The Race of Orven

by M.P. Shiel

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The Race of Orven involves the mysterious Pharanx Labyrinth, published in Shiel's popular short story collection, Prince Zaleski in 1895. "Come now, and let us reason together." -- Isaiah

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Never without grief and pain could I remember the fate of Prince Zaleski—victim of a too importunate, too unfortunate Love, which the fulgor of the throne itself could not abash; exile perforce from his native land, and voluntary exile from the rest of men! Having renounced the world, over which, lurid and inscrutable as a falling star, he had passed, the world quickly ceased to wonder at him; and even I, to whom, more than to another, the workings of that just and passionate mind had been revealed, half forgot him in the rush of things.

But during the time that what was called the 'Pharanx labyrinth' was exercising many of the heaviest brains in the land, my thought turned repeatedly to him; and even when the affair had passed from the general attention, a bright day in Spring, combined perhaps with a latent mistrust of the dénoûment of that dark plot, drew me to his place of hermitage.

I reached the gloomy abode of my friend as the sun set. It was a vast palace of the older world standing lonely in the midst of woodland, and approached by a sombre avenue of poplars and cypresses, through which the sunlight hardly pierced. Up this I passed, and seeking out the deserted stables (which I found all too dilapidated to afford shelter) finally put up my calèche in the ruined sacristy of an old Dominican chapel, and turned my mare loose to browse for the night on a paddock behind the domain.

As I pushed back the open front door and entered the mansion, I could not but wonder at the saturnine fancy that had led this wayward man to select a brooding-place so desolate for the passage of his days. I regarded it as a vast tomb of Mausolus in which lay deep sepulchred how much genius, culture, brilliancy, power! The hall was constructed in the manner of a Roman atrium, and from the oblong pool of turgid water in the centre a troop of fat and otiose rats fled weakly squealing at my approach. I mounted by broken marble steps to the corridors running round the open space, and thence pursued my way through a mazeland of apartments—suite upon suite—along many a length of passage, up and down many stairs. Dust-clouds rose from the uncarpeted floors and choked me; incontinent Echo coughed answering ricochets to my footsteps in the gathering darkness, and added emphasis to the funereal gloom of the dwelling. Nowhere was there a vestige of furniture—nowhere a trace of human life.

After a long interval I came, in a remote tower of the building and near its utmost summit, to a richly-carpeted passage, from the ceiling of which three mosaic lamps shed dim violet, scarlet and pale-rose lights around. At the end I perceived two figures standing as if in silent guard on each side of a door tapestried with the python's skin. One was a post-replica in Parian marble of the nude Aphrodite of Cnidus; in the other I recognised the gigantic form of the negro Ham, the prince's only attendant, whose fierce, and glistening, and ebon visage broadened into a grin of intelligence as I came nearer. Nodding to him, I pushed without ceremony into Zaleski's apartment.

The room was not a large one, but lofty. Even in the semi-darkness of the very faint greenish lustre radiated from an open censerlike lampas of fretted gold in the centre of the domed encausted roof, a certain incongruity of barbaric gorgeousness in the furnishing filled me with amazement. The air was heavy with the scented odour of this light, and the fumes of the narcotic cannabis sativa—the base of the bhang of the Mohammedans—in which I knew it to be the habit of my friend to assuage himself. The hangings were of wine-coloured velvet, heavy, gold-fringed and embroidered at Nurshedabad. All the world knew Prince Zaleski to be a consummate cognoscente—a profound amateur—as well as a savant and a thinker; but I was, nevertheless, astounded at the mere multitudinousness of the curios he had contrived to crowd into the space around him. Side by side rested a palaeolithic implement, a Chinese 'wise man,' a Gnostic gem, an amphora of Graeco-Etruscan work. The general effect was a bizarrerie of half-weird sheen and gloom. Flemish sepulchral brasses companied strangely with runic tablets, miniature paintings, a winged bull, Tamil scriptures on lacquered leaves of the talipot, mediaeval reliquaries richly gemmed, Brahmin gods. One whole side of the room was occupied by an organ whose thunder in that circumscribed place must have set all these relics of dead epochs clashing and jingling in fantastic dances. As I entered, the vaporous atmosphere was palpitating to the low, liquid tinkling of an invisible musical box. The prince reclined on a couch from which a draping of cloth-of-silver rolled torrent over the floor. Beside him, stretched in its open sarcophagus which rested on three brazen trestles, lay the mummy of an ancient Memphian, from the upper part of which the brown cerements had rotted or been rent, leaving the hideousness of the naked, grinning countenance exposed to view.

Discarding his gemmed chibouque and an old vellum reprint of Anacreon, Zaleski rose hastily and greeted me with warmth, muttering at the same time some commonplace about his 'pleasure' and the 'unexpectedness' of my visit. He then gave orders to Ham to prepare me a bed in one of the adjoining chambers. We passed the greater part of the night in a delightful stream of that somnolent and half-mystic talk which Prince Zaleski alone could initiate and sustain, during which he repeatedly pressed on me a concoction of Indian hemp resembling hashish, prepared by his own hands, and quite innocuous. It was after a simple breakfast the next morning that I entered on the subject which was partly the occasion of my visit. He lay back on his couch, volumed in a Turkish beneesh, and listened to me, a little wearily perhaps at first, with woven fingers, and the pale inverted eyes of old anchorites and astrologers, the moony greenish light falling on his always wan features.

'You knew Lord Pharanx?' I asked.

'I have met him in "the world." His son Lord Randolph, too, I saw once at Court at Peterhof, and once again at the Winter Palace of the Tsar. I noticed in their great stature, shaggy heads of hair, ears of a very peculiar conformation, and a certain aggressiveness of demeanour—a strong likeness between father and son.'

I had brought with me a bundle of old newspapers, and comparing these as I went on, I proceeded to lay the incidents before him.

'The father,' I said, 'held, as you know, high office in a late Administration, and was one of our big luminaries in politics; he has also been President of the Council of several learned societies, and author of a book on Modern Ethics. His son was rapidly rising to eminence in the corps diplomatique, and lately (though, strictly speaking, unebenbürtig) contracted an affiance with the Prinzessin Charlotte Mariana Natalia of Morgen-üppigen, a lady with a strain of indubitable Hohenzollern blood in her royal veins. The Orven family is a very old and distinguished one, though—especially in modern days—far from wealthy. However, some little time after Randolph had become engaged to this royal lady, the father insured his life for immense sums in various offices both in England and America, and the reproach of poverty is now swept from the race. Six months ago, almost simultaneously, both father and son resigned their various positions en bloc. But all this, of course, I am telling you on the assumption that you have not already read it in the papers.'

'A modern newspaper,' he said, 'being what it mostly is, is the one thing insupportable to me at present. Believe me, I never see one.'

'Well, then, Lord Pharanx, as I said, threw up his posts in the fulness of his vigour, and retired to one of his country seats. A good many years ago, he and Randolph had a terrible row over some trifle, and, with the implacability that distinguishes their race, had not since exchanged a word. But some little time after the retirement of the father, a message was despatched by him to the son, who was then in India. Considered as the first step in the rapprochement of this proud and selfish pair of beings, it was an altogether remarkable message, and was subsequently deposed to in evidence by a telegraph official; it ran:

'"Return. The beginning of the end is come." Whereupon Randolph did return, and in three months from the date of his landing in England, Lord Pharanx was dead.'

'Murdered?'

A certain something in the tone in which this word was uttered by Zaleski puzzled me. It left me uncertain whether he had addressed to me an exclamation of conviction, or a simple question. I must have looked this feeling, for he said at once:

'I could easily, from your manner, surmise as much, you know. Perhaps I might even have foretold it, years ago.'

'Foretold—what? Not the murder of Lord Pharanx?'

'Something of that kind,' he answered with a smile; 'but proceed—tell me all the facts you know.'

Word-mysteries of this sort fell frequent from the lips of the prince. I continued the narrative.

'The two, then, met, and were reconciled. But it was a reconciliation without cordiality, without affection—a shaking of hands across a barrier of brass; and even this hand-shaking was a strictly metaphorical one, for they do not seem ever to have got beyond the interchange of a frigid bow. The opportunities, however, for observation were few. Soon after Randolph's arrival at Orven Hall, his father entered on a life of the most absolute seclusion. The mansion is an old three-storied one, the top floor consisting for the most part of sleeping-rooms, the first of a library, drawing-room, and so on, and the ground-floor, in addition to the dining and other ordinary rooms, of another small library, looking out (at the side of the house) on a low balcony, which, in turn, looks on a lawn dotted with flower-beds. It was this smaller library on the ground-floor that was now divested of its books, and converted into a bedroom for the earl. Hither he migrated, and here he lived, scarcely ever leaving it. Randolph, on his part, moved to a room on the first floor immediately above this. Some of the retainers of the family were dismissed, and on the remaining few fell a hush of expectancy, a sense of wonder, as to what these things boded. A great enforced quiet pervaded the building, the least undue noise in any part being sure to be followed by the angry voice of the master demanding the cause. Once, as the servants were supping in the kitchen on the side of the house most remote from that which he occupied, Lord Pharanx, slippered and in dressing-gown, appeared at the doorway, purple with rage, threatening to pack the whole company of them out of doors if they did not moderate the clatter of their knives and forks. He had always been regarded with fear in his own household, and the very sound of his voice now became a terror. His food was taken to him in the room he had made his habitation, and it was remarked that, though simple before in his gustatory tastes, he now—possibly owing to the sedentary life he led—became fastidious, insisting on recherché bits. I mention all these details to you—as I shall mention others—not because they have the least connection with the tragedy as it subsequently occurred, but merely because I know them, and you have requested me to state all I know.'

'Yes,' he answered, with a suspicion of ennui, 'you are right. I may as well hear the whole—if I must hear a part.'

'Meanwhile, Randolph appears to have visited the earl at least once a day. In such retirement did he, too, live that many of his friends still supposed him to be in India. There was only one respect in which he broke through this privacy. You know, of course, that the Orvens are, and, I believe, always have been, noted as the most obstinate, the most crabbed of Conservatives in politics. Even among the past-enamoured families of England, they stand out conspicuously in this respect. Is it credible to you, then, that Randolph should offer himself to the Radical Association of the Borough of Orven as a candidate for the next election in opposition to the sitting member? It is on record, too, that he spoke at three public meetings—reported in local papers—at which he avowed his political conversion; afterwards laid the foundation-stone of a new Baptist chapel; presided at a Methodist tea-meeting; and taking an abnormal interest in the debased condition of the labourers in the villages round, fitted up as a class-room an apartment on the top floor at Orven Hall, and gathered round him on two evenings in every week a class of yokels, whom he proceeded to cram with demonstrations in elementary mechanics.'

'Mechanics!' cried Zaleski, starting upright for a moment, 'mechanics to agricultural labourers! Why not elementary chemistry? Why not elementary botany? Why mechanics?'

This was the first evidence of interest he had shown in the story. I was pleased, but answered:

'The point is unimportant; and there really is no accounting for the vagaries of such a man. He wished, I imagine, to give some idea to the young illiterates of the simple laws of motion and force. But now I come to a new character in the drama—the chief character of all. One day a woman presented herself at Orven Hall and demanded to see its owner. She spoke English with a strong French accent. Though approaching middle life she was still beautiful, having wild black eyes, and creamy pale face. Her dress was tawdry, cheap, and loud, showing signs of wear; her hair was unkempt; her manners were not the manners of a lady. A certain vehemence, exasperation, unrepose distinguished all she said and did. The footman refused her admission; Lord Pharanx, he said, was invisible. She persisted violently, pushed past him, and had to be forcibly ejected; during all which the voice of the master was heard roaring from the passage red-eyed remonstrance at the unusual noise. She went away gesticulating wildly, and vowing vengeance on Lord Pharanx and all the world. It was afterwards found that she had taken up her abode in one of the neighbouring hamlets, called Lee.

'This person, who gave the name of Maude Cibras, subsequently called at the Hall three times in succession, and was each time refused admittance. It was now, however, thought advisable to inform Randolph of her visits. He said she might be permitted to see him, if she returned. This she did on the next day, and had a long interview in private with him. Her voice was heard raised as if in angry protest by one Hester Dyett, a servant of the house, while Randolph in low tones seemed to try to soothe her. The conversation was in French, and no word could be made out. She passed out at length, tossing her head jauntily, and smiling a vulgar triumph at the footman who had before opposed her ingress. She was never known to seek admission to the house again.

'But her connection with its inmates did not cease. The same Hester asserts that one night, coming home late through the park, she saw two persons conversing on a bench beneath the trees, crept behind some bushes, and discovered that they were the strange woman and Randolph. The same servant bears evidence to tracking them to other meeting-places, and to finding in the letter-bag letters addressed to Maude Cibras in Randolph's hand-writing. One of these was actually unearthed later on. Indeed, so engrossing did the intercourse become, that it seems even to have interfered with the outburst of radical zeal in the new political convert. The rendezvous—always held under cover of darkness, but naked and open to the eye of the watchful Hester—sometimes clashed with the science lectures, when these latter would be put off, so that they became gradually fewer, and then almost ceased.'

'Your narrative becomes unexpectedly interesting,' said Zaleski; 'but this unearthed letter of Randolph's—what was in it?'

I read as follows:

'"Dear Mdlle. Cibras,—I am exerting my utmost influence for you with my father. But he shows no signs of coming round as yet. If I could only induce him to see you! But he is, as you know, a person of unrelenting will, and meanwhile you must confide in my loyal efforts on your behalf. At the same time, I admit that the situation is a precarious one: you are, I am sure, well provided for in the present will of Lord Pharanx, but he is on the point—within, say, three or four days—of making another; and exasperated as he is at your appearance in England, I know there is no chance of your receiving a centime under the new will. Before then, however, we must hope that something favourable to you may happen; and in the meantime, let me implore you not to let your only too just resentment pass beyond the bounds of reason.

"Sincerely yours,

"RANDOLPH."'

'I like the letter!' cried Zaleski. 'You notice the tone of manly candour. But the facts—were they true? Did the earl make a new will in the time specified?'

'No,—but that may have been because his death intervened.'

'And in the old will, was Mdlle. Cibras provided for?'

'Yes,—that at least was correct.'

A shadow of pain passed over his face.

'And now,' I went on, 'I come to the closing scene, in which one of England's foremost men perished by the act of an obscure assassin. The letter I have read was written to Maude Cibras on the 5th of January. The next thing that happens is on the 6th, when Lord Pharanx left his room for another during the whole day, and a skilled mechanic was introduced into it for the purpose of effecting some alterations. Asked by Hester Dyett, as he was leaving the house, what was the nature of his operations, the man replied that he had been applying a patent arrangement to the window looking out on the balcony, for the better protection of the room against burglars, several robberies having recently been committed in the neighbourhood. The sudden death of this man, however, before the occurrence of the tragedy, prevented his evidence being heard. On the next day—the 7th—Hester, entering the room with Lord Pharanx's dinner, fancies, though she cannot tell why (inasmuch as his back is towards her, he sitting in an arm-chair by the fire), that Lord Pharanx has been "drinking heavily."

'On the 8th a singular thing befell. The earl was at last induced to see Maude Cibras, and during the morning of that day, with his own hand, wrote a note informing her of his decision, Randolph handing the note to a messenger. That note also has been made public. It reads as follows:

'"Maude Cibras.—You may come here to-night after dark. Walk to the south side of the house, come up the steps to the balcony, and pass in through the open window to my room. Remember, however, that you have nothing to expect from me, and that from to-night I blot you eternally from my mind: but I will hear your story, which I know beforehand to be false. Destroy this note. PHARANX."'

As I progressed with my tale, I came to notice that over the countenance of Prince Zaleski there grew little by little a singular fixed aspect. His small, keen features distorted themselves into an expression of what I can only describe as an abnormal inquisitiveness —an inquisitiveness most impatient, arrogant, in its intensity. His pupils, contracted each to a dot, became the central puncta of two rings of fiery light; his little sharp teeth seemed to gnash. Once before I had seen him look thus greedily, when, grasping a Troglodyte tablet covered with half-effaced hieroglyphics—his fingers livid with the fixity of his grip—he bent on it that strenuous inquisition, that ardent questioning gaze, till, by a species of mesmeric dominancy, he seemed to wrench from it the arcanum it hid from other eyes; then he lay back, pale and faint from the too arduous victory.

When I had read Lord Pharanx's letter, he took the paper eagerly from my hand, and ran his eyes over the passage.

'Tell me—the end,' he said.

'Maude Cibras,' I went on, 'thus invited to a meeting with the earl, failed to make her appearance at the appointed time. It happened that she had left her lodgings in the village early that very morning, and, for some purpose or other, had travelled to the town of Bath. Randolph, too, went away the same day in the opposite direction to Plymouth. He returned on the following morning, the 9th; soon after walked over to Lee; and entered into conversation with the keeper of the inn where Cibras lodged; asked if she was at home, and on being told that she had gone away, asked further if she had taken her luggage with her; was informed that she had, and had also announced her intention of at once leaving England. He then walked away in the direction of the Hall. On this day Hester Dyett noticed that there were many articles of value scattered about the earl's room, notably a tiara of old Brazilian brilliants, sometimes worn by the late Lady Pharanx. Randolph—who was present at the time—further drew her attention to these by telling her that Lord Pharanx had chosen to bring together in his apartment many of the family jewels; and she was instructed to tell the other servants of this fact, in case they should notice any suspicious-looking loafers about the estate.

'On the 10th, both father and son remained in their rooms all day, except when the latter came down to meals; at which times he would lock his door behind him, and with his own hands take in the earl's food, giving as his reason that his father was writing a very important document, and did not wish to be disturbed by the presence of a servant. During the forenoon, Hester Dyett, hearing loud noises in Randolph's room, as if furniture was being removed from place to place, found some pretext for knocking at his door, when he ordered her on no account to interrupt him again, as he was busy packing his clothes in view of a journey to London on the next day. The subsequent conduct of the woman shows that her curiosity must have been excited to the utmost by the undoubtedly strange spectacle of Randolph packing his own clothes. During the afternoon a lad from the village was instructed to collect his companions for a science lecture the same evening at eight o'clock. And so the eventful day wore on.

'We arrive now at this hour of eight P.M. on this 10th day of January. The night is dark and windy; some snow has been falling, but has now ceased. In an upper room is Randolph engaged in expounding the elements of dynamics; in the room under that is Hester Dyett—for Hester has somehow obtained a key that opens the door of Randolph's room, and takes advantage of his absence upstairs to explore it. Under her is Lord Pharanx, certainly in bed, probably asleep. Hester, trembling all over in a fever of fear and excitement, holds a lighted taper in one hand, which she religiously shades with the other; for the storm is gusty, and the gusts, tearing through the crevices of the rattling old casements, toss great flickering shadows on the hangings, which frighten her to death. She has just time to see that the whole room is in the wildest confusion, when suddenly a rougher puff blows out the flame, and she is left in what to her, standing as she was on that forbidden ground, must have been a horror of darkness. At the same moment, clear and sharp from right beneath her, a pistol-shot rings out on her ear. For an instant she stands in stone, incapable of motion. Then on her dazed senses there supervenes—so she swore—the consciousness that some object is moving in the room—moving apparently of its own accord—moving in direct opposition to all the laws of nature as she knows them. She imagines that she perceives a phantasm—a strange something—globular-white—looking, as she says, "like a good-sized ball of cotton"—rise directly from the floor before her, ascending slowly upward, as if driven aloft by some invisible force. A sharp shock of the sense of the supernatural deprives her of ordered reason. Throwing forward her arms, and uttering a shrill scream, she rushes towards the door. But she never reaches it: midway she falls prostrate over some object, and knows no more; and when, an hour later, she is borne out of the room in the arms of Randolph himself, the blood is dripping from a fracture of her right tibia.

'Meantime, in the upper chamber the pistol-shot and the scream of the woman have been heard. All eyes turn to Randolph. He stands in the shadow of the mechanical contrivance on which he has been illustrating his points; leans for support on it. He essays to speak, the muscles of his face work, but no sound comes. Only after a time is he able to gasp: "Did you hear something—from below?" They answer "yes" in chorus; then one of the lads takes a lighted candle, and together they troop out, Randolph behind them. A terrified servant rushes up with the news that something dreadful has happened in the house. They proceed for some distance, but there is an open window on the stairs, and the light is blown out. They have to wait some minutes till another is obtained, and then the procession moves forward once more. Arrived at Lord Pharanx's door, and finding it locked, a lantern is procured, and Randolph leads them through the house and out on the lawn. But having nearly reached the balcony, a lad observes a track of small woman's-feet in the snow; a halt is called, and then Randolph points out another track of feet, half obliterated by the snow, extending from a coppice close by up to the balcony, and forming an angle with the first track. These latter are great big feet, made by ponderous labourers' boots. He holds the lantern over the flower-beds, and shows how they have been trampled down. Some one finds a common scarf, such as workmen wear; and a ring and a locket, dropped by the burglars in their flight, are also found by Randolph half buried in the snow. And now the foremost reach the window. Randolph, from behind, calls to them to enter. They cry back that they cannot, the window being closed. At this reply he seems to be overcome by surprise, by terror. Some one hears him murmur the words, "My God, what can have happened now?" His horror is increased when one of the lads bears to him a revolting trophy, which has been found just outside the window; it is the front phalanges of three fingers of a human hand. Again he utters the agonised moan, "My God!" and then, mastering his agitation, makes for the window; he finds that the catch of the sash has been roughly wrenched off, and that the sash can be opened by merely pushing it up: does so, and enters. The room is in darkness: on the floor under the window is found the insensible body of the woman Cibras. She is alive, but has fainted. Her right fingers are closed round the handle of a large bowie-knife, which is covered with blood; parts of the left are missing. All the jewelry has been stolen from the room. Lord Pharanx lies on the bed, stabbed through the bedclothes to the heart. Later on a bullet is also found imbedded in his brain. I should explain that a trenchant edge, running along the bottom of the sash, was the obvious means by which the fingers of Cibras had been cut off. This had been placed there a few days before by the workman I spoke of. Several secret springs had been placed on the inner side of the lower horizontal piece of the window-frame, by pressing any one of which the sash was lowered; so that no one, ignorant of the secret, could pass out from within, without resting the hand on one of these springs, and so bringing down the armed sash suddenly on the underlying hand.

'There was, of course, a trial. The poor culprit, in mortal terror of death, shrieked out a confession of the murder just as the jury had returned from their brief consultation, and before they had time to pronounce their verdict of "guilty." But she denied shooting Lord Pharanx, and she denied stealing the jewels; and indeed no pistol and no jewels were found on her, or anywhere in the room. So that many points remain mysterious. What part did the burglars play in the tragedy? Were they in collusion with Cibras? Had the strange behaviour of at least one of the inmates of Orven Hall no hidden significance? The wildest guesses were made throughout the country; theories propounded. But no theory explained all the points. The ferment, however, has now subsided. To-morrow morning Maude Cibras ends her life on the gallows.'

Thus I ended my narrative.

Without a word Zaleski rose from the couch, and walked to the organ. Assisted from behind by Ham, who foreknew his master's every whim, he proceeded to render with infinite feeling an air from the Lakmé of Delibes; long he sat, dreamily uttering the melody, his head sunken on his breast. When at last he rose, his great expanse of brow was clear, and a smile all but solemn in its serenity was on his lips. He walked up to an ivory escritoire, scribbled a few words on a sheet of paper, and handed it to the negro with the order to take my trap and drive with the message in all haste to the nearest telegraph office.

'That message,' he said, resuming his place on the couch, 'is a last word on the tragedy, and will, no doubt, produce some modification in the final stage of its history. And now, Shiel, let us sit together and confer on this matter. From the manner in which you have expressed yourself, it is evident that there are points which puzzle you—you do not get a clean coup d'oeil of the whole regiment of facts, and their causes, and their consequences, as they occurred. Let us see if out of that confusion we cannot produce a coherence, a symmetry. A great wrong is done, and on the society in which it is done is imposed the task of making it translucent, of seeing it in all its relations, and of punishing it. But what happens? The society fails to rise to the occasion; on the whole, it contrives to make the opacity more opaque, does not see the crime in any human sense; is unable to punish it. Now this, you will admit, whenever it occurs, is a woful failure: woful I mean, not very in itself, but very in its significance: and there must be a precise cause for it. That cause is the lack of something not merely, or specially, in the investigators of the wrong, but in the world at large—shall we not boldly call it the lack of culture? Do not, however, misunderstand me: by the term I mean not so much attainment in general, as mood in particular. Whether or when such mood may become universal may be to you a matter of doubt. As for me, I often think that when the era of civilisation begins—as assuredly it shall some day begin—when the races of the world cease to be credulous, ovine mobs and become critical, human nations, then will be the ushering in of the ten thousand years of a clairvoyant culture. But nowhere, and at no time during the very few hundreds of years that man has occupied the earth, has there been one single sign of its presence. In individuals, yes—in the Greek Plato, and I think in your English Milton and Bishop Berkeley—but in humanity, never; and hardly in any individual outside those two nations. The reason, I fancy, is not so much that man is a hopeless fool, as that Time, so far as he is concerned, has, as we know, only just begun: it being, of course, conceivable that the creation of a perfect society of men, as the first requisite to a régime of culture, must nick to itself a longer loop of time than the making of, say, a stratum of coal. A loquacious person—he is one of your cherished "novel"-writers, by the way, if that be indeed a Novel in which there is nowhere any pretence at novelty—once assured me that he could never reflect without swelling on the greatness of the age in which he lived, an age the mighty civilisation of which he likened to the Augustan and Periclean. A certain stony gaze of anthropological interest with which I regarded his frontal bone seemed to strike the poor man dumb, and he took a hurried departure. Could he have been ignorant that ours is, in general, greater than the Periclean for the very reason that the Divinity is neither the devil nor a bungler; that three thousand years of human consciousness is not nothing; that a whole is greater than its part, and a butterfly than a chrysalis? But it was the assumption that it was therefore in any way great in the abstract that occasioned my profound astonishment, and indeed contempt. Civilisation, if it means anything, can only mean the art by which men live musically together—to the lutings, as it were, of Panpipes, or say perhaps, to triumphant organ-bursts of martial, marching dithyrambs. Any formula defining it as "the art of lying back and getting elaborately tickled," should surely at this hour be too primitive—too Opic—to bring anything but a smile to the lips of grown white-skinned men; and the very fact that such a definition can still find undoubting acceptance in all quarters may be an indication that the true [Greek: idéa] which this condition of being must finally assume is far indeed—far, perhaps, by ages and aeons—from becoming part of the general conception. Nowhere since the beginning has the gross problem of living ever so much as approached solution, much less the delicate and intricate one of living together: à propos of which your body corporate not only still produces criminals (as the body-natural fleas), but its very elementary organism cannot so much as catch a really athletic one as yet. Meanwhile you and I are handicapped. The individual travaileth in pain. In the struggle for quality, powers, air, he spends his strength, and yet hardly escapes asphyxiation. He can no more wriggle himself free of the psychic gravitations that invest him than the earth can shake herself loose of the sun, or he of the omnipotences that rivet him to the universe. If by chance one shoots a downy hint of wings, an instant feeling of contrast puffs him with self-consciousness: a tragedy at once: the unconscious being "the alone complete." To attain to anything, he must needs screw the head up into the atmosphere of the future, while feet and hands drip dark ichors of despair from the crucifying cross of the crude present—a horrid strain! Far up a nightly instigation of stars he sees: but he may not strike them with the head. If earth were a boat, and mine, I know well toward what wild azimuths I would compel her helm: but gravity, gravity—chiefest curse of Eden's sin!—is hostile. When indeed (as is ordained), the old mother swings herself into a sublimer orbit, we on her back will follow: till then we make to ourselves Icarian "organa" in vain. I mean to say that it is the plane of station which is at fault: move that upward, you move all. But meantime is it not Goethe who assures us that "further reacheth no man, make he what stretching he will"? For Man, you perceive, is not many, but One. It is absurd to suppose that England can be free while Poland is enslaved; Paris is far from the beginnings of civilisation whilst Toobooloo and Chicago are barbaric. Probably no ill-fated, microcephalous son of Adam ever tumbled into a mistake quite so huge, so infantile, as did Dives, if he imagined himself rich while Lazarus sat pauper at the gate. Not many, I say, but one. Even Ham and I here in our retreat are not alone; we are embarrassed by the uninvited spirit of the present; the adamant root of the mountain on whose summit we stand is based ineradicably in the low world. Yet, thank Heaven, Goethe was not quite right—as, indeed, he proved in his proper person. I tell you, Shiel, I know whether Mary did or did not murder Darnley; I know—as clearly, as precisely, as a man can know—that Beatrice Cenci was not "guilty" as certain recently-discovered documents "prove" her, but that the Shelley version of the affair, though a guess, is the correct one. It is possible, by taking thought, to add one cubit—or say a hand, or a dactyl—to your stature; you may develop powers slightly—very slightly, but distinctly, both in kind and degree—in advance of those of the mass who live in or about the same cycle of time in which you live. But it is only when the powers to which I refer are shared by the mass—when what, for want of another term, I call the age of the Cultured Mood has at length arrived—that their exercise will become easy and familiar to the individual; and who shall say what presciences, prisms, séances, what introspective craft, Genie apocalypses, shall not then become possible to the few who stand spiritually in the van of men.

'All this, you will understand, I say as some sort of excuse for myself, and for you, for any hesitation we may have shown in loosening the very little puzzle you have placed before me—one which we certainly must not regard as difficult of solution. Of course, looking at all the facts, the first consideration that must inevitably rivet the attention is that arising from the circumstance that Viscount Randolph has strong reasons to wish his father dead. They are avowed enemies; he is the fiancé of a princess whose husband he is probably too poor to become, though he will very likely be rich enough when his father dies; and so on. All that appears on the surface. On the other hand, we—you and I—know the man: he is a person of gentle blood, as moral, we suppose, as ordinary people, occupying a high station in the world. It is impossible to imagine that such a person would commit an assassination, or even countenance one, for any or all of the reasons that present themselves. In our hearts, with or without clear proof, we could hardly believe it of him. Earls' sons do not, in fact, go about murdering people. Unless, then, we can so reason as to discover other motives—strong, adequate, irresistible—and by "irresistible" I mean a motive which must be far stronger than even the love of life itself—we should, I think, in fairness dismiss him from our mind.

'And yet it must be admitted that his conduct is not free of blame. He contracts a sudden intimacy with the acknowledged culprit, whom he does not seem to have known before. He meets her by night, corresponds with her. Who and what is this woman? I think we could not be far wrong in guessing some very old flame of Lord Pharanx's of Théâtre des Variétés type, whom he has supported for years, and from whom, hearing some story to her discredit, he threatens to withdraw his supplies. However that be, Randolph writes to Cibras—a violent woman, a woman of lawless passions—assuring her that in four or five days she will be excluded from the will of his father; and in four or five days Cibras plunges a knife into his father's bosom. It is a perfectly natural sequence—though, of course, the intention to produce by his words the actual effect produced might have been absent; indeed, the letter of Lord Pharanx himself, had it been received, would have tended to produce that very effect; for it not only gives an excellent opportunity for converting into action those evil thoughts which Randolph (thoughtlessly or guiltily) has instilled, but it further tends to rouse her passions by cutting off from her all hopes of favour. If we presume, then, as is only natural, that there was no such intention on the part of the earl, we may make the same presumption in the case of the son. Cibras, however, never receives the earl's letter: on the morning of the same day she goes away to Bath, with the double object, I suppose, of purchasing a weapon, and creating an impression that she has left the country. How then does she know the exact locale of Lord Pharanx's room? It is in an unusual part of the mansion, she is unacquainted with any of the servants, a stranger to the district. Can it be possible that Randolph had told her? And here again, even in that case, you must bear in mind that Lord Pharanx also told her in his note, and you must recognise the possibility of the absence of evil intention on the part of the son. Indeed, I may go further and show you that in all but every instance in which his actions are in themselves outré, suspicious, they are rendered, not less outré, but less suspicious, by the fact that Lord Pharanx himself knew of them, shared in them. There was the cruel barbing of that balcony window; about it the crudest thinker would argue thus to himself: "Randolph practically incites Maude Cibras to murder his father on the 5th, and on the 6th he has that window so altered in order that, should she act on his suggestion, she will be caught on attempting to leave the room, while he himself, the actual culprit being discovered en flagrant délit, will escape every shadow of suspicion." But, on the other hand, we know that the alteration was made with Lord Pharanx's consent, most likely on his initiative—for he leaves his favoured room during a whole day for that very purpose. So with the letter to Cibras on the 8th—Randolph despatches it, but the earl writes it. So with the disposal of the jewels in the apartment on the 9th. There had been some burglaries in the neighbourhood, and the suspicion at once arises in the mind of the crude reasoner: Could Randolph—finding now that Cibras has "left the country," that, in fact, the tool he had expected to serve his ends has failed him—could he have thus brought those jewels there, and thus warned the servants of their presence, in the hope that the intelligence might so get abroad and lead to a burglary, in the course of which his father might lose his life? There are evidences, you know, tending to show that the burglary did actually at last take place, and the suspicion is, in view of that, by no means unreasonable. And yet, militating against it, is our knowledge that it was Lord Pharanx who "chose" to gather the jewels round him; that it was in his presence that Randolph drew the attention of the servant to them. In the matter, at least, of the little political comedy the son seems to have acted alone; but you surely cannot rid yourself of the impression that the radical speeches, the candidature, and the rest of it, formed all of them only a very elaborate, and withal clumsy, set of preliminaries to the class. Anything, to make the perspective, the sequence of that seem natural. But in the class, at any rate, we have the tacit acquiescence, or even the cooperation of Lord Pharanx. You have described the conspiracy of quiet which, for some reason or other, was imposed on the household; in that reign of silence the bang of a door, the fall of a plate, becomes a domestic tornado. But have you ever heard an agricultural labourer in clogs or heavy boots ascend a stair? The noise is terrible. The tramp of an army of them through the house and overhead, probably jabbering uncouthly together, would be insufferable. Yet Lord Pharanx seems to have made no objection; the novel institution is set up in his own mansion, in an unusual part of it, probably against his own principles; but we hear of no murmur from him. On the fatal day, too, the calm of the house is rudely broken by a considerable commotion in Randolph's room just overhead, caused by his preparation for "a journey to London." But the usual angry remonstrance is not forthcoming from the master. And do you not see how all this more than acquiescence of Lord Pharanx in the conduct of his son deprives that conduct of half its significance, its intrinsic suspiciousness?

'A hasty reasoner then would inevitably jump to the conclusion that Randolph was guilty of something—some evil intention—though of precisely what he would remain in doubt. But a more careful reasoner would pause: he would reflect that as the father was implicated in those acts, and as he was innocent of any such intention, so might possibly, even probably, be the son. This, I take it, has been the view of the officials, whose logic is probably far in advance of their imagination. But supposing we can adduce one act, undoubtedly actuated by evil intention on the part of Randolph—one act in which his father certainly did not participate—what follows next? Why, that we revert at once to the view of the hasty reasoner, and conclude that all the other acts in the same relation were actuated by the same evil motive; and having reached that point, we shall be unable longer to resist the conclusion that those of them in which his father had a share might have sprung from a like motive in his mind also; nor should the mere obvious impossibility of such a condition of things have even the very least influence on us, as thinkers, in causing us to close our mind against its logical possibility. I therefore make the inference, and pass on.

'Let us then see if we can by searching find out any absolutely certain deviation from right on the part of Randolph, in which we may be quite sure that his father was not an abettor. At eight on the night of the murder it is dark; there has been some snow, but the fall has ceased—how long before I know not, but so long that the interval becomes sufficiently appreciable to cause remark. Now the party going round the house come on two tracks of feet meeting at an angle. Of one track we are merely told that it was made by the small foot of a woman, and of it we know no more; of the other we learn that the feet were big and the boots clumsy, and, it is added, the marks were half obliterated by the snow. Two things then are clear: that the persons who made them came from different directions, and probably made them at different times. That, alone, by the way, may be a sufficient answer to your question as to whether Cibras was in collusion with the "burglars." But how does Randolph behave with reference to these tracks? Though he carries the lantern, he fails to perceive the first—the woman's—the discovery of which is made by a lad; but the second, half hidden in the snow, he notices readily enough, and at once points it out. He explains that burglars have been on the war-path. But examine his horror of surprise when he hears that the window is closed; when he sees the woman's bleeding fingers. He cannot help exclaiming, "My God! what has happened now?" But why "now"? The word cannot refer to his father's death, for that he knew, or guessed, beforehand, having heard the shot. Is it not rather the exclamation of a man whose schemes destiny has complicated? Besides, he should have expected to find the window closed: no one except himself, Lord Pharanx, and the workman, who was now dead, knew the secret of its construction; the burglars therefore, having entered and robbed the room, one of them, intending to go out, would press on the ledge, and the sash would fall on his hand with what result we know. The others would then either break the glass and so escape; or pass through the house; or remain prisoners. That immoderate surprise was therefore absurdly illogical, after seeing the burglar-track in the snow. But how, above all, do you account for Lord Pharanx's silence during and after the burglars' visit—if there was a visit? He was, you must remember, alive all that time; they did not kill him; certainly they did not shoot him, for the shot is heard after the snow has ceased to fall,—that is, after, long after, they have left, since it was the falling snow that had half obliterated their tracks; nor did they stab him, for to this Cibras confesses. Why then, being alive, and not gagged, did he give no token of the presence of his visitors? There were in fact no burglars at Orven Hall that night.'

'But the track!' I cried, 'the jewels found in the snow—the neckerchief!'

Zaleski smiled.

'Burglars,' he said, 'are plain, honest folk who have a just notion of the value of jewelry when they see it. They very properly regard it as mere foolish waste to drop precious stones about in the snow, and would refuse to company with a man weak enough to let fall his neckerchief on a cold night. The whole business of the burglars was a particularly inartistic trick, unworthy of its author. The mere facility with which Randolph discovered the buried jewels by the aid of a dim lantern, should have served as a hint to an educated police not afraid of facing the improbable. The jewels had been put there with the object of throwing suspicion on the imaginary burglars; with the same design the catch of the window had been wrenched off, the sash purposely left open, the track made, the valuables taken from Lord Pharanx's room. All this was deliberately done by some one—would it be rash to say at once by whom?

'Our suspicions having now lost their whole character of vagueness, and begun to lead us in a perfectly definite direction, let us examine the statements of Hester Dyett. Now, it is immediately comprehensible to me that the evidence of this woman at the public examinations was looked at askance. There can be no doubt that she is a poor specimen of humanity, an undesirable servant, a peering, hysterical caricature of a woman. Her statements, if formally recorded, were not believed; or if believed, were believed with only half the mind. No attempt was made to deduce anything from them. But for my part, if I wanted specially reliable evidence as to any matter of fact, it is precisely from such a being that I would seek it. Let me draw you a picture of that class of intellect. They have a greed for information, but the information, to satisfy them, must relate to actualities; they have no sympathy with fiction; it is from their impatience of what seems to be that springs their curiosity of what is. Clio is their muse, and she alone. Their whole lust is to gather knowledge through a hole, their whole faculty is to peep. But they are destitute of imagination, and do not lie; in their passion for realities they would esteem it a sacrilege to distort history. They make straight for the substantial, the indubitable. For this reason the Peniculi and Ergasili of Plautus seem to me far more true to nature than the character of Paul Pry in Jerrold's comedy. In one instance, indeed, the evidence of Hester Dyett appears, on the surface of it, to be quite false. She declares that she sees a round white object moving upward in the room. But the night being gloomy, her taper having gone out, she must have been standing in a dense darkness. How then could she see this object? Her evidence, it was argued, must be designedly false, or else (as she was in an ecstatic condition) the result of an excited fancy. But I have stated that such persons, nervous, neurotic even as they may be, are not fanciful. I therefore accept her evidence as true. And now, mark the consequence of that acceptance. I am driven to admit that there must, from some source, have been light in the room—a light faint enough, and diffused enough, to escape the notice of Hester herself. This being so, it must have proceeded from around, from below, or from above. There are no other alternatives. Around these was nothing but the darkness of the night; the room beneath, we know, was also in darkness. The light then came from the room above—from the mechanic class-room. But there is only one possible means by which the light from an upper can diffuse a lower room. It must be by a hole in the intermediate boards. We are thus driven to the discovery of an aperture of some sort in the flooring of that upper chamber. Given this, the mystery of the round white object "driven" upward disappears. We at once ask, why not drawn upward through the newly-discovered aperture by a string too small to be visible in the gloom? Assuredly it was drawn upward. And now having established a hole in the ceiling of the room in which Hester stands, is it unreasonable—even without further evidence—to suspect another in the flooring? But we actually have this further evidence. As she rushes to the door she falls, faints, and fractures the lower part of her leg. Had she fallen over some object, as you supposed, the result might have been a fracture also, but in a different part of the body; being where it was, it could only have been caused by placing the foot inadvertently in a hole while the rest of the body was in rapid motion. But this gives us an approximate idea of the size of the lower hole; it was at least big enough to admit the foot and lower leg, big enough therefore to admit that "good-sized ball of cotton" of which the woman speaks: and from the lower we are able to conjecture the size of the upper. But how comes it that these holes are nowhere mentioned in the evidence? It can only be because no one ever saw them. Yet the rooms must have been examined by the police, who, if they existed, must have seen them. They therefore did not exist: that is to say, the pieces which had been removed from the floorings had by that time been neatly replaced, and, in the case of the lower one, covered by the carpet, the removal of which had caused so much commotion in Randolph's room on the fatal day. Hester Dyett would have been able to notice and bring at least one of the apertures forward in evidence, but she fainted before she had time to find out the cause of her fall, and an hour later it was, you remember, Randolph himself who bore her from the room. But should not the aperture in the top floor have been observed by the class? Undoubtedly, if its position was in the open space in the middle of the room. But it was not observed, and therefore its position was not there, but in the only other place left—behind the apparatus used in demonstration. That then was one useful object which the apparatus—and with it the elaborate hypocrisy of class, and speeches, and candidature—served: it was made to act as a curtain, a screen. But had it no other purpose? That question we may answer when we know its name and its nature. And it is not beyond our powers to conjecture this with something like certainty. For the only "machines" possible to use in illustration of simple mechanics are the screw, the wedge, the scale, the lever, the wheel-and-axle, and Atwood's machine. The mathematical principles which any of these exemplify would, of course, be incomprehensible to such a class, but the first five most of all, and as there would naturally be some slight pretence of trying to make the learners understand, I therefore select the last; and this selection is justified when we remember that on the shot being heard, Randolph leans for support on the "machine," and stands in its shadow; but any of the others would be too small to throw any appreciable shadow, except one—the wheel, and-axle—and that one would hardly afford support to a tall man in the erect position. The Atwood's machine is therefore forced on us; as to its construction, it is, as you are aware, composed of two upright posts, with a cross-bar fitted with pulleys and strings, and is intended to show the motion of bodies acting under a constant force—the force of gravity, to wit. But now consider all the really glorious uses to which those same pulleys may be turned in lowering and lifting unobserved that "ball of cotton" through the two apertures, while the other strings with the weights attached are dangling before the dull eyes of the peasants. I need only point out that when the whole company trooped out of the room, Randolph was the last to leave it, and it is not now difficult to conjecture why.

'Of what, then, have we convicted Randolph? For one thing, we have shown that by marks of feet in the snow preparation was made beforehand for obscuring the cause of the earl's death. That death must therefore have been at least expected, foreknown. Thus we convict him of expecting it. And then, by an independent line of deduction, we can also discover the means by which he expected it to occur. It is clear that he did not expect it to occur when it did by the hand of Maude Cibras—for this is proved by his knowledge that she had left the neighbourhood, by his evidently genuine astonishment at the sight of the closed window, and, above all, by his truly morbid desire to establish a substantial, an irrefutable alibi for himself by going to Plymouth on the day when there was every reason to suppose she would do the deed—that is, on the 8th, the day of the earl's invitation. On the fatal night, indeed, the same morbid eagerness to build up a clear alibi is observable, for he surrounds himself with a cloud of witnesses in the upper chamber. But that, you will admit, is not nearly so perfect a one as a journey, say, to Plymouth would have been. Why then, expecting the death, did he not take some such journey? Obviously because on this occasion his personal presence was necessary. When, in conjunction with this, we recall the fact that during the intrigues with Cibras the lectures were discontinued, and again resumed immediately on her unlooked-for departure, we arrive at the conclusion that the means by which Lord Pharanx's death was expected to occur was the personal presence of Randolph in conjunction with the political speeches, the candidature, the class, the apparatus.

'But though he stands condemned of foreknowing, and being in some sort connected with, his father's death, I can nowhere find any indication of his having personally accomplished it, or even of his ever having had any such intention. The evidence is evidence of complicity—and nothing more. And yet—and yet—even of this we began by acquitting him unless we could discover, as I said, some strong, adequate, altogether irresistible motive for such complicity. Failing this, we ought to admit that at some point our argument has played us false, and led us into conclusions wholly at variance with our certain knowledge of the principles underlying human conduct in general. Let us therefore seek for such a motive—something deeper than personal enmity, stronger than personal ambition, than the love of life itself! And now, tell me, at the time of the occurrence of this mystery, was the whole past history of the House of Orven fully investigated?'

'Not to my knowledge,' I answered; 'in the papers there were, of course, sketches of the earl's career, but that I think was all.'

'Yet it cannot be that their past was unknown, but only that it was ignored. Long, I tell you, long and often, have I pondered on that history, and sought to trace with what ghastly secret has been pregnant the destiny, gloomful as Erebus and the murk of black-peplosed Nux, which for centuries has hung its pall over the men of this ill-fated house. Now at last I know. Dark, dark, and red with gore and horror is that history; down the silent corridors of the ages have these blood-soaked sons of Atreus fled shrieking before the pursuing talons of the dread Eumenides. The first earl received his patent in 1535 from the eighth Henry. Two years later, though noted as a rabid "king's man," he joined the Pilgrimage of Grace against his master, and was soon after executed, with Darcy and some other lords. His age was then fifty. His son, meantime, had served in the king's army under Norfolk. It is remarkable, by the way, that females have all along been rare in the family, and that in no instance has there been more than one son. The second earl, under the sixth Edward, suddenly threw up a civil post, hastened to the army, and fell at the age of forty at the battle of Pinkie in 1547. He was accompanied by his son. The third in 1557, under Mary, renounced the Catholic faith, to which, both before and since, the family have passionately clung, and suffered (at the age of forty) the last penalty. The fourth earl died naturally, but suddenly, in his bed at the age of fifty during the winter of 1566. At midnight of the same day he was laid in the grave by his son. This son was later on, in 1591, seen by his son to fall from a lofty balcony at Orven Hall, while walking in his sleep at high noonday. Then for some time nothing happens; but the eighth earl dies mysteriously in 1651 at the age of forty-five. A fire occurring in his room, he leapt from a window to escape the flames. Some of his limbs were thereby fractured, but he was in a fair way to recovery when there was a sudden relapse, soon ending in death. He was found to have been poisoned by radix aconiti indica, a rare Arabian poison not known in Europe at that time except to savants, and first mentioned by Acosta some months before. An attendant was accused and tried, but acquitted. The then son of the House was a Fellow of the newly-founded Royal Society, and author of a now-forgotten work on Toxicology, which, however, I have read. No suspicion, of course, fell on him.'

As Zaleski proceeded with this retrospect, I could not but ask myself with stirrings of the most genuine wonder, whether he could possess this intimate knowledge of all the great families of Europe! It was as if he had spent a part of his life in making special study of the history of the Orvens.

'In the same manner,' he went on, 'I could detail the annals of the family from that time to the present. But all through they have been marked by the same latent tragic elements; and I have said enough to show you that in each of the tragedies there was invariably something large, leering, something of which the mind demands explanation, but seeks in vain to find it. Now we need no longer seek. Destiny did not design that the last Lord of Orven should any more hide from the world the guilty secret of his race. It was the will of the gods—and he betrayed himself. "Return," he writes, "the beginning of the end is come." What end?

The end—perfectly well known to Randolph, needing no explanation for him. The old, old end, which in the ancient dim time led the first lord, loyal still at heart, to forsake his king; and another, still devout, to renounce his cherished faith, and yet another to set fire to the home of his ancestors. You have called the two last scions of the family "a proud and selfish pair of beings"; proud they were, and selfish too, but you are in error if you think their selfishness a personal one: on the contrary, they were singularly oblivious of self in the ordinary sense of the word. Theirs was the pride and the selfishness of race. What consideration, think you, other than the weal of his house, could induce Lord Randolph to take on himself the shame—for as such he certainly regards it—of a conversion to radicalism? He would, I am convinced, have died rather than make this pretence for merely personal ends. But he does it—and the reason? It is because he has received that awful summons from home; because "the end" is daily coming nearer, and it must not find him unprepared to meet it; it is because Lord Pharanx's senses are becoming too acute; because the clatter of the servants' knives at the other end of the house inflames him to madness; because his excited palate can no longer endure any food but the subtlest delicacies; because Hester Dyett is able from the posture in which he sits to conjecture that he is intoxicated; because, in fact, he is on the brink of the dreadful malady which physicians call "General Paralysis of the Insane." You remember I took from your hands the newspaper containing the earl's letter to Cibras, in order to read it with my own eyes. I had my reasons, and I was justified. That letter contains three mistakes in spelling: "here" is printed "hear," "pass" appears as "pas," and "room" as "rume." Printers' errors, you say? But not so—one might be, two in that short paragraph could hardly be, three would be impossible. Search the whole paper through, and I think you will not find another. Let us reverence the theory of probabilities: the errors were the writer's, not the printer's. General Paralysis of the Insane is known to have this effect on the writing. It attacks its victims about the period of middle age—the age at which the deaths of all the Orvens who died mysteriously occurred. Finding then that the dire heritage of his race—the heritage of madness—is falling or fallen on him, he summons his son from India. On himself he passes sentence of death: it is the tradition of the family, the secret vow of self-destruction handed down through ages from father to son. But he must have aid: in these days it is difficult for a man to commit the suicidal act without detection—and if madness is a disgrace to the race, equally so is suicide. Besides, the family is to be enriched by the insurances on his life, and is thereby to be allied with royal blood; but the money will be lost if the suicide be detected. Randolph therefore returns and blossoms into a popular candidate.

'For a time he is led to abandon his original plans by the appearance of Maude Cibras; he hopes that she may be made to destroy the earl; but when she fails him, he recurs to it—recurs to it all suddenly, for Lord Pharanx's condition is rapidly becoming critical, patent to all eyes, could any eye see him—so much so that on the last day none of the servants are allowed to enter his room. We must therefore regard Cibras as a mere addendum to, an extraneous element in, the tragedy, not as an integral part of it. She did not shoot the noble lord, for she had no pistol; nor did Randolph, for he was at a distance from the bed of death, surrounded by witnesses; nor did the imaginary burglars. The earl therefore shot himself; and it was the small globular silver pistol, such as this'—here Zaleski drew a little embossed Venetian weapon from a drawer near him—'that appeared in the gloom to the excited Hester as a "ball of cotton," while it was being drawn upward by the Atwood's machine. But if the earl shot himself he could not have done so after being stabbed to the heart. Maude Cibras, therefore, stabbed a dead man. She would, of course, have ample time for stealing into the room and doing so after the shot was fired, and before the party reached the balcony window, on account of the delay on the stairs in procuring a second light; in going to the earl's door; in examining the tracks, and so on. But having stabbed a dead man, she is not guilty of murder. The message I just now sent by Ham was one addressed to the Home Secretary, telling him on no account to let Cibras die to-morrow. He well knows my name, and will hardly be silly enough to suppose me capable of using words without meaning. It will be perfectly easy to prove my conclusions, for the pieces removed from, and replaced in, the floorings can still be detected, if looked for; the pistol is still, no doubt, in Randolph's room, and its bore can be compared with the bullet found in Lord Pharanx's brain; above all, the jewels stolen by the "burglars" are still safe in some cabinet of the new earl, and may readily be discovered I therefore expect that the dénoûment will now take a somewhat different turn.'

That the dénoûment did take a different turn, and pretty strictly in accordance with Zaleski's forecast, is now matter of history, and the incidents, therefore, need no further comment from me in this place.

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