as it were, Cyril asked me to dismiss from my mind any preconceived ideas I might have formed on the subject, and to give a fair and unbiassed hearing to his own theory. The problem he pointed out was this: Who was that young man of Shakespeare's day who, without being of noble birth or even of noble nature, was addressed by him in terms of such passionate adoration that we can but wonder at the strange worship, and are almost afraid to turn the key that unlocks the mystery of the poet's heart? Who was he whose physical beauty was such that it became the very corner-stone of Shakespeare's art; the very source of Shakespeare's inspiration; the very incarnation of Shakespeare's dreams? To look upon him as simply the object of certain love-poems is to miss the whole meaning of the poems: for the art of which Shakespeare talks in the Sonnets is not the art of the Sonnets themselves, which indeed were to him but slight and secret things— it is the art of the dramatist to which he is always alluding; and he to whom Shakespeare said -

Thou art all my art, and dost advance As high as learning my rude ignorance,

he to whom he promised immortality,

Where breath most breathes, even in the mouths of men, -

was surely none other than the boy-actor for whom he created Viola and Imogen, Juliet and Rosalind, Portia and Desdemona, and Cleopatra herself. This was Cyril Graham's theory, evolved as you see purely from the Sonnets themselves, and depending for its acceptance not so much on demonstrable proof or formal evidence, but on a kind of spiritual and artistic sense, by which alone he claimed could the true meaning of the poems be discerned. I remember his reading to me that fine sonnet -

How can my Muse want subject to invent, While thou dost breathe, that pour'st into my verse Thine own sweet argument, too excellent For every vulgar paper to rehearse? O, give thyself the thanks, if aught in me Worthy perusal stand against thy sight; For who's so dumb that cannot write to thee, When thou thyself dost give invention light? Be thou the tenth Muse, ten times more in worth Than those old nine which rhymers invocate; And he that calls on thee, let him bring forth Eternal numbers to outlive long date -

and pointing out how completely it corroborated his theory; and indeed he went through all the Sonnets carefully, and showed, or fancied that he showed, that, according to his new explanation of their meaning, things that had seemed obscure, or evil, or exaggerated, became clear and rational, and of high artistic import, illustrating Shakespeare's conception of the true relations between the art of the actor and the art of the dramatist.

'It is of course evident that there must have been in Shakespeare's company some wonderful boy-actor of great beauty, to whom he intrusted the presentation of his noble heroines; for Shakespeare was a practical theatrical manager as well as an imaginative poet, and Cyril Graham had actually discovered the boy-actor's name. He was Will, or, as he preferred to call him, Willie Hughes. The Christian name he found of course in the punning sonnets, CXXXV. and CXLIII.; the surname was, according to him, hidden in the seventh line of the 20th Sonnet, where Mr. W. H. is described as -

A man in hew, all HEWS in his controwling.

'In the original edition of the Sonnets "Hews" is printed with a capital letter and in italics, and this, he claimed, showed clearly that a play on words was intended, his view receiving a good deal of corroboration from those sonnets in which curious puns are made on the words "use" and "usury." Of course I was converted at once, and Willie Hughes became to me as real a person as Shakespeare. The only objection I made to the theory was that the name of Willie Hughes does not occur in the list of the actors of Shakespeare's company as it is printed in the first folio. Cyril, however, pointed out that the absence of Willie Hughes's name from this list really corroborated the theory, as it was evident from Sonnet LXXXVI. that Willie Hughes had abandoned Shakespeare's company to play at a rival theatre, probably in some of Chapman's plays. It is in reference to this that in the great sonnet on Chapman, Shakespeare said to Willie Hughes -

But when your countenance fill'd up his line, Then lack'd I matter; that enfeebled mine -

the expression "when your countenance filled up his line" referring obviously to the beauty of the young actor giving life and reality and added charm to Chapman's verse, the same idea being also put forward in the 79th Sonnet -

Whilst I alone did call upon thy aid, My verse alone had all thy gentle grace; But now my gracious numbers are decay'd, And my sick Muse doth give another place;

and in the immediately preceding sonnet, where Shakespeare says -

Every alien pen has got my USE And under thee their poesy disperse,

the play upon words (use=Hughes) being of course obvious, and the phrase "under thee their poesy disperse," meaning "by your assistance as an actor bring their plays before the people."

'It was a wonderful evening, and we sat up almost till dawn reading and re-reading the Sonnets. After some time, however, I began to see that before the theory could be placed before the world in a really perfected form, it was necessary to get some independent evidence about the existence of this young actor, Willie Hughes. If this could be once established, there could be no possible doubt about his identity with Mr. W. H.; but otherwise the theory would fall to the ground. I put this forward very strongly to Cyril, who was a good deal annoyed at what he called my Philistine tone of mind, and indeed was rather bitter upon the subject. However, I made him promise that in his own interest he would not publish his discovery till he had put the whole matter beyond the reach of doubt; and for weeks and weeks we searched the registers of City churches, the Alleyn MSS. at Dulwich, the Record Office, the papers of the Lord Chamberlain—everything, in fact, that we thought might contain some allusion to Willie Hughes. We discovered nothing, of course, and every day the existence of Willie Hughes seemed to me to become more problematical. Cyril was in a dreadful state, and used to go over the whole question day after day, entreating me to believe; but I saw the one flaw in the theory, and I refused to be convinced till the actual existence of Willie Hughes, a boy-actor of Elizabethan days, had been placed beyond the reach of doubt or cavil.

'One day Cyril left town to stay with his grandfather, I thought at the time, but I afterwards heard from Lord Crediton that this was not the case; and about a fortnight afterwards I received a telegram from him, handed in at Warwick, asking me to be sure to come and dine with him that evening at eight o'clock. When I arrived, he said to me, "The only apostle who did not deserve proof was St. Thomas, and St. Thomas was the only apostle who got it." I asked him what he meant. He answered that he had not merely been able to establish the existence in the sixteenth century of a boy-actor of the name of Willie Hughes, but to prove by the most conclusive evidence that he was the Mr. W. H. of the Sonnets. He would not tell me anything more at the time; but after dinner he solemnly produced the picture I showed you, and told me that he had discovered it by the merest chance nailed to the side of an old chest that he had bought at a farmhouse in Warwickshire. The chest itself, which was a very fine example of Elizabethan work, he had, of course, brought with him, and in the centre of the front panel the initials W. H. were undoubtedly carved. It was this monogram that had attracted his attention, and he told me that it was not till he had had the chest in his possession for several days that he had thought of making any careful examination of the inside. One morning, however, he saw that one of the sides of the chest was much thicker than the other, and looking more closely, he discovered that a framed panel picture was clamped against it. On taking it out, he found it was the picture that is now lying on the sofa. It was very dirty, and covered with mould; but he managed to clean it, and, to his great joy, saw that he had fallen by mere chance on the one thing for which he had been looking. Here was an authentic portrait of Mr. W. H., with his hand resting on the dedicatory page of the Sonnets, and on the frame itself could be faintly seen the name of the young man written in black uncial letters on a faded gold ground, "Master Will. Hews."

'Well, what was I to say? It never occurred to me for a moment that Cyril Graham was playing a trick on me, or that he was trying to prove his theory by means of a forgery.'

'But is it a forgery?' I asked.

'Of course it is,' said Erskine. 'It is a very good forgery; but it is a forgery none the less. I thought at the time that Cyril was rather calm about the whole matter; but I remember he more than once told me that he himself required no proof of the kind, and that he thought the theory complete without it. I laughed at him, and told him that without it the theory would fall to the ground, and I warmly congratulated him on the marvellous discovery. We then arranged that the picture should be etched or facsimiled, and placed as the frontispiece to Cyril's edition of the Sonnets; and for three months we did nothing but go over each poem line by line, till we had settled every difficulty of text or meaning. One unlucky day I was in a print-shop in Holborn, when I saw upon the counter some extremely beautiful drawings in silver-point. I was so attracted by them that I bought them; and the proprietor of the place, a man called Rawlings, told me that they were done by a young painter of the name of Edward Merton, who was very clever, but as poor as a church mouse. I went to see Merton some days afterwards, having got his address from the printseller, and found a pale, interesting young man, with a rather common-looking wife—his model, as I subsequently learned. I told him how much I admired his drawings, at which he seemed very pleased, and I asked him if he would show me some of his other work. As we were looking over a portfolio, full of really very lovely things,—for Merton had a most delicate and delightful touch,—I suddenly caught sight of a drawing of the picture of Mr. W. H. There was no doubt whatever about it. It was almost a facsimile—the only difference being that the two masks of Tragedy and Comedy were not suspended from the marble table as they are in the picture, but were lying on the floor at the young man's feet. "Where on earth did you get that?" I said. He grew rather confused, and said—"Oh, that is nothing. I did not know it was in this portfolio. It is not a thing of any value." "It is what you did for Mr. Cyril Graham," exclaimed his wife; "and if this gentleman wishes to buy it, let him have it." "For Mr. Cyril Graham?" I repeated. "Did you paint the picture of Mr. W. H.?" "I don't understand what you mean," he answered, growing very red. Well, the whole thing was quite dreadful. The wife let it all out. I gave her five pounds when I was going away. I can't bear to think of it now; but of course I was furious. I went off at once to Cyril's chambers, waited there for three hours before he came in, with that horrid lie staring me in the face, and told him I had discovered his forgery. He grew very pale and said—"I did it purely for your sake. You would not be convinced in any other way. It does not affect the truth of the theory." "The truth of the theory!" I exclaimed; "the less we talk about that the better. You never even believed in it yourself. If you had, you would not have committed a forgery to prove it." High words passed between us; we had a fearful quarrel. I dare say I was unjust. The next morning he was dead.'