Someone lighted a lamp. The Vizier's captor suffered him to sit up. Fakhreddin blinked a little and then looked at the man who had captured him.
This person was to all intents a rich merchant. He was well dressed, and his garments were of expensive silks. He might have been forty years of age. His face wore a young expression, and his beard was of a rich black color. He had long hair, and a fierce looking mustache, about six inches in length. His great height exceeded that of Fakhreddin and he was correspondingly broad. Besides him there were two youths, who in their appearance the Vizier took to be the sons of the man. It was one of them who had lighted the lamp.
He approached and held it over Fakhreddin, so that his father might examine that person more closely.
"What do you mean by breaking into our house like this?" he asked angrily. "I see that you are one of the Calph's eunuchs."
"I am the Grand Vizier, Fakhreddin," replied that person. "Know you not that the Caliph has forbidden any entertainments to be held after ten at night!"
"I beg your pardon," said the merchant, cutting Fakhreddin's bonds, "I did not recognize you. If I had known that the Caliph had forbidden
entertainments after a certain time I would not have held one. You must present my humble apologies to Harun Al-Raschid, whose equal for beneficence and generosity has never been known."
These last words, spoken in a loud voice, aroused the slumbering jealousy of the Vizier. With a quick movement, he drew his dagger and stabbed the merchant to the heart.
The two sons, with loud cries drew their sword and rushed upon Fakhreddin. The Vizier parried their furious blows and after a little while disposed of both of them. Hearing voices, he then rushed from the house and continued his homeward journey. Of course he did not relate this story to the Caliph, but was forced to devise a falsehood to account for the loss of his scimitar. The scimitar had been given to Fakhreddin by the Caliph and the hilt was encrusted with diamonds. The Vizier's story was that it had been stolen while he was passing through a dark street. The broken scimitar was discovered the next morning by the wife of the man who had been cruelly murdered. Recognizing it she took the hilt to the palace, and accused Fakhreddin of the murder.
"You are mad," said Fakhreddin. It was stolen from me last night, long before the time of the deed. If you can find the thief, you will find him who killed your husband and sons. Besides, what reason could I have for murdering them?" The woman acknowledged that there was none and went home perfectly well satisfied with this explanation.
A search was made for the thief, but he of course, not existing, was not found.
GENIUS LOCI
'It is a very strange place,' said Amberville, 'but I scarcely know how to convey the impression it made upon me. It will all sound so simple and ordinary. There is nothing but a sedgy meadow, surrounded on three sides by slopes of yellow pine. A dreary little stream flows in from the open end, to lose itself in a cul-de-sac of cat-tails and boggy ground. The stream, running slowly and more slowly, forms a stagnant pool of some extent from which several sickly-looking alders seem to fling themselves backwards, as if unwilling to approach it. A dead willow leans above the pool, tangling its wan, skeleton-like reflection with the green scum that mottles the water. There are no blackbirds, no kildees, no dragon-flies even, such as one usually finds in a place of that sort. It is all silent and desolate. The spot is evil — it is unholy in a way that I simply can't describe. I was compelled to make a drawing of it, almost against my will, since anything so outré is hardly in my line. In fact, I made two drawings. I'll show them to you, if you like.'
Since I had a high opinion of Amberville's artistic abilities and had long considered him one of the foremost landscape painters of his generation, I was naturally eager to see the drawings. He, however, did not even pause to await my avowal of interest, but began at once to open his portfolio. His facial expression, the very movements of his hands, were somehow eloquent of a strange mixture of compulsion and repugnance as he brought out and displayed the two water-colour sketches he had mentioned.
I could not recognize the scene depicted from either of them, Plainly it was one that I had missed in my desultory rambling about the foot-hill environs of the tiny hamlet of Bowman, where, two years before, I had purchased an uncultivated ranch and had retired for the privacy so essential to prolonged literary effort. Francis Amberville, in the one fortnight of his visit, through his flair for the pictorial potentialities of landscape, had doubtless grown more familiar with the neighbourhood than I. It had been his habit to roam about in the forenoon, armed with sketching-materials; and in this way he had already found the theme of more than one lovely painting. The arrangement was mutually convenient, since I, in his absence was wont to apply myself assiduously to an antique Remington typewriter.
I examined the drawings attentively. Both, though of hurried execution, were highly meritorious, and showed the characteristic grace and vigour of Amberville's style. And yet, even at first glance, I found a quality that was more alien to the spirit of his work. The elements of the scene were those he had described. In one picture, the pool was half hidden by a fringe of mace- weeds, and the dead willow was leaning across it at a prone, despondent angle, as if mysteriously arrested in its fall towards the stagnant waters. Beyond, the alders seemed to strain away from the pool, exposing their knotted roots as if in eternal effort. In the other drawing, the pool formed the main portion of the foreground, with the skeleton tree looming drearily at one side. At the water's farther end, the cat-tails seemed to wave and whisper among themselves in a dying wind; and the steeply barring slope of pine at the meadow's terminus was indicated as a wall of gloomy green that closed in the picture, leaving only a pale of autumnal sky at the top.
All this, as the painter had said, was ordinary enough. But I was impressed immediately by a profound horror that lurked in these simple elements and was expressed by them as if by the balefully contorted features of some demoniac face. In both drawings, this sinister character was equally evident, as if the same face had been shown in profile and front view. I could not trace the separate details that composed the impressions; but ever, as I looked, the abomination of a strange evil, a spirit of despair, malignity, desolation, leered from the drawing more openly and hatefully. The spot seemed to wear a macabre and Satanic grimace. One felt that it might speak aloud, might utter the imprecations of some gigantic devil, or the raucous derision of a thousand birds of ill omen. The evil conveyed was something wholly outside of humanity — more ancient than man. Somehow -- fantastic as this will seem — the meadow had the air of a vampire, grown old and hideous with unutterable infamies. Subtly, indefinably, it thirsted for other things than the sluggish trickle of water by which it was fed.
'Where is the place?' I asked, after a minute or two of silent inspection. It was incredible that anything of the sort could really exist — and equally incredible that a nature so robust as Amberville should have been sensitive to its quality.
'It's in the bottom of that abandoned ranch, a mile or less down the little road towards Bear River,' he replied. 'You must know it. There's a small orchard about the house, on the upper hillside; but the lower portion, ending in that meadow, is all wild land.'
I began to visualize the vicinity in question. 'Guess it must be the old Chapman place,' I decided, 'No other ranch along that road would answer your specifications.'
'Well, whoever it belongs to, that meadow is the most horrible spot.I have ever encountered. I've known other landscapes that had something wrong with them, but never anything lihe this.'
'Maybe it's haunted,' I said, half in jest. 'From your description, it must be the very meadow where old Chapman was found dead one morning by his youngest daughter, It happened a few months after I moved here. He was supposed to have died of heart failure. His body was quite cold, and he had probably been lying there all night, since the family had missed him at suppertime. I don't remember him very clearly, but I remember that he had a reput
ation for eccentricity. For some time before his death, people thought he was going mad. I forget the details, Anyway, his wife and children left, not long after he died, and no one has occupied the house or cultivated the orchard since. It was a commonplace rural tragedy.'
'I'm not much of a believer in spooks,' observed Amberville, who seemed to have taken my suggestion of haunting in a literal sense. 'Whatever the influence is, it's hardly of human origin, Come to think of it, though, I received a very silly impressiom once or twice --' the idea that some one was watching me while I, did those drawings. Queer — I had almost forgotten that, till you brought up the possibility of haunting. I seemed to see him out of the tail of my eye, just beyond the radius that I was putting into the picture: a dilapidated old scoundrel with dirty grey whiskers, and an evil scowl. It's odd, too, that I should have gotten such a definite conception of him, without ever seeing him squarely. I thought it was a tramp who had strayed into the meadow bottom. But when I turned to give him a level glance, he simply wasn't there. It was as if he melted into the miry ground, the cat-tails, the sedges.'
'That isn't a bad description of Chapman,' I said. 'I remember his whiskers — they were almost white, except for the tobacco juice. A battered antique, if there ever was one — and very unamiable, too. He had a poisonous glance towards the end, which no doubt helped along the legend of his insanity. Some of the tales about him come back to me now. People said that he neglected the care of his orchard more and more. Visitors used to find him in that lower meadow, standing idly about and staring vacantly at the trees and water. Probably that was one reason they thought he was losing his mind. But I'm sure I never heard that there was anything unusual or queer about the meadow, either at the time of Chapman's death, or since. It's a lonely spot, and I don't imagine that any one ever goes there now.'
'I stumbled on it quite by accident,' said Amberville. 'The place isn't visible from the road, on account of the thick pines... But there's another odd thing. I went out this morning with a strong and clear intuition that I might find something of uncommon interest. I made a bee-line for the meadow, so to speak; and I'll have to admit that the intuition justified itself. The place repels me - but it fascinates me, too. I've simply got to solve the mystery, if it has a solution,' he added, with a slightly defensive air. 'I'm going back early tomorrow, with my oils, to start a real painting of it.'
I was surprised, knowing that predilection of Amberville for scenic brilliance and gaiety which had caused him to be likened to Sorolla. 'The painting will be a novelty for you,' I commented. 'I'll have to come and take a look at the place myself, before long. It should really be more in my line than yours. There ought to be a weird story in it somewhere, if it lives up to your drawings and description.'
Several days passed. I was deeply preoccupied, at the time with the toilsome and intricate problems offered by the concluding chapters of a new novel; and I put off my proposed visit to the meadow discovered by Amberville. My friend, on his part, was evidently engrossed by his new theme. He sallied forth each morning with his easel and oil-colours, and returned later each day, forgetful of the luncheon-hour that had formerly brought him back from such expeditions, On the third day, he did not reappear till sunset. Contrary to his custom, he did not show me what he had done, and his answers to my queries regarding the progress of the picture were somewhat vague and evasive. For some reason, he was unwilling to talk about it. Also, he was apparently loath to discuss the meadow itself, and in answer to direct questions, merely reiterated in an absent and perfunctory manner the account he had given me following his discovery of the place. In some mysterious way that I could not define, his attitude seemed to have changed.
There were other changes, too. He seemed to have lost his usual bitterness. Often I caught him frowning intently, and surprised the lurking of some equivocal shadow in his frank eyes
There was a moodiness, a morbidity, which, as far as our five years' friendship enabled me to observe, was a new aspect of his temperament. Perhaps, if I had not been so preoccupied with my own difficulties, I might have wondered more as to the causatiom of his gloom, which I attributed readily enough at first to some technical dilemma that was baffling him. He was less and less the Amberville that I knew; and on the fourth day, when he came back at twilight, I perceived an actual surliness that was quite foreign to his nature.
'What's wrong?' I ventured to inquire. 'Have you struck a snag? Or is old Chapman's meadow getting on your nerves with its ghostly influences?'
He seemed, for once, to make an effort to throw off his gloom, his taciturnity and ill humour.
'It's the infernal mystery of the thing,' he declared, 'I've simply got to solve it, in one way or another. The place has an entity of its own — an indwelling personality. It's there, like the soul in a human body, but I can't pin it down or touch it. You know that I'm not superstitious — but, on the other hand, I'm not a bigoted materialist, either; and I've run across some odd phenomena in my time. That meadow, perhaps, is inhabited by what the ancients called a Genius Loci. More than once, before this, I have suspected that such things might exist — might reside, inherent, in some particular spot. But this is the first time that I've had reason to suspect anything of an actively malignant or inimical nature. The other influences, whose presence I have felt, were benign in some large, vague, impersonal way — or were else wholly indifferent to human welfare — perhaps oblivious of human existence. This thing, however, is hatefully aware and watchful: I feel that the meadow itself — or the force embodied in the meadow - is scrutinizing me all the time. The place has the air of a thirsty vanpire, waiting to drink me in somehow, if it can. It is a cul-de-sac of everything evil, in which an unwary soul might well be caught and absorbed. But I tell you, Murray, I can't keep away from it.'
'It looks as if the place were getting you,'. I said, thoroughly astonished by his extraordinary declaration, and by the air of fearful and morbid conviction with which he uttered it.
Apparently he had not heard me, for he made no reply to my observation. 'There's another angle,' he went on, with a feverish intensity in his voice. 'You remember my impression of an old man lurking in the background and watching me, on my first visit. Well, I have seen him again, many times, out of the corner of my eye; and during the last two days, he has appeared more directly, though in a queer, partial way. Sometimes, when I am studying the dead willow very intently, I see his scowling filthy-bearded face as a part of the hole. Then, again, it will float among the leafless twigs, as if it had been caught there. Sometimes a knotty hand, a tattered coat-sleeve, will emerge through the mantling in the pool, as if a drowned body were rising to the surface. Then, a moment later — or simultaneously — there will be some- thing of him among the alders or the cat-tails. These apparitions are always brief, and when I try to scrutinize them closely, they melt like films of vapour into the surrounding scene. But the old scoundrel, whoever or whatever he may be, is a sort of fixture. He is no less vile than everything else about the place, though I feel that he isn't the main element of the vileness.'
'Good Lord!' I exclaimed. 'You certainly have been seeing things. If you don't mind, I'll come down and join you for a while, tomorrow afternoon. The mystery begins to inveigle me.'
'Of course I don't mind, Come ahead.' His manner, all at once, for no tangible reason, had resumed the unnatural taciturnity of the past four days. He gave me a furtive look that was sullen and almost unfriendly. It was as if an obscure barrier, temporarily laid aside, had again risen between us. The shadows of his strange mood returned upon him visibly; and my efforts to continue the conversation were rewarded only by half-surly, half- absent monosyllables. Feeling an aroused concern, rather than any offence, I began to note, for the first time, the unwonted pallor of his face, and the bright, febrile lustre of his eyes, He looked vaguely unwell, I thought, as if something of his exuberant vitality had gone out of him, and had left in its place an alien energy of doubtful and less healthy nature. Tacitly, I g
ave up any attempt to bring him back from the secretive twilight into which he had withdrawn. For the rest of the evening, I pretended to read a novel, while Amberville maintained his singular abstraction. Somewhat inconclusively, I puzzled over the matter till bedtime. I made up my mind, however, that I would visit Chapman's meadow. I did not believe in the supernatural, but it seemed apparent that the place was exerting a deleterious influence upon Amberville.
The next morning, when I arose, my Chinese servant informed me that the painter had already breakfasted and had gone out with his easel and colours. This further proof of his obsession troubled me; but I applied myself rigorously to a forenoon of writing.
Immediately after luncheon, I drove down the highway, followed the narrow dirt road that branched off towards Bear River, and left my car on the pine-thick hill above the old Chapman place. Though I had never visited the meadow, I had a pretty clear idea of its location. Disregarding the grassy, half-obliterated road into the upper portion of the property, I struck down through the woods into the little blind valley, seeing more than once, on the opposite slope, the dying orchard of pear and apple trees, and the tumbledown shanty that had belonged to the Chapmans.
The Ultimate Weird Tales Collection - 133 stories - Clark Ashton Smith (Trilogus Classics) Page 17
