Volume 2 — THE UNCANNY GUEST. (continued 2)

"Marguerite, I have initiated you into mysteries which would have annihilated any ordinary woman had she endeavoured to comprehend them. But you, with your exceptional mental powers, and firm, strong will and resolution, have been a worthy pupil to the deeply experienced master. Your help has been most precious to me. It was through you that I controlled Angelica's mind, and all her inner being. And, to reward you, it was my desire to prepare for you the bliss of your life, according to the manner in which your heart conceived it; and I dared to enter within circles the most mysterious, the most perilous. I undertook operations which often terrified even myself. In vain. Fly, or your destruction is certain. Until the supreme moment comes I shall battle bravely on against the hostile powers. But I know well that that supreme moment brings to me instant death. But I will die all alone. When the supreme moment comes I shall go to that mysterious tree, under whose shadow I have so often spoken to you of the wondrous secrets which were known to me, and at my command.

"Marguerite, keep aloof from those secrets for evermore. Nature, terrible mother, angry when her precocious children prematurely pry into her secrets and pluck at the veil which covers her mysteries, throws to them some glittering toy which lures them on until its destroying power is directed against them. I myself once caused the death of a woman, who perished at the very moment when I thought I was going to take her to my heart with the most fervid affection; and this paralysed my powers. Yet, dolt that I was, I still thought I should find bliss here on earth. Farewell, Marguerite, farewell. Go back to your own country. Go to S----. The Chevalier de T---- will charge himself with your welfare and happiness. Farewell."

As Dagobert read this letter, all the auditors felt an inward shudder, and Madame von G---- said, "I shall be compelled to believe in things which my whole heart and soul refuse to credit. However, I certainly never could understand now it was that Angelica forgot Moritz so quickly and devoted herself to the Count. At the same time I cannot but remember that she was all the time in an extraordinary, unnatural condition of excitement, and that was a circumstance which filled me with the most torturing anxiety. I remember that her inclination for the Count showed itself at first in a very strange way. She told me she used to have the most vivid and delightful dreams of him nearly every night."

"Exactly," said Dagobert. "Marguerite told me that, by the Count's directions, she used to sit whole nights by Angelica's bedside, breathing the Count's name into her ear very, very softly. And the Count would very often come into the room about midnight, fix a steadfast gaze on Angelica for several minutes together, and then go away again. But now that I have read you the Count's letter, is there any need of commentary? His aim was to operate psychically upon the Inner Principle by various mysterious processes and arts, and in this he succeeded, by virtue of special qualifications of his nature. There were most intimate relations between him and the Chevalier de T----, both of them being members of that secret society or 'school' which has a certain number of representatives in France and Italy, and is supposed to be descended from, or a continuation of, the celebrated P---- school. It was at the Count's instigation that the Chevalier kept Moritz so long shut up in his chateau, and practised all sorts of love-spells on him. I myself could go deeper into this subject, and say more about the mysterious means by which the Count could influence the Psychic Principle of others, as Marguerite divulged some of them to me. I could explain many matters by a science which is not altogether unknown to me, though I prefer not to call it by its name, for fear of being misunderstood. However, I had rather avoid all those subjects, to-day at all events."

"Oh, pray avoid them for ever," cried Madame von G----. "No more reference to the dark, unknown realm, the abode of fear and horror. I thank the Eternal Power, which has rescued my beloved child, and freed us from the uncanny guest who brought us such terrible trouble."

It was arranged that they should go back to town the following day, except the Colonel and Dagobert, who stayed behind to see to the burial of the Count's remains.

When Angelica had long been Moritz's happy wife, it chanced that one stormy November evening the family, and Dagobert, were sitting round the fire in the very room into which Count S---- had made his entry in such a spectral fashion. Just as then, mysterious voices were piping, awakened by the storm-wind in the chimney.

"Do you remember?" said Madame von G----.

"Come, come," cried the Colonel; "no ghost stories, I beg." But Angelica and Moritz spoke of what their feelings had been on that evening long ago; of their having been so devotedly in love with each other, and unable to help attaching the most overweening importance to every little incident which occurred: how the pure beam of that love of theirs had been reflected by everything, and even the sweet bond of alarm wove itself out of loving, longing hearts--and how the Uncanny Guest, heralded by all the spectral voices of ill-omen, had brought terror upon them. "Does it not seem to you, dearest Moritz," said Angelica, "that the strange tones of the storm-wind, as we hear them now, are speaking to us, only of our love, in the kindliest possible tones?"

"Yes! yes!" said Dagobert, "and the singing of the kettle sounds to-night to me much more like a little cradle song than anything eerie."

Angelica hid her blushing face on Moritz's breast. And he--for his part--clasped his arm round his beautiful wife, and softly whispered, "Is there, here below, a higher bliss than this?"

"I see very plainly," said Ottmar, when he had finished, and the friends still sat in gloomy silence, "that my little story has not pleased you particularly, so we had better not say much more about it, but consign it to oblivion."

"The very best thing we could do," said Lothair.

"And yet," Cyprian said, "I must take up the cudgels for my friend. Of course you will say that I am to some extent mixed up in the matter--that Ottmar has taken a good many of the germs of the story from me, and on this occasion has been cooking in my kitchen, so that you won't be disposed to allow me to be a judge in the case. Yet, unless you mean to condemn everything without the slightest remorse, like so many Rhadamanthuses--you must admit, yourselves, that there is much in Ottmar's story which must be allowed to pass as genuinely Serapiontic; the beginning, for instance."

"Quite right," said Theodore; "the party round the tea-table may pass as from the life, as well as many other points during the course of the tale. But, to speak candidly, we have had a very large assortment of spectral characters such as the stranger Count, and it will soon be a difficult matter to go on giving them novelty and originality. He is too much like Alban in 'The Magnetizer.' You know the tale I mean, and indeed that story and Ottmar's have both the same motif. Wherefore I wish I might beg our Ottmar and you, Cyprian, to leave monsters of that sort out of the game in future. For Ottmar this will be possible, but for you, Cyprian, I am not so sure that it will. So that we shall have to allow you to serve us up a 'Spook' of the kind now and then, I suppose, only stipulating that it shall be truly Serapiontic, i.e. come out of the very inmost depths of your imagination. Moreover 'The Magnetizer' seems rhapsodical, but the 'Uncanny Guest' is rhapsodical in very truth."

"I must take up the cudgels for my friend in this respect too," said Cyprian, "and tell you that, in the very neighbourhood of this place where we are at this moment, there actually happened an event, not very long ago, by no means unlike the incidents of this story. Into a quiet happy group of friends, just when supernatural matters were forming the subject of conversation, there suddenly came a stranger, who struck every one as being uncanny and terrifying, notwithstanding his apparent everydayness, and seeming belonging to the common level. By his arrival this stranger not only spoiled the enjoyment of the evening in question, but subsequently destroyed the peace and happiness of the family for a long period. Even at this day deadly shudders seize a happy wife when she thinks of the crafty wickedness with which this person tried to entangle her in his nets. I told this at the time to Ottmar, and nothing made a greater impression on him than the moment when the stranger made his spectral entry, and the sense of the propinquity of the hostile Spiritual Principle seized upon every one present with a sudden terror. This moment came vividly to Ottmar's mind, and formed the groundwork of his tale."

"But," said Ottmar, "as a single incident is far from being a complete story--which ought to spring perfect and complete from its author's brain, like Minerva from the head of Jupiter--my tale is of course not worth much as a whole, and it is little to my credit, I suppose, that I took advantage of two or three incidents which really happened, weaving them--not without some little success perhaps--into a network of the imaginary."

"Yes," said Lothair, "you are right, my friend. A single striking incident is far from being a tale, just as one well-imagined theatrical situation is a long way from constituting a play. This reminds me of the way in which a certain playwright (who no longer walks this world, and whose terrible death certainly atoned for any shortcomings of his during his life, and reconciled his worst enemies to him) used to construct his pieces. In a company where I was present, he said, without any concealment, that he selected some one's good dramatic situation which occurred to him, and then, solely for the sake of that, hung a canvas round it and painted away upon it 'just whatever came in his head,' or 'as best he could,' to use his own expressions. This gave me a complete explanation of, and threw a dazzling flood of light upon, the whole character and inner being of that writer's pieces, particularly those of his later period. None of them is without some very happily devised central situation, but all round this the scenes, which he made up out of commonplace material, are woven like a loosely knitted web, although the hand of that weaver, skilled as it is in technique, is never to be mistaken."

"Never, say you?" remarked Theodore. "I have been always waiting and looking out for the points where that writer would abandon his commonplaces, and rise into the region of romance and true poetry. The most striking and melancholy instance of what I mean is the so-called Romantic Drama, 'Deodata'; a strange nondescript production, on which a clever composer ought not to have wasted capital music. There can be no more striking proof of the utter want of infelt poetry, of any conception of the higher dramatic life, than where the author of 'Deodata,' in his preface, finds fault with Opera because it is unnatural that people should sing on the stage, and next goes on to explain that he has been at pains to introduce the singing, which is incidental to it, always in a natural manner."

"De mortuis nil nisi bonum," said Cyprian, "let the dead repose in peace."

"And all the more," said Lothair, "that I see midnight is close at hand, and he might avail himself of that circumstance to give us a box or two on the ear (as he is said to have done to his critics in life) with his invisible fist."

Just then the carriage which Lothair had sent for on account of Theodore's still invalid condition, came rolling up, and the friends went back in it to town.