In deference to the piety of the reader and the nerves of Mrs. Porfer's fastidious sisterhood of both sexes let us not touch upon the painful impression produced by this uncommon inscription, further than to say that the elocutionary powers of Mr. Porfer had never before met with so spontaneous and overwhelming recognition.
The next morsel that rewarded the ghoul in the grave was a long tangle of black hair defiled with clay: but this was such an anti-climax that it received little attention. Suddenly, with a short exclamation and a gesture of excitement, the young man unearthed a fragment of grayish rock, and after a hurried inspection handed it up to Mr. Porfer. As the sunlight fell upon it it glittered with a yellow luster—it was thickly studded with gleaming points. Mr. Porfer snatched it, bent his head over it a moment and threw it lightly away with the simple remark:
"Iron pyrites—fool's gold."
The young man in the discovery shaft was a trifle disconcerted, apparently.
Meanwhile, Mrs. Porfer, unable longer to endure the disagreeable business, had walked back to the tree and seated herself at its root. While rearranging a tress of golden hair which had slipped from its confinement she was attracted by what appeared to be and really was the fragment of an old coat. Looking about to assure herself that so unladylike an act was not observed, she thrust her jeweled hand into the exposed breast pocket and drew out a mouldy pocket-book. Its contents were as follows:
One bundle of letters, postmarked "Elizabethtown, New Jersey."
One circle of blonde hair tied with a ribbon.
One photograph of a beautiful girl.
One ditto of same, singularly disfigured.
One name on back of photograph—"Jefferson Doman."
A few moments later a group of anxious gentlemen surrounded Mrs. Porfer as she sat motionless at the foot of the tree, her head dropped forward, her fingers clutching a crushed photograph. Her husband raised her head, exposing a face ghastly white, except the long, deforming cicatrice, familiar to all her friends, which no art could ever hide, and which now traversed the pallor of her countenance like a visible curse.
Mary Matthews Porfer had the bad luck to be dead.
THE SUITABLE SURROUNDINGS
THE NIGHT
One midsummer night a farmer's boy living about ten miles from the city of Cincinnati was following a bridle path through a dense and dark forest. He had lost himself while searching for some missing cows, and near midnight was a long way from home, in a part of the country with which he was unfamiliar. But he was a stout-hearted lad, and knowing his general direction from his home, he plunged into the forest without hesitation, guided by the stars. Coming into the bridle path, and observing that it ran in the right direction, he followed it.
The night was clear, but in the woods it was exceedingly dark. It was more by the sense of touch than by that of sight that the lad kept the path. He could not, indeed, very easily go astray; the undergrowth on both sides was so thick as to be almost impenetrable. He had gone into the forest a mile or more when he was surprised to see a feeble gleam of light shining through the foliage skirting the path on his left. The sight of it startled him and set his heart beating audibly.
"The old Breede house is somewhere about here," he said to himself. "This must be the other end of the path which we reach it by from our side. Ugh! what should a light be doing there?"
Nevertheless, he pushed on. A moment later he had emerged from the forest into a small, open space, mostly upgrown to brambles. There were remnants of a rotting fence. A few yards from the trail, in the middle of the "clearing," was the house from which the light came, through an unglazed window. The window had once contained glass, but that and its supporting frame had long ago yielded to missiles flung by hands of venturesome boys to attest alike their courage and their hostility to the supernatural; for the Breede house bore the evil reputation of being haunted. Possibly it was not, but even the hardiest sceptic could not deny that it was deserted—which in rural regions is much the same thing.
Looking at the mysterious dim light shining from the ruined window the boy remembered with apprehension that his own hand had assisted at the destruction. His penitence was of course poignant in proportion to its tardiness and inefficacy. He half expected to be set upon by all the unworldly and bodiless malevolences whom he had outraged by assisting to break alike their windows and their peace. Yet this stubborn lad, shaking in every limb, would not retreat. The blood in his veins was strong and rich with the iron of the frontiersman. He was but two removes from the generation that had subdued the Indian. He started to pass the house.
As he was going by he looked in at the blank window space and saw a strange and terrifying sight,—the figure of a man seated in the centre of the room, at a table upon which lay some loose sheets of paper. The elbows rested on the table, the hands supporting the head, which was uncovered. On each side the fingers were pushed into the hair. The face showed dead-yellow in the light of a single candle a little to one side. The flame illuminated that side of the face, the other was in deep shadow. The man's eyes were fixed upon the blank window space with a stare in which an older and cooler observer might have discerned something of apprehension, but which seemed to the lad altogether soulless. He believed the man to be dead.
The situation was horrible, but not with out its fascination. The boy stopped to note it all. He was weak, faint and trembling; he could feel the blood forsaking his face. Nevertheless, he set his teeth and resolutely advanced to the house. He had no conscious intention—it was the mere courage of terror. He thrust his white face forward into the illuminated opening. At that instant a strange, harsh cry, a shriek, broke upon the silence of the night—the note of a screech-owl. The man sprang to his feet, overturning the table and extinguishing the candle. The boy took to his heels.
THE DAY BEFORE
"Good-morning, Colston. I am in luck, it seems. You have often said that my commendation of your literary work was mere civility, and here you find me absorbed—actually merged—in your latest story in the Messenger. Nothing less shocking than your touch upon my shoulder would have roused me to consciousness."
"The proof is stronger than you seem to know," replied the man addressed: "so keen is your eagerness to read my story that you are willing to renounce selfish considerations and forego all the pleasure that you could get from it."
"I don't understand you," said the other, folding the newspaper that he held and putting it into his pocket. "You writers are a queer lot, anyhow. Come, tell me what I have done or omitted in this matter. In what way does the pleasure that I get, or might get, from your work depend on me?"
"In many ways. Let me ask you how you would enjoy your breakfast if you took it in this street car. Suppose the phonograph so perfected as to be able to give you an entire opera,—singing, orchestration, and all; do you think you would get much pleasure out of it if you turned it on at your office during business hours? Do you really care for a serenade by Schubert when you hear it fiddled by an untimely Italian on a morning ferryboat? Are you always cocked and primed for enjoyment? Do you keep every mood on tap, ready to any demand? Let me remind you, sir, that the story which you have done me the honor to begin as a means of becoming oblivious to the discomfort of this car is a ghost story!"
"Well?"
"Well! Has the reader no duties corresponding to his privileges? You have paid five cents for that newspaper. It is yours. You have the right to read it when and where you will. Much of what is in it is neither helped nor harmed by time and place and mood; some of it actually requires to be read at once—while it is fizzing. But my story is not of that character. It is not 'the very latest advices' from Ghostland. You are not expected to keep yourself au courant with what is going on in the realm of spooks. The stuff will keep until you have leisure to put yourself into the frame of mind appropriate to the sentiment of the piece—which I respectfully submit that you cannot do in a street car, even if you are the only passenger. The solitude is not of the right sort. An author has rights which the reader is bound to respect."