Rudyard Kipling: 440+ Short Stories in One Edition (Illustrated). Редьярд Джозеф Киплинг
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and feet; but he didn't die. He hung there and screamed, and they took him down next day, and said it was a miracle that he wasn't dead. They took him down—poor old Peachey that hadn't done them any harm—that hadn't done them any—"
He rocked to and fro and wept bitterly, wiping his eyes with the back of his scarred hands and moaning like a child for some ten minutes.
"They was cruel enough to feed him up in the temple, because they said he was more of a God than old Daniel that was a man. Then they turned him out on the snow, and told him to go home, and Peachey came home in about a year, begging along the roads quite safe; for Daniel Dravot he walked before and said, 'Come along, Peachey. It's a big thing we're doing.' The mountains they danced at night, and the mountains they tried to fall on Peachey's head, but Dan he held up his hand, and Peachey came along bent double. He never let go of Dan's hand, and he never let go of Dan's head. They gave it to him as a present in the temple, to remind him not to come again; and though the crown was pure gold and Peachey was starving, never would Peachey sell the same. You know Dravot, Sir! You knew Right Worshipful Brother Dravot! Look at him now!"
He fumbled in the mass of rags round his bent waist; brought out a black horsehair bag embroidered with silver thread; and shook therefrom on to my table—the dried, withered head of Daniel Dravot! The morning sun, that had long been paling the lamps, struck the red beard and blind sunken eyes; struck, too, a heavy circlet of gold studded with raw turquoises, that Carnehan placed tenderly on the battered temples.
"You be'old now," said Carnehan, "the Emperor in his 'abit as he lived—the King of Kafiristan with his crown upon his head. Poor old Daniel that was a monarch once!"
I shuddered, for, in spite of defacements manifold, I recognised the head of the man of Marwar Junction. Carnehan rose to go. I attempted to stop him. He was not fit to walk abroad. "Let me take away the whisky, and give me a little money," he gasped. "I was a King once. I'll go to the Deputy Commissioner and ask to set in the Poorhouse till I get my health. No, thank you, I can't wait till you get a carriage for me. I've urgent private affairs—in the south—at Marwar."
He shambled out of the office and departed in the direction of the Deputy Commissioner's house. That day at noon I had occasion to go down the blinding-hot Mall, and I saw a crooked man crawling along the white dust of the roadside, his hat in his hand, quavering dolorously after the fashion of street-singers at Home. There was not a soul in sight, and he was out of all possible earshot of the houses. And he sang through his nose, turning his head from right to left:
"The Son of Man goes forth to war,
A golden crown to gain;
His blood-red banner streams afar—
Who follows in His train?"
I waited to hear no more, but put the poor wretch into my carriage and drove him off to the nearest missionary for eventual transfer to the Asylum. He repeated the hymn twice while he was with me, whom he did not in the least recognise, and I left him singing it to the missionary.
Two days later I inquired after his welfare of the Superintendent of the Asylum.
"He was admitted suffering from sunstroke. He died early yesterday morning," said the Superintendent. "Is it true that he was half an hour bareheaded in the sun at midday?"
"Yes," said I; "but do you happen to know if he had anything upon him by any chance when he died?"
"Not to my knowledge," said the Superintendent.
And there the matter rests.
"The Finest Story in the World"
"O' ever the knightly years were gone
With the old world to the grave,
I was a king in Babylon
And you were a Christian slave."
—W. E. Henley.
His name was Charlie Mears; he was the only son of his mother who was a widow, and he lived in the north of London, coming into the City every day to work in a bank. He was twenty years old and suffered from aspirations. I met him in a public billiard-saloon where the marker called him by his given name, and he called the marker "Bulls-eyes." Charley explained, a little nervously, that he had only come to the place to look on, and since looking on at games of skill is not a cheap amusement for the young, I suggested that Charlie should go back to his mother.
That was our first step toward better acquaintance. He would call on me sometimes in the evenings instead of running about London with his fellow-clerks; and before long, speaking of himself as a young man must, he told me of his aspirations, which were all literary. He desired to make himself an undying name chiefly through verse, though he was not above sending stories of love and death to the drop-a-penny-in-the-slot journals. It was my fate to sit still while Charlie read me poems of many hundred lines, and bulky fragments of plays that would surely shake the world. My reward was his unreserved confidence, and the self-revelations and troubles of a young man are almost as holy as those of a maiden.
Charlie had never fallen in love, but was anxious to do so on the first opportunity; he believed in all things good and all things honorable, but, at the same time, was curiously careful to let me see that he knew his way about the world as befitted a bank clerk on twenty-five shillings a week. He rhymed "dove" with "love" and "moon" with "June," and devoutly believed that they had never so been rhymed before. The long lame gaps in his plays he filled up with hasty words of apology and description and swept on, seeing all that he intended to do so clearly that he esteemed it already done, and turned to me for applause.
I fancy that his mother did not encourage his aspirations, and I know that his writing-table at home was the edge of his washstand. This he told me almost at the outset of our acquaintance; when he was ravaging my bookshelves, and a little before I was implored to speak the truth as to his chances of "writing something really great, you know." Maybe I encouraged him too much, for, one night, he called on me, his eyes flaming with excitement, and said breathlessly:
"Do you mind—can you let me stay here and write all this evening? I won't interrupt you, I won't really. There's no place for me to write in at my mother's."
"What's the trouble?" I said, knowing well what that trouble was.
"I've a notion in my head that would make the most splendid story that was ever written. Do let me write it out here. It's such a notion!"
There was no resisting the appeal. I set him a table; he hardly thanked me, but plunged into the work at once. For half an hour the pen scratched without stopping. Then Charlie sighed and tugged his hair. The scratching grew slower, there were more erasures, and at last ceased. The finest story in the world would not come forth.
"It looks such awful rot now" he said, mournfully. "And yet it seemed so good when I was thinking about it. What's wrong?"
I could not dishearten him by saying the truth. So I answered: "Perhaps you don't feel in the mood for writing."
"Yes I do—except when I look at this stuff. Ugh!"
"Read me what you've done," I said. He read, and it was wondrous bad and he paused at all the specially turgid sentences, expecting a little approval; for he was proud of those sentences, as I knew he would be.
"It needs compression," I suggested, cautiously.
"I hate cutting my things down. I don't think you could alter a word here without spoiling the sense. It reads better aloud than when I was writing it."
"Charlie, you're suffering from an alarming disease afflicting a numerous class. Put the thing by, and tackle it again in a week."
"I want to do it at once. What do you think of it?"
"How can I judge from a half-written tale? Tell me the story as it lies in your head."
Charlie told, and in the telling there was