The 3-Book King’s Blood Vampire Saga

by P. J. Day

  Perhaps—who knows?—the very presence of the bust in his room had, to some extent, subtly and secretly moulded Reginald Clarke’s life. A man’s soul, like the chameleon, takes colour from its environment. Even comparative trifles, the number of the house in which we live, or the colour of the wallpaper of a room, may determine a destiny.

  The boy’s eyes were again surveying the fantastic surroundings in which he found himself; while, from a corner, Clarke’s eyes were watching his every movement, as if to follow his thoughts into the innermost labyrinth of the mind. It seemed to Ernest, under the spell of this passing fancy, as though each vase, each picture, each curio in the room, was reflected in Clarke’s work. In a long-queued, porcelain Chinese mandarin he distinctly recognised a quaint quatrain in one of Clarke’s most marvellous poems. And he could have sworn that the grin of the Hindu monkey-god on the writing-table reappeared in the weird rhythm of two stanzas whose grotesque cadence had haunted him for years.

  At last Clarke broke the silence. "You like my studio?" he asked.

  The simple question brought Ernest back to reality.

  "Like it? Why, it’s stunning. It set up in me the queerest train of thought."

  "I, too, have been in a whimsical mood to-night. Fancy, unlike genius, is an infectious disease."

  "What is the peculiar form it assumed in your case?"

  "I have been wondering whether all the things that environ us day by day are, in a measure, fashioning our thought-life. I sometimes think that even my little mandarin and this monkey-idol which, by the way, I brought from India, are exerting a mysterious but none the less real influence upon my work."

  "Great God!" Ernest replied, "I have had the identical thought!"

  "How very strange!" Clarke exclaimed, with seeming surprise.

  "It is said tritely but truly, that great minds travel the same roads," Ernest observed, inwardly pleased.

  "No," the older man subtly remarked, "but they reach the same conclusion by a different route."

  "And you attach serious importance to our fancy?"

  "Why not?"

  Clarke was gazing abstractedly at the bust of Balzac.

  "A man’s genius is commensurate with his ability of absorbing from life the elements essential to his artistic completion. Balzac possessed this power in a remarkable degree. But, strange to say, it was evil that attracted him most. He absorbed it as a sponge absorbs water; perhaps because there was so little of it in his own make-up. He must have purified the atmosphere around him for miles, by bringing all the evil that was floating in the air or slumbering in men’s souls to the point of his pen.

  "And he"—his eyes were resting on Shakespeare’s features as a man might look upon the face of a brother—"he, too, was such a nature. In fact, he was the most perfect type of the artist. Nothing escaped his mind. From life and from books he drew his material, each time reshaping it with a master-hand. Creation is a divine prerogative. Re-creation, infinitely more wonderful than mere calling into existence, is the prerogative of the poet. Shakespeare took his colours from many palettes. That is why he is so great, and why his work is incredibly greater than he. It alone explains his unique achievement. Who was he? What education did he have, what opportunities? None. And yet we find in his work the wisdom of Bacon, Sir Walter Raleigh’s fancies and discoveries, Marlowe’s verbal thunders and the mysterious loveliness of Mr. W.H."

  Ernest listened, entranced by the sound of Clarke’s mellifluous voice. He was, indeed, a master of the spoken word, and possessed a miraculous power of giving to the wildest fancies an air of vraisemblance.

  V.

  "Yes," said Walkham, the sculptor, "it’s a most curious thing."

  "What is?" asked Ernest, who had been dreaming over the Sphinx that was looking at him from its corner with the sarcastic smile of five thousand years.

  "How our dreams of yesterday stare at us like strangers to-day."

  "On the contrary," remarked Reginald, "it would be strange if they were still to know us. In fact, it would be unnatural. The skies above us and the earth underfoot are in perpetual motion. Each atom of our physical nature is vibrating with unimaginable rapidity. Change is identical with life."

  "It sometimes seems," said the sculptor, "as if thoughts evaporated like water."

  "Why not, under favorable conditions?"

  "But where do they go? Surely they cannot perish utterly?"

  "Yes, that is the question. Or, rather, it is not a question. Nothing is ever lost in the spiritual universe."

  "But what," inquired Ernest, "is the particular reason for your reflection?"

  "It is this," the sculptor replied; "I had a striking motive and lost it."

  "Do you remember," he continued, speaking to Reginald, "the Narcissus I was working on the last time when you called at my studio?"

  "Yes; it was a striking thing and impressed me very much, though I cannot recall it at the moment."

  "Well, it was a commission. An eccentric young millionaire had offered me eight thousand dollars for it. I had an absolutely original conception. But I cannot execute it. It’s as if a breeze had carried it away."

  "That is very regrettable."

  "Well, I should say so," replied the sculptor.

  Ernest smiled. For everybody knew of Walkham’s domestic troubles. Having twice figured in the divorce court, he was at present defraying the expenses of three households.

  The sculptor had meanwhile seated himself at Reginald’s writing-table, unintentionally scanning a typewritten page that was lying before him. Like all artists, something of a madman and something of a child, he at first glanced over its contents distractedly, then with an interest so intense that he was no longer aware of the impropriety of his action.

  "By Jove!" he cried. "What is this?"

  "It’s an epic of the French Revolution," Reginald replied, not without surprise.

  "But, man, do you know that I have discovered my motive in it?"

  "What do you mean?" asked Ernest, looking first at Reginald and then at Walkham, whose sanity he began to doubt.

  "Listen!"

  And the sculptor read, trembling with emotion, a long passage whose measured cadence delighted Ernest’s ear, without, however, enlightening his mind as to the purport of Walkham’s cryptic remark.

  Reginald said nothing, but the gleam in his eye showed that this time, at least, his interest was alert.

  Walkham saw the hopelessness of making clear his meaning without an explanation.

  "I forget you haven’t a sculptor’s mind. I am so constituted that, with me, all impressions are immediately translated into the sense of form. I do not hear music; I see it rise with domes and spires, with painted windows and Arabesques. The scent of the rose is to me tangible. I can almost feel it with my hand. So your prose suggested to me, by its rhythmic flow, something which, at first indefinite, crystallised finally into my lost conception of Narcissus."

  "It is extraordinary," murmured Reginald. "I had not dreamed of it."

  "So you do not think it rather fantastic?" remarked Ernest, circumscribing his true meaning.

  "No, it is quite possible. Perhaps his Narcissus was engaging the sub-conscious strata of my mind while I was writing this passage. And surely it would be strange if the undercurrents of our mind were not reflected in our style."

  "Do you mean, then, that a subtle psychologist ought to be able to read beneath and between our lines, not only what we express, but also what we leave unexpressed?"

  "Undoubtedly."

  "Even if, while we are writing, we are unconscious of our state of mind? That would open a new field to psychology."

  "Only to those that have the key, that can read the hidden symbols. It is to me a matter-of-course that every mind-movement below or above the threshold of consciousness must, of a necessity, leave its imprint faintly or clearly, as the case may be, upon our activities."

  "This may explain why books that seem intolerably dull to the majority, delight the
hearts of the few," Ernest interjected.

  "Yes, to the few that possess the key. I distinctly remember how an uncle of mine once laid down a discussion on higher mathematics and blushed fearfully when his innocent wife looked over his shoulder. The man who had written it was a roué."

  "Then the seemingly most harmless books may secretly possess the power of scattering in young minds the seed of corruption," Walkham remarked.

  "If they happen to understand," Clarke observed thoughtfully. "I can very well conceive of a lecherous text-book of the calculus, or of a reporter’s story of a picnic in which burnt, under the surface, undiscoverable, save to the initiate, the tragic passion of Tristram and Iseult."

  VI.

  Several weeks had elapsed since the conversation in Reginald Clarke’s studio. The spring was now well advanced and had sprinkled the meadows with flowers, and the bookshelves of the reviewers with fiction. The latter Ernest turned to good account, but from the flowers no poem blossomed forth. In writing about other men’s books, he almost forgot that the springtide had brought to him no bouquet of song. Only now and then, like a rippling of water, disquietude troubled his soul.

  The strange personality of the master of the house had enveloped the lad’s thoughts with an impenetrable maze. The day before Jack had come on a flying visit from Harvard, but even he was unable to free Ernest’s soul from the obsession of Reginald Clarke.

  Ernest was lazily stretching himself on a couch, waving the smoke of his cigarette to Reginald, who was writing at his desk.

  "Your friend Jack is delightful," Reginald remarked, looking up from his papers. "And his ebon-coloured hair contrasts prettily with the gold in yours. I should imagine that you are temperamental antipodes."

  "So we are; but friendship bridges the chasm between."

  "How long have you known him?"

  "We have been chums ever since our sophomore year."

  "What attracted you in him?"

  "It is no simple matter to define exactly one’s likes and dislikes. Even a tiny protoplasmic animal appears to be highly complex under the microscope. How can we hope to analyse, with any degree of certitude, our souls, especially when, under the influence of feeling, we see as through a glass darkly."

  "It is true that personal feeling colours our spectacles and distorts the perspective. Still, we should not shrink from self-analysis. We must learn to see clearly into our own hearts if we would give vitality to our work. Indiscretion is the better part of literature, and it behooves us to hound down each delicate elusive shadow of emotion, and convert it into copy."

  "It is because I am so self-analytical that I realise the complexity of my nature, and am at a loss to define my emotions. Conflicting forces sway us hither and thither without neutralising each other. Physicology isn’t physics. There were many things to attract me to Jack. He was subtler, more sympathetic, more feminine, perhaps, than the rest of my college-mates."

  "That I have noticed. In fact, his lashes are those of a girl. You still care for him very much?"

  "It isn’t a matter of caring. We are two beings that live one life."

  "A sort of psychic Siamese twins?"

  "Almost. Why, the matter is very simple. Our hearts root in the same soil; the same books have nourished us, the same great winds have shaken our being, and the same sunshine called forth the beautiful blossom of friendship."

  "He struck me, if you will pardon my saying so, as a rather commonplace companion."

  "There is in him a hidden sweetness, and a depth of feeling which only intimate contact reveals. He is now taking his post-graduate course at Harvard, and for well-nigh two months we have not met; yet so many invisible threads of common experience unite us that we could meet after years and still be near each other."

  "You are very young," Reginald replied.

  "What do you mean?"

  "Ah—never mind."

  "So you do not believe that two hearts may ever beat as one?"

  "No, that is an auditory delusion. Not even two clocks beat in unison. There is always a discrepancy, infinitesimal, perhaps, but a discrepancy nevertheless."

  A sharp ring of the bell interrupted the conversation. A moment later a curly head peeped through the door.

  "Hello, Ernest! How are you, old man?" the intruder cried, with a laugh in his voice. Then, noticing Clarke, he shook hands with the great man unceremoniously, with the nonchalance of the healthy young animal bred in the atmosphere of an American college.

  His touch seemed to thrill Clarke, who breathed heavily and then stepped to the window, as if to conceal the flush of vitality on his cheek.

  It was a breath of springtide that Jack had brought with him. Youth is a Prince Charming. To shrivelled veins the pressure of his hand imparts a spark of animation, and middle age unfolds its petals in his presence, as a sunflower gazing at late noon once more upon its lord.

  "I have come to take Ernest away from you," said Jack. "He looks a trifle paler than usual, and a day’s outing will stir the red corpuscles in his blood."

  "I have no doubt that you will take very good care of him," Reginald replied.

  "Where shall we go?" Ernest asked, absent-mindedly.

  But he did not hear the answer, for Reginald’s scepticisms had more deeply impressed him than he cared to confess to himself.

  VII.

  The two boys had bathed their souls in the sea-breeze, and their eyes in light.

  The tide of pleasure-loving humanity jostling against them had carried their feet to the "Lion Palace." From there, seated at table and quenching their thirst with high-balls, they watched the feverish palpitations of the city’s life-blood pulsating in the veins of Coney Island, to which they had drifted from Brighton Beach.

  Ernest blew thoughtful rings of smoke into the air.

  "Do you notice the ferocious look in the mien of the average frequenter of this island resort?" he said to Jack, whose eyes, following the impulse of his more robust youth, were examining specimens of feminine flotsam on the waves of the crowd.

  "It is," he continued, speaking to himself for want of an audience, "the American who is in for having a ‘good time.’ And he is going to get it. Like a huntsman, he follows the scent of happiness; but I warrant that always it eludes him. Perhaps his mad race is only the epitome of humanity’s vain pursuit of pleasure, the eternal cry that is never answered."

  But Jack was not listening. There are times in the life of every man when a petticoat is more attractive to him than all the philosophy of the world.

  Ernest was a little hurt, and it was not without some silent remonstrance that he acquiesced when Jack invited to their table two creatures that once were women.

  "Why?"

  "But they are interesting."

  "I cannot find so."

  They both had seen better times—of course. Then money losses came, with work in shop or factory, and the voice of the tempter in the commercial wilderness.

  One, a frail nervous little creature, who had instinctively chosen a seat at Ernest’s side, kept prattling in his ear, ready to tell the story of her life to any one who was willing to treat her to a drink. Something in her demeanour interested him.

  "And then I had a stroke of luck. The manager of a vaudeville was my friend and decided to give me a trial. He thought I had a voice. They called me Betsy, the Hyacinth Girl. At first it seemed as if people liked to hear me. But I suppose that was because I was new. After a month or two they discharged me."

  "And why?"

  "I suppose I was just used up, that’s all."

  "Frightful!"

  "I never had much of a voice—and the tobacco smoke—and the wine—I love wine."

  She gulped down her glass.

  "And do you like your present occupation?"

  "Why not? Am I not young? Am I not pretty?"

  This she said not parrotwise, but with a simple coquettishness that was all her own.

  On the way to the steamer a few moments later, Ernest asked,
half-reproachfully: "Jack—and you really enjoyed this conversation?"

  "Didn’t you?"

  "Do you mean this?"

  "Why, yes; she was—very agreeable."

  Ernest frowned.

  "We’re twenty, Ernest. And then, you see, it’s like a course in sociology. Susie—"