The Collected Works of Ambrose Bierce/Volume 2/The Suitable Surroundings
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 venture- some 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."
"For specific example?"
"The right to the reader's undivided attention. To deny him this is immoral. To make him share your attention with the rattle of a street car, the moving panorama of the crowds on the sidewalks, and the buildings beyond—with any of the thousands of distractions which make our customary environment—is to treat him with gross injustice. By God, it is infamous!"
The speaker had risen to his feet and was steadying himself by one of the straps hanging from the roof of the car. The other man looked up at him in sudden astonishment, wondering how so trivial a grievance could seem to justify so strong language. He saw that his friend's face was uncommonly pale and that his eyes glowed like living coals.
"You know what I mean," continued the writer, impetuously crowding his words—"you know what I mean, Marsh. My stuff in this morning's Messenger is plainly sub-headed 'A Ghost Story.' That is ample notice to all. Every honorable reader will understand it as prescribing by implication the conditions under which the work is to be read."
The man addressed as Marsh winced a trifle, then asked with a smile: "What conditions? You know that I am only a plain business man who cannot be supposed to understand such things. How, when, where should I read your ghost story?"
"In solitude—at night—by the light of a candle. There are certain emotions which a writer can easily enough excite—such as compassion or merriment. I can move you to tears or laughter under almost any circumstances. But for my ghost story to be effective you must be made to feel fear—at least a strong sense of the supernatural—and that is a difficult matter. I have a right to expect that if you read me at all you will give me a chance; that you will make yourself accessible to the emotion that I try to inspire."
The car had now arrived at its terminus and stopped. The trip just completed was its first for the day and the conversation of the two early passengers had not been interrupted. The streets were yet silent and desolate; the house tops were just touched by the rising sun. As they stepped from the car and walked away together Marsh narrowly eyed his companion, who was reported, like most men of uncommon literary ability, to be addicted to various destructive vices. That is the revenge which dull minds take upon bright ones in resentment of their superiority. Mr. Colston was known as a man of genius. There are honest souls who believe that genius is a mode of excess. It was known that Colston did not drink liquor, but many said that he ate opium. Something in his appearance that morning—a certain wildness of the eyes, an unusual pallor, a thickness and rapidity of speech—were taken by Mr. Marsh to confirm the report. Nevertheless, he had not the self-denial to abandon a subject which he found interesting, however it might excite his friend.
"Do you mean to say," he began, "that if I take the trouble to observe your directions—place myself in the conditions that you demand: solitude, night and a tallow candle—you can with your ghostly work give me an uncomfortable sense of the supernatural, as you call it? Can you accelerate my pulse, make me start at sudden noises, send a nervous chill along my spine and cause my hair to rise?"
Colston turned suddenly and looked him squarely in the eyes as they walked. "You would not dare—you have not the courage," he said. He emphasized the words with a contemptuous gesture. "You are brave enough to read me in a street car, but—in a deserted house—alone—in the forest—at night! Bah! I have a manuscript in my pocket that would kill you."
Marsh was angry. He knew himself courageous, and the words stung him. "If you know such a place," he said, "take me there to-night and leave me your story and a candle. Call for me when I've had time
enough to read it and I'll tell you the entire plot and—kick you out of the place."
That is how it occurred that the farmer's boy, looking in at an unglazed window of the Breede house, saw a man sitting in the light of a candle.
THE DAY AFTER
Late in the afternoon of the next day three men and a boy approached the Breede house from that point of the compass toward which the boy had fled the preceding night. The men were in high spirits; they talked very loudly and laughed. They made facetious and good-humored ironical remarks to the boy about his adventure, which evidently they did not believe in. The boy accepted their raillery with seriousness, making no reply. He had a sense of the fitness of things and knew that one who professes to have seen a dead man rise from his seat and blow out a candle is not a credible witness.
Arriving at the house and finding the door unlocked, the party of investigators entered without ceremony. Leading out of the passage into which this door opened was another on the right and one on the left. They entered the room on the left—the one which had the blank front window. Here was the dead body of a man.
It lay partly on one side, with the forearm beneath it, the cheek on the floor. The eyes were wide open; the stare was not an agreeable thing to encounter. The lower jaw had fallen; a little pool of saliva had collected beneath the mouth. An overthrown table, a partly burned candle, a chair and some paper with writing on it were all else that the room contained. The men looked at the body, touching the face in turn. The boy gravely stood at the head, assuming a look of ownership. It was the proudest moment of his life. One of the men said to him, "You're a good 'un"—a remark which was received by the two others with nods of acquiescence. It was Scepticism apologizing to Truth. Then one of the men took from the floor the sheet of manuscript and stepped to the window, for already the evening shadows were glooming the forest. The song of the whip-poor-will was heard in the distance and a monstrous beetle sped by the window on roaring wings ,and thundered away out of hearing. The man read:
THE MANUSCRIPT
"Before committing the act which, rightly or wrongly, I have resolved on and appearing before my Maker for judgment, I, James R. Colston, deem it my duty as a journalist to make a statement to the public. My name is, I believe, tolerably well known to the people as a writer of tragic tales, but the somberest imagination never conceived anything so tragic as my own life and history. Not in incident: my life has been destitute of adventure and action. But my mental career has been lurid with experiences such as kill and damn. I shall not recount them here—some of them are written and ready for publication elsewhere. The object of these lines is to explain to whomsoever may be interested that my death is voluntary—my own act. I shall die at twelve o'clock on the night of the 15th of July—a significant anniversary to me, for it was on that day, and at that hour, that my friend in time and eternity, Charles Breede, performed his vow to me by the same act which his fidelity to our pledge now entails upon me. He took his life in his little house in the Copeton woods. There was the customary verdict of 'temporary insanity.' Had I testified at that inquest—had I told all I knew, they would have called me mad!"
Here followed an evidently long passage which the man reading read to himself only. The rest he read aloud.
"I have still a week of life in which to arrange my worldly affairs and prepare for the great change. It is enough, for I have but few affairs and it is now four years since death became an imperative obligation.
"I shall bear this writing on my body; the finder will please hand it to the coroner.
"James R. Colston.
"P. S.—Willard Marsh, on this the fatal fifteenth day of July I hand you this manuscript, to be opened and read under the conditions agreed upon, and at the place which I designated. I forego my intention to keep it on my body to explain the manner of my death, which is not important. It will serve to explain the manner of yours. I am to call for you during the night to receive assurance that you have read the manuscript. You know me well enough to expect me. But, my friend, it will be after twelve o'clock. May God have mercy on our souls!
"J. R. C."
Before the man who was reading this manuscript had finished, the candle had been picked up and lighted. When the reader had done, he quietly thrust the paper against the flame and despite the protestations of the others held it until it was burnt to ashes. The man who did this, and who afterward placidly endured a severe reprimand from the coroner, was a son-in-law of the late Charles Breede. At the inquest nothing could elicit an intelligent account of what the paper had contained.
FROM "THE TIMES"
"Yesterday the Commissioners of Lunacy committed to the asylum Mr. James R. Colston, a writer of some local reputation, connected with the Messenger. It will be remembered that on the evening of the I5th inst. Mr. Colston was given into custody by one of his fellow-lodgers in the Baine House, who had observed him acting very suspiciously, baring his throat and whetting a razor—occasionally trying its edge by actually cutting through the skin of his arm, etc. On being handed over to the police, the unfortunate man made a desperate resistance, and has ever since been so violent that it has been necessary to keep him in a strait-jacket. Most of our esteemed contemporary's other writers are still at large."