The Arthur Machen MEGAPACK ®. Arthur Machen
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the lesser may be ‘schoolmasters’ to lead one on to the greater—from the shadow to the reality. If you are anything of a Theologian, you will see the importance of all this.”
“I am sorry to say,” remarked Cotgrave, “that I have devoted very little of my time to theology. Indeed, I have often wondered on what grounds theologians have claimed the title of Science of Sciences for their favourite study; since the ‘theological’ books I have looked into have always seemed to me to be concerned with feeble and obvious pieties, or with the kings of Israel and Judah. I do not care to hear about those kings.”
Ambrose grinned.
“We must try to avoid theological discussion,” he said. “I perceive that you would be a bitter disputant. But perhaps the ‘dates of the kings’ have as much to do with theology as the hobnails of the murderous puddler with evil.”
“Then, to return to our main subject, you think that sin is an esoteric, occult thing?”
“Yes. It is the infernal miracle as holiness is the supernal. Now and then it is raised to such a pitch that we entirely fail to suspect its existence; it is like the note of the great pedal pipes of the organ, which is so deep that we cannot hear it. In other cases it may lead to the lunatic asylum, or to still stranger issues. But you must never confuse it with mere social misdoing. Remember how the Apostle, speaking of the ‘other side,’ distinguishes between ‘charitable’ actions and charity. And as one may give all one’s goods to the poor, and yet lack charity; so, remember, one may avoid every crime and yet be a sinner.”
“Your psychology is very strange to me,” said Cotgrave, “but I confess I like it, and I suppose that one might fairly deduce from your premisses the conclusion that the real sinner might very possibly strike the observer as a harmless personage enough?”
“Certainly; because the true evil has nothing to do with social life or social laws, or if it has, only incidentally and accidentally. It is a lonely passion of the soul—or a passion of the lonely soul—whichever you like. If, by chance, we understand it, and grasp its full significance, then, indeed, it will fill us with horror and with awe. But this emotion is widely distinguished from the fear and the disgust with which we regard the ordinary criminal, since this latter is largely or entirely founded on the regard which we have for our own skins or purses. We hate a murderer, because we know that we should hate to be murdered, or to have any one that we like murdered. So, on the ‘other side,’ we venerate the saints, but we don’t ‘like’ them as we like our friends. Can you persuade yourself that you would have ‘enjoyed’ St. Paul’s company? Do you think that you and I would have ‘got on’ with Sir Galahad?
“So with the sinners, as with the saints. If you met a very evil man, and recognized his evil; he would, no doubt, fill you with horror and awe; but there is no reason why you should ‘dislike’ him. On the contrary, it is quite possible that if you could succeed in putting the sin out of your mind you might find the sinner capital company, and in a little while you might have to reason yourself back into horror. Still, how awful it is. If the roses and the lilies suddenly sang on this coming morning; if the furniture began to move in procession, as in De Maupassant’s tale!”
“I am glad you have come back to that comparison,” said Cotgrave, “because I wanted to ask you what it is that corresponds in humanity to these imaginary feats of inanimate things. In a word—what is sin? You have given me, I know, an abstract definition, but I should like a concrete example.”
“I told you it was very rare,” said Ambrose, who appeared willing to avoid the giving of a direct answer. “The materialism of the age, which has done a good deal to suppress sanctity, has done perhaps more to suppress evil. We find the earth so very comfortable that we have no inclination either for ascents or descents. It would seem as if the scholar who decided to ‘specialize’ in Tophet, would be reduced to purely antiquarian researches. No palæontologist could show you a live pterodactyl.”
“And yet you, I think, have ‘specialized,’ and I believe that your researches have descended to our modern times.”
“You are really interested, I see. Well, I confess, that I have dabbled a little, and if you like I can show you something that bears on the very curious subject we have been discussing.”
Ambrose took a candle and went away to a far, dim corner of the room. Cotgrave saw him open a venerable bureau that stood there, and from some secret recess he drew out a parcel, and came back to the window where they had been sitting.
Ambrose undid a wrapping of paper, and produced a green pocket-book.
“You will take care of it?” he said. “Don’t leave it lying about. It is one of the choicer pieces in my collection, and I should be very sorry if it were lost.”
He fondled the faded binding.
“I knew the girl who wrote this,” he said. “When you read it, you will see how it illustrates the talk we have had tonight. There is a sequel, too, but I won’t talk of that.”
“There was an odd article in one of the reviews some months ago,” he began again, with the air of a man who changes the subject. “It was written by a doctor—Dr. Coryn, I think, was the name. He says that a lady, watching her little girl playing at the drawing-room window, suddenly saw the heavy sash give way and fall on the child’s fingers. The lady fainted, I think, but at any rate the doctor was summoned, and when he had dressed the child’s wounded and maimed fingers he was summoned to the mother. She was groaning with pain, and it was found that three fingers of her hand, corresponding with those that had been injured on the child’s hand, were swollen and inflamed, and later, in the doctor’s language, purulent sloughing set in.”
Ambrose still handled delicately the green volume.
“Well, here it is,” he said at last, parting with difficulty, it seemed, from his treasure.
“You will bring it back as soon as you have read it,” he said, as they went out into the hall, into the old garden, faint with the odour of white lilies.
There was a broad red band in the east as Cotgrave turned to go, and from the high ground where he stood he saw that awful spectacle of London in a dream.
THE GREEN BOOK
The morocco binding of the book was faded, and the colour had grown faint, but there were no stains nor bruises nor marks of usage. The book looked as if it had been bought “on a visit to London” some seventy or eighty years ago, and had somehow been forgotten and suffered to lie away out of sight. There was an old, delicate, lingering odour about it, such an odour as sometimes haunts an ancient piece of furniture for a century or more. The end-papers, inside the binding, were oddly decorated with coloured patterns and faded gold. It looked small, but the paper was fine, and there were many leaves, closely covered with minute, painfully formed characters.
I found this book (the manuscript began) in a drawer in the old bureau that stands on the landing. It was a very rainy day and I could not go out, so in the afternoon I got a candle and rummaged in the bureau. Nearly all the drawers were full of old dresses, but one of the small ones looked empty, and I found this book hidden right at the back. I wanted a book like this, so I took it to write in. It is full of secrets. I have a great many other books of secrets I have written, hidden in a safe place, and I am going to write here many of the old secrets and some new ones; but there are some I shall not put down at all. I must not write down the real names of the days and months which I found out a year ago, nor the way to make the Aklo letters, or the Chian language, or the great beautiful Circles, nor the Mao Games, nor the chief songs. I may write something about all these things but not the way to do them, for peculiar reasons. And I must not say who the Nymphs are, or the Dôls, or Jeelo, or what voolas mean. All these are most secret secrets, and I am glad when I remember what they are, and how many wonderful languages I know, but there are some things that I call the secrets of the secrets of the secrets that I dare not think of unless I am quite alone, and then I shut my eyes, and put my hands over them and whisper the word, and the Alala comes. I only do this at night in my room or in certain woods that I know, but I must not describe them, as they are secret