Category Archives: Short stories

From Portuguese: The Prettiest Girl in Rio, by Artur Azevedo

(My translation of the short story A moça mais bonita do Rio de Janeiro, which was published in Contos cariocas in 1928.)


t was 1875. In a small house in the suburb of Engenho Novo lived the prettiest girl in Rio de Janeiro, together with her parents. Because she was born on the second of May, she’d been given the name of Mafalda at the baptismal font, simply because it was the feast of St Mafalda; but no one knew her by that name – ever since she’d been little, everyone in the house had called her Fadinha, a diminutive and corruption of Mafalda, meaning Little Fairy. And those three syllables suited her well because, when she was eighteen, she possessed all the charms that the faries have, or should have; and in her extraordinary beauty there really was something supernatural and magic.

Coffee-coloured – but that sort of fluid coffee colour that only Murillo could find on his wonderful palette – with dark, twinkling eyes, dilated nostrils, big but elegantly contoured lips that opened, once in a while, to reveal the most beautiful teeth, with abundant, slightly wavy hair as dark as her eyes, always arranged in an untidy, but aesthetically pleasing way so as to give a glimpse of her little ears, which were so faultlessly designed that it would have been a crime to cover them, and with all these aspects completing each other in the oval harmony of her face, there could be no doubt that Fadinha would win first prize by the unanimous decision of the most rigorous jury if it had only occurred to someone, in those days, to run a beauty contest in Rio de Janeiro. The rest of her body was a fitting complement to her head: slim, without being tall, robust without being fat, and her figure represented an extraordinary correctness of line. Her hands and feet were exemplary.

Perhaps you’ll think I’m exaggerating when I say that, in addition to these physical gifts, her character was outstanding; but the truth is, she was good, affectionate, submissive and understanding. She had a touch of vanity, I admit, but which other woman wouldn’t, were she so pretty?

However, there were two things she regretted: having been born on the second of May and thus being called Mafalda, when she could have been born on the tenth of July and been called Amélia – and not having been born rich, very rich, so as to enhance her beauty even more. Nevertheless, she cheerfully resigned herself to the precarious situation of being the daughter of a very poor public servant. Yes, that’s how it was, because her father, Raposo, had reached the age of fifty as a simple clerk at the secretariat and found himself obliged to supplement his wages by doing the books in a bakery or a shop or a pawn brokers. And his sedentary life caused him to become enormously fat. Dr Souto, the family doctor, used to say ‘Raposo is an apoplexy waiting to happen.’

Fadinha wasn’t the only child: she had an older brother who’d got a place in business, and another who was still very young and was studying to be a doctor, because his father considered him ‘the talented one.’

Their mother was forty-five years old and didn’t look anything like her daughter. I don’t know what physiological phenomenon caused this splendid specimen, this sculptural creature, this impossible beauty, to issue forth from such an ugly couple (because Raposo, poor fellow, was another one who’d not been blessed by nature)! Note also that the two boys were equally ugly, particularly the future doctor, who was big nosed, big-eared, rickety, anaemic, insignificant.

Not content with dedicating part of her existence to the saints of her private oratory, Sra. Firmina – the name of Fadinha’s mother – would constantly be visiting churches to adore yet more saints; but, despite all that piety, she could not forgive her daughter for being beautiful and was deeply bitter about the singular monopoly the girl had received from nature, as if it were something scandalous; nevertheless, all her hopes for good luck and better times resided in her daughter. Given that a prince didn’t come into the equation, her dream was to be the mother-in-law of a rich man. If Raposo hadn’t been a proper head of family, this woman would have dominated him, usurping all domestic authority; fortunately he put his foot down and wouldn’t agree to anything he didn’t like.

But our Fadinha has a boyfriend. It’s time to introduce him to the reader.



eautiful as she was, she had no shortage of admirers, of all ages and categories. Many decamped to Engenho Novo from the city centre just for the pleasure of contemplating her, many of them out of simple curiosity, many others spurred on by the vague hope of a promise hidden in a smile or a glance. It could be said that, for a long time, Fadinha’s famous beauty contributed to the increase in the profitability of the suburban trains and to the hustle and bustle of the district, which had a much smaller population in those days. Many of those admirers got as far as speaking, declaring their intentions to be of the purest, and among them were some who really were worthy of marrying Fadinha; she, however, rebuffed them all, with the greatest delicacy and composure.

One day, Raposo invited Remígio to come to his house for dinner. Remígio was his colleague, a good lad, employed in the same section in which Raposo carried out his official functions. This Remígio was one of the stars of the secretariat, a paragon of dedication, intelligence and assiduity, an official with ‘a very promising future,’ as everyone said; but he was neither good-looking nor elegant, nor was there anything else exceptional about his exterior. But, of all those who passed in front of Fadinha’s beautiful eyes, this was the only man who merited her attention. Accredited, wealthy traders, well-placed functionaries, lawyers, doctors, officials of the Army and Navy etc. – all of them had to give way, in Fadinha’s heart, to this pallid, clumsy, badly dressed amanuensis who earned just 166.666 reais a month.

The young lady seemed anxious to let her heart speak; she immediately gave Remígio to understand that it would be he – among her numerous admirers – who would be victorious. The clerk, who was modest by nature, and had never even dreamt that he’d marry the prettiest girl in Rio de Janeiro, was amazed by this preference that he’d never sought, and duly fell head over heels in love with Fadinha.

No sooner had the first symptoms of that love appeared than there was a commotion in the home. Sra. Firmina had seen the danger approaching and, after breakfast one day, when her husband was getting ready to leave the house and drag his obesity to the train station, she told him of her fears; but Raposo, who had a fatherly affection for Remígio, and didn’t look at all askance at the prospect of his marrying Fadinha, merely smiled and said:

‘It’s only natural they should be attracted to each other and get married.’

‘You mean that seriously?’

‘What a question! Of course I do! Who could possibly say Remígio isn’t worthy of our little girl!’

‘He’s a clerk!’

‘And what am I?.. And what was I when we went to the church?.. Fadinha will marry whoever she likes; if she prefers a clerk to a government minister, so be it! She doesn’t want to be rich, which is a good thing, because money doesn’t bring happiness. And anyway, Remígio isn’t some poor devil lugging all his possessions around in a carpetbag; his father left him a bit; he’s got two or three little houses, some insurance policies and, most importantly, lots of common sense. He’s so highly thought of in the secretariat I wouldn’t be surprised if he’s not head of section in five years’ time. Even if you go looking with Diogenes’s lamp, you won’t find a better son-in-law.’

‘Don’t talk nonsense! Our daughter is very pretty and…’

‘Off you go again about how pretty our daughter is! That means nothing, absolutely nothing! She’s very pretty, that she is, but she hasn’t got two cents to rub together, and if she was forced to marry some rich fellow the marriage would look more like a business deal than anything else. Anyway, it would be embarrassing for us: we could hardly be poorer. Damn it! I don’t want to speculate with my daughter’s beauty, and I don’t want to make her unhappy by opposing her wishes. I might have expected you, being so religious, to agree with me…’

‘But we could make Fadinha see that…’

‘That’s enough! It’s clear we’re not going to see eye-to-eye about this. In my opinion, Remígio is an excellent fellow, and I don’t see any reason why our little girl should want someone else!’


‘No buts! We’ll let her decide, because – and I want you to mark my words – Fadinha won’t marry who you or me want her to marry; she’ll marry the man she chooses of her own free will, whether he’s a clerk, a tradesman, the Tsar of Russia or the Shah of Persia!..’


‘Not one word more, Firmina! You know very well this house isn’t Gonçalo’s! Under this roof, no voice will be louder than mine!’

‘But you’re talking twaddle!’

‘Twaddle?!.. Twaddle?!.. How dare you say that to me?!..’

‘Yes, I do… Twaddle! I’m sick and tired of playing second fiddle in this house.’

‘In that case, why don’t you put on my trousers and I’ll put on your skirt! Don’t be ridiculous! I’m going to tell Remígio today that our little girl is his!..’

‘But I’m telling you she can’t be! I want good fortune for my daughter!’

‘Don’t lie!.. What you want is good fortune for yourself, not for her! Don’t force me to say what I think, because if I do I’ll create such a scene as you never ever saw!’

And Raposo forced himself, with difficulty, to whisper, so as not be heard by others in the house:

‘You never thought as much of her as you should have; you never loved her, never gave her a real mother’s love!.. And now you want to sell her… That’s good!.. I’m going to tell Remígio this very day!..’

‘This is scandalous! I know I’m her mother. Can you be sure you’re her father?..’

‘Eh?!.. What do you mean?..’

Raposo squared up to Sra. Firmina, but the blood rushed up to his head, his eyes and his mouth opened unnaturally wide, he waved his arms about and fell as if hit by lightning.

By the time Dr Souto arrived, having been summoned urgently, he was already dead.

‘Didn’t I say he was an apoplexy waiting to happen!’



emígio showed himself to be a real gentleman: he asked Sra. Firmina to let him take care of the funeral, and neither she nor the children have ever found out, right up until today, how much it all cost.

This great kindness, together with the bitter tears the young man shed over his old colleague’s corpse, enhanced Fadinha’s feelings for him even more; now it wasn’t just affection, it was also gratitude that drew those two hearts together. After Raposo’s death, they both felt like orphans, and this equivalence in their situations cemented still further the mutual sympathy that had taken hold of them.

Sra. Firmina didn’t have a word of thanks for such kindness, but Remígio attributed this omission to the extremity of the widow’s grief, which she demonstrated through unending tears and groans. When the funeral took place, it needed three men to pull her away from the coffin and, seven days later, when the mass was over, she had such a violent attack of nerves in the sacristy of the church of São Francisco de Paulo that it seemed her last hour had arrived.

Nor did the boys, neither the student, nor the one employed in business, thank Remígio for arranging the funeral and the mass; it was as if everyone in the house considered it his duty.

Or rather, not everyone: Fadinha praised his generosity at every turn, but her words, to which no one replied, were heard with indifference by her mother and brothers.

The older one, Alexandre, a lad of twenty-two, who worked for Baron Moreira’s firm, felt flattered beyond words by the fact that his boss had deigned to attend the funeral personally. He could scarcely believe his eyes when, in an aisle of the church, he came across the Baron standing there, holding his hat behind his back with one hand, with his head raised, examining closely a portrait by Fragoso of one of the benefactors of the religious order. At first, the counter clerk assumed the Baron had come to attend some other mass but, despite his sadness, he felt as pleased as Punch when, once the ceremony had begun, the nobleman took his place among those who had come to pay their last respects to the deceased Raposo.

When the mass was over and the priest, accompanied by his acolyte, had returned to the sacristy, genuflecting at every altar along the way, the Baron was the first to embrace Alexandre, who was standing near his mother.

‘Courage! We all have to pass through these trials… That’s how it goes…’

‘Thank you, Baron.’

‘I don’t know your family – would you introduce me to the ladies?’

It wasn’t possible to introduce the widow, because she was shedding an ocean of tears and didn’t have time for anything except her spectacular grief; but the Baron, stupefied by Fadinha’s beauty, gave her a long handshake.

‘Young lady,’ he said, ‘your brother is an employee of my firm, and I greatly appreciate those who serve me well. Please tell your mother that Baron Moreira is at her disposal for anything at all she may wish to request.’

‘Thank you very much, Baron Sir.’

This offer surprised Alexandre, who wasn’t used to his boss being friendly – although the Baron was still young, he was humourless, severe, cold, proud of his education, his elegance, his title and his wealth; in his subordinate humility, Alexandre imagined the Baron wouldn’t even say ‘Hello’ to him, were they to meet in the street; so he was duly amazed that this rich egoist should have come all the way from Botafogo to attend mass for an obscure clerk and should show so much interest in the family. This phenomenon will be explained, for the benefit of the reader, a little later.

When all those invited had left and the Raposo family remained alone in the sacristy, the two boys took their leave of their mother and sister: the older went off to his workplace, which is where he also had lunch, and the younger to the medical school: the exams were coming up and he couldn’t afford to miss lectures; he took lunch at Rocher de Cancalle, just off Ouvidor Street.

Remígio offered to accompany the ladies to Engenho Novo, but the widow who, in the absence of spectators, no longer looked so grief-stricken, gave him an ornate refusal: ‘No, sir; I don’t want to put you to that trouble; you need to go to your workplace too.’

Fadinha interrupted:

‘One day won’t make any difference. Come and have lunch with us, Remígio.’

‘I’ve already said “No”!’

The clerk bowed and accompanied the two ladies to their tilbury: he helped them enter and closed the door.

‘Come and visit us,’ said Fadinha sadly, and she waved him a delicate little ‘Adeus.’

For her part, Sra. Firmina didn’t utter a word; but when the tilbury had drawn away, in the direction of Teatro Street, she pronounced the following, with an indescribable look of anger in her eyes:

‘What you’re going to do now is forget all about that fellow! You don’t have your soft-brained father with you anymore! I’m the one who gives the orders now, do you understand?..’



nd now for the explanation of the phenomenon:

Baron Moreira had come to the office earlier than usual and was enjoying a conversation with his friend Pimenta, who occasionally came to have a chat with him and to remember the good old days when they’d both been students at Vitório College.

Pimenta had also gone into business, but he hadn’t been as fortunate as his old colleague. Over the years, he’d worked for a large number of firms, but in none of them had he found the fortune his prodigious activity merited. Already over thirty, he still didn’t have a definitive position in business, but he’d always managed to do a bit of goods brokerage, and the resulting sales, through an intermediary, brought him a profitable return.

Fifteen years of employment in a haberdashery store in Ouvidor Street, which he’d left with his hopes and dreams unfulfilled, infuriated with his bosses, and none the richer, had at least bestowed on him unrivalled knowledge in two areas: that particular branch of business, and comings and goings in Rio de Janeiro. There was no event, scandalous or not, that Pimenta hadn’t stored away in his memory, and that he couldn’t avail himself of at an opportune moment.

He was a backbiter and, without that defect, he’d perhaps have been rich and free like Baron de Moreira, with no need to hawk samples, bills and gossip from door to door, up and down, sweating blood. Some people said: ‘Pimenta’s not a bad sort, if it wasn’t for his tongue’; others: ‘For all his being busy and clever, nothing seems to go right for him.’ But, as he was still single and didn’t have any family obligations, he put up with his ill-fortune cheerfully and contented himself with earning enough to live on without being a burden to his friends.

As I’ve already mentioned, on that day he’d appeared in Baron Moreira’s office for a bit of a chin-wag with his childhood friend and, if he was lucky, a free lunch.

They were both chatting when Alexandre entered the office to inform the Baron that he’d just received the news of his father’s sudden death and to ask for a few days of compassionate leave.

The Baron, who maintained an autocratic hauteur towards his firm’s employees, said, without lifting his eyes:

‘That’s a matter for Sr. Motta; have you spoken to him?’

‘Sr. Motta’s not in.’

‘Alright, you may go.’

And Alexandre left, without hearing a single word of condolence.

‘Do you know that employee?’ Pimenta asked the Baron.

‘No; it was my partner, Motto, who took him on; I think that’s the first time I’ve spoken to him; as you well know, I don’t generally pay much attention to the clerks.’

‘That’s why I asked if you know him.’

There was a pause.

‘In that case, you won’t have known his father, Raposo, who’s just died suddenly?’

‘No, I didn’t know him.’

‘And you don’t know that his sister’s the prettiest girl in Rio de Janeiro?’


‘How strange! You’ve never heard of Fadinha from Engenho Novo?’

‘I think, perhaps…’

‘Well, that’s her!’

‘And is she really pretty?’

‘What a question! She’s beautiful! She’s more than beautiful!.. Take my word for it!’

‘You’re whetting my appetite, damn it! How can I get to see her?’

‘Simple! Go to the mass of the seventh day. Because her brother works in your firm, you can use that as a pretext for offering your services to the family, right there in the church, and you’ll be able to get a close look at her.’

‘Good point. That’s the only way I could go to the mass for the father of Sr… what’s the boy’s name?’


And that’s how it came about that Baron Moreira appeared at the mass: simple sacrilegious curiosity.

When the aristocrat returned from the church, he found Pimenta waiting for him in the office.


‘She isn’t the prettiest girl in Rio de Janeiro, my friend, she’s the most beautiful woman in the world!..’



f Alexandre had been amazed to see Baron Moreira appear at the church, he was even more amazed when, from that day forward, his boss began treating him kindly and affably, which didn’t take long to turn into familiarity. He summoned him to help in all the office work, entrusted important tasks to him, let him handle large sums of money or take them to the bank and, one day when the young man was making the fair copy of a letter – a confidential letter, a very important letter –, his boss offered him one of his magnificent Havana cigars, with the words: ‘Have a puff, Alexandre.’

Motto, the Baron’s partner and his antithesis, being good company, affable, friendly towards the staff, was nonplussed and had no idea what could have caused this favouritism; but the book-keeper and the other clerks, who’d become jealous and had perhaps picked up a thing or two from Pimenta’s caustic remarks, murmured: ‘There’s nothing like having a pretty sister…’

The Baron was constantly asking for news of the family and showed great solicitousness for the widow, repeating, almost daily, his offer of help and friendship, in order to prevent, remove or resolve any difficulties resulting from old Raposo’s sudden demise. The lad couldn’t thank him enough and, when he got home, he’d tell his mother all the marks of kindness he’d received from his boss that day.

Perspicacious and crafty, Sra. Firmina soon realised it was the effect of Fadinha’s beauty that was causing the Baron to find every means he could of inveigling himself into the family; so one day she advised her son to invite him home and tell him that she, Sra. Firmina, was very grateful for all the Baron’s kindness and would be very happy if she could thank him personally.

She couldn’t have been more pleased with the result of Alexandre’s missive: the Baron wasn’t going to pass up an opportunity which, as we’ve seen, he’d been fishing for during the past two months. One fine Sunday he decided to go for lunch to Engenho Novo. To give extra solemnity to the visit, Sra. Firmina went to wait for him at the station, accompanied by her two sons, because Fadinha, knowing that the Baron was coming, had shut herself in her room on the pretext of a terrible migraine, and neither pleading nor chiding, neither kindness nor threats, could make her come out.

The girl was desperate: she hadn’t seen her dear Remígio for more than a month. Firmina and the boys were so rude to him that, understanding their wish to be rid of him, and seeing the impossibility of standing firm against that pack of ingrates, he did as they wanted, without, however, abandoning his marriage plans, because Fadinha was still the same and he considered her worthy, in all respects, of his affection and constancy.

‘They can do what they like, I’ll be yours, just yours – I promise you on the soul of my father! The more they constrain me, the more they offend you, the stronger, were it possible, will my love for you burn. I’m your betrothed!’

Uplifted by these ardent words, in which Fadinha had put all the energy of her soul, all the sincerity of her heart, Remígio waited resignedly for an opportunity to secure the rights that his love merited; but – it has to be said – his vacillating and timorous spirit didn’t have enough strength for the battle being fought against him. He really was in love, but he began silently to curse the singular beauty that turned Fadinha into an object to be coveted, a pledge of good fortune, a type of life assurance for a whole family. Notwithstanding the venerable Raposo’s last wish, his ultimate and sacred desire, Remígio was afraid that his insistence would bring disunity and disgrace to the family. Meanwhile, whenever she managed to escape her mother’s vigilance and write to him, Fadinha repeated over and over again her vehement promises of fidelity.

But let’s return to Baron Moreira who, at Engenho Novo station, in his light flannel suit, his white straw hat, his multi-coloured cravat, his bejewelled tie-pin and an enormous rose in his lapel, contrasted markedly with that matron and her two boys, who were dressed in the most severe mourning, so that even their cuffs and collars were black.



hen he entered the Baron’s office the next day, Pimenta found him in a bad mood.

‘Well? Did you go?’

‘I did. I went to Rome and didn’t see the Pope.’

‘I don’t understand.’

‘Engenho Novo is Rome and Fadinha is the Pope; do you understand now?’

‘You didn’t see her?’

‘As I’ve already said. She was unwell; she didn’t make an appearance.’


‘How stupid is that? To have lunch with Sra. Firmina and her sons, and not even catch sight of her! “Have lunch” in a manner of speaking, because I didn’t eat anything. I was desperate!’

‘And what did the old woman say?’

‘She was even more annoyed than I was. I could see it in her eyes. She kept apologising for her daughter’s absence and telling me – but completely without conviction – that she really was unwell.’

‘You don’t think she was.’

‘Of course I don’t think so.’

‘You’ve got a rival.’

‘I thought as much.’

‘A serious rival. They told me everything this morning.’

And Pimenta told the Baron what the reader already knows: about the love of Remígio and Fadinha, old Raposo’s last wish, the kindness shown to the family, the opposition of Sra. Firmina and her sons, Remígio’s retreat – and he added:

‘The girl suspected they wanted to force her to marry you, and she shut herself in her room. So that’s how you went to Rome and didn’t see the Pope.’

‘What’s your advice?’

‘Before I can answer that question, I need to know, first of all, what your intentions are.’

There was a long silence.

‘Do you like her?’

‘A lot. I liked her already and, after that wretched lunch, I liked her even more!’

‘Are you prepared to be her husband?’

There was another silence, even longer than the first.

‘If you don’t want to make her a baroness,’ Pimenta continued, ‘forget about her. Devil take it! She might well be happy with that Remígio, seeing he’s an honest fellow.’

‘But who told you my intentions weren’t good?’

‘You didn’t say anything…’

‘I didn’t say anything because marriage scares me. My liberty is so deliciously complete! Yes, I admit that marriage has never figured in my plans, but were it necessary…’

‘What do you mean, “were it necessary”? You haven’t been thinking that Fadinha could belong to you without the intervention of a priest?! The family is poor, but it’s just as respectable as yours! If you want to be her husband, fight for her and – perhaps – you’ll win her; if not, abandon an idea that’s unworthy of you!’

The Baron had a good, long look at the Havana cigar he was holding between his fingers, let the ashes fall into a spittoon, stuck the cigar in his mouth, stood up and announced resolutely, amid a cloud of cigar smoke:

‘I shall fight!’

When Pimenta left the office, he met Alexandre in the store and muttered to him in passing:

‘He’s going to marry her.’


From Portuguese: The Oracle, by Machado de Assis

(My translation of the short story O oráculo by Machado de Assis, which was first published in Jornal das Famílias in 1866)

I  once knew a man who was a prime example of what bad luck can do to a mere mortal.

His name was Leonardo, and he started off as a tutor for boys. But it didn’t work out well: he lost the little he possessed, and ended up with just three students.

So, he tried the civil service. He got together the necessary testimonials and even went so far as to vote against his convictions; but just when it seemed a done deal, the political party that ran that particular ministry lost control of it, and the party Leonardo had previously always voted for took over. His recent vote now made him suspect, and he was turned down.

With the help of a family friend, he set up a business; but bad luck, combined with the dishonesty of some of his employees, soon resulted in bankruptcy. The only thing he could be thankful for was that the debtors didn’t demand immediate payment of all they were owed.

Next, he founded a literary journal. (It should be said that, even though he wasn’t unintelligent, he did this more from necessity than from literary enthusiasm.) But, given that the readers were of that substantial number who prefer to read for free, this enterprise folded after five months.

In the meantime, the party to which he’d sacrificed his conscience had got the upper hand once more. Leonardo went and reminded them that they should be grateful to him; but gratitude is not one of the principal characteristics of political parties, and Leonardo was passed over in favour of some influencial supporters of the new lot.

Despite this succession of set-backs and bad luck, Leonardo never lost his faith in Providence. Yes, he’d suffered all those blows, but he’d always bounced back, prepared to try his luck once again. This was based on an axiom he’d read somewhere or other: “Fortune, like a woman’s heart, favours the brave.”

So, he was getting ready to try his luck again, which would have involved a journey to the North, when he came across Cecília B…, daughter of the businessman Atanásio B…, for the first time. The young lady was endowed with a sympathetic face and a hundred contos in ready money. She was the apple of Atanásio’s eye. It appears she’d only been in love once, namely with a naval officer called Henrique Paes. Her father was opposed to their marriage because he didn’t like the young man; and it seems that Cecília herself wasn’t overly in love with him: she cried for one day, only to wake the next morning fresh and happy as if it were all a matter of nothing.

It wouldn’t be quite true to say that Leonardo was in love with Cecília either, and truth, in respect of both facts and feelings, is paramount for me; but, for the same reason, I have to say that she did make some impression on him.

What did greatly impress our ill-starred young man, and what immediately won his affection, was the dowry of one hundred contos – so much so, that he rejoiced in the bad luck that had eventually thrown him into the arms of such a fortune.

What impression did Leonardo make on Cecília’s father? Good, excellent, marvellous. The young lady herself received him with indifference, but Leonardo was confident that, given he already had her father on his side, he’d overcome that indifference.

At any rate, he cancelled the journey north.

Atanásio’s sympathy grew to the point where Leonardo was always being invited for dinner; and, ever hopeful, our ill-starred Leonardo was only too happy to accept every little favour.

Before long, he was like one of the family.

There came the day when Atanásio called him to his office and said, in a fatherly tone:

“You’ve justified the esteem I have for you. I can see you’re a good young man, and that, as you told me, you’ve suffered misfortune in the past.”

“That’s true,” replied Leonardo, unable to repress a triumphant smile.

“So, having considered the matter, I’ve decided to treat you as that which heaven has not granted me: my son.”


“But wait! That’s not all. You already are my son in the light of my esteem for you. Now I wish to reinforce that by the assistance you will give to our house. I’m going to employ you in my business.”

Leonardo was a little taken aback; he’d been expecting that the old man was about to offer him his daughter’s hand in marriage, instead of which it was just the offer of a job. But then it occurred to him that it was, indeed, a job that he was really after. It was no small thing, and it was quite possible that it might lead to marriage in due course.

“Oh! Thank you!”

“So, you accept?”

“Oh yes! Without a doubt!”

The old man was just about to stand up from his chair when Leonardo, on the spur of the moment, gestured to him to remain seated.

“But listen…”


“There’s something I don’t want to keep from you. You’ve been so kind to me that I can’t be other than completely frank. I accept your generous offer under one condition. I love Dona Cecília heart and soul. Every time I see her that love only increases in strength and passion. If you could see your way to allowing your generosity to admit me into your family, I would accept it. Otherwise, the suffering would be too much for a mere human.”

I should say, in appreciation of Leonardo’s perspicacity, that he only dared risk the job in this way because he’d noticed that Atanásio had a tendency to grant him whatever he wanted.

And he wasn’t wrong. On hearing these words, the old man embraced him, saying:

“Oh! I couldn’t wish for anything better!”

“Father!” replied Leonardo, as he embraced Cecília’s dad.

It was a moving scene.

“Don’t think I haven’t noticed the impression Cecília has had on you,” said Atanásio, “and I was really hoping it might lead to marriage. I think nothing stands in the way now. My daughter’s a sensible girl, and I’m sure she’ll respond to your affection. Would you like me to speak to her now, or shall we wait a bit?”

“As you wish.”

“Or rather, please be honest: are you already assured of Cecília’s love?”

“I can’t give you a positive answer, but I believe she’s not indifferent to me.”

“I’ll undertake to find out. Not forgetting that my wishes need to be taken into account: she’s an obedient girl…”

“Oh! I wouldn’t want you to compel her!”

“Compulsion my foot! She’s a sensible girl, and she’s certain to see the advantages of having such an intelligent and hard-working husband…”

“Thank you.”

They separated.

The next day, Atanásio was due to instal his new employee.

But that night the old man raised the subject of marriage with his daughter. He began by asking her if she’d like to get married. She replied that she hadn’t thought about it; but as she was smiling, her father had no hesitation in telling her that he’d had a formal request from Leonardo.

Cecília received this news in silence. After a while, still smiling, she said she’d go and consult the oracle.

Non-plussed by this talk of consulting an oracle, her father asked her what on earth she meant.

“It’s very simple,” she replied. “I’ll go and consult the oracle. I don’t do anything without consulting it; I don’t go visiting, I don’t do anything at all without consulting it. This is really important; as you can see, I just have to consult it. I’ll do what it tells me to.”

“Extraordinary! But what is this oracle?”

“That’s a secret.”

“Can I at least give the lad some hope?”

“It all depends – on the oracle.”

“Come, come! You’re making fun of me…”

“No, Father, I’m not.”

He went along with Cecília’s wishes, not because she was really so imperious, but because of the way she spoke and the way she was smiling; he was convinced she was open to the offer and was just being coquettish.

When Leonardo heard how Cecília had responded, he became worried. But Atanásio tried to calm his fears by telling him his own opinion.

The next day, Cecília was due to tell her father how the oracle had responded. He, however, had already decided what to do: if the response of the mysterious oracle was negative, he’d oblige her to marry Leonardo. The marriage would go ahead whatever3.

The first thing that happened was that two of Atanásio’s nieces turned up. They were both married and had both been supportive of Cecília when she’d wanted to marry Henrique Paes. They hadn’t been back to the house since her father put his foot down: although Cecília had reconciled herself with her father, they hadn’t.

“To what do I owe this visit?”

“We’ve come to ask forgiveness for our error.”


“You were right, Uncle. And it seems that there’s a new suitor.”

“Who told you?”

“Cecília. She sent us a message.”

“So, I suppose you’ve come to object.”

“On the contrary.”

“Thank goodness for that!”

“All we want is that Cecília should get married – to whoever. That’s the only reason why we intervened in support of the other one.”

Gratified by this reconciliation, Atanásio proceded to update his nieces on the situation, in particular how Cecília had replied. He also explained that she was due to convey the oracle’s response that very day. They all laughed at how odd it was, but were happy to wait and see.

“If it’s a No, will you support me?”

“Of course,” said both the nieces.

Soon afterwards their husbands arrived.

And soon after that, Leonardo turned up, wearing a black jacket and a white tie – very different attire from that in which the people of antiquity went to seek responses from the oracles of Delphi and Dodona. But every age and every place has its own customs.

During the whole time that the two young women and Leonardo were conversing, Cecília was in her room consulting – allegedly – the oracle.

The consultation had to do with the subject that had brought them all together.

Finally, at about eight o’clock in the evening, Cecília made her appearance.

They all gathered round her.

After they’d exchanged greetings, Atanásio – half-serious, half-smiling – put the question to his daughter:

“So, what did Mr Oracle say?”

“Oh! Father! He said No!”

“You mean to say,” replied Atanásio, “Mr Oracle is against your marrying Leonardo?”


“Well, in that case I’m sorry to say that my opinion is contrary to that of Mr Oracle; and given that everyone knows who I am and the oracle is a complete mystery, you shall do as I say, even if that is contrary to Mr Oracle.”

“Oh! No!”

“What do you mean, No? Whatever next?! I only went along with that nonsense to humour you. I never had the slightest intention of submitting to the decisions of any mumbo-jumbo oracles. Your cousins agree with me. And what is more, I want to know what this jiggery pokery is about right now… Let’s go and unmask the oracle!”

At that precise moment, a figure appeared at the door and said:

“No need.”

Everyone turned towards him. The figure advanced into the middle of the room, holding a document in his hand.

It was the above-mentioned naval officer, in his uniform.

“What are you doing here?” the old man spluttered.

“What am I doing here? I’m the oracle.”

“Don’t expect me to put up with such nonsense. What right do you have to be here?”

By way of reply, Henrique Paes handed over the document he was holding.

“What’s this?”

“It’s the reply to your question.”

Atanásio moved towards the light, took his spectacles from his pocket, put them on his nose and read the document.

During all this time, Leonardo stood there open-mouthed and dumbfounded.

When the old man got half-way through the document, he turned to Henrique and said in amazement:

“You’re my son-in-law!”

“Duly confirmed as such by all the sacraments of the Church. As you’ve just seen.”

“But what if this is a forgery?”

“Hold on!” said the husband of one of the nieces. “We were the best men, and our wives were the bridesmaids, at the wedding of our cousin Dona Cecília B… with Henrique Paes, which took place a month ago in the oratory in my house.”

“Oh!” said the old man, as he sank into an armchair.

Muttering “That’s the last straw!” Leonardo tried to slip out unnoticed.


Even though he lost his bride – and in such a ridiculous way –, Leonardo didn’t lose the job. He told the old man that it would be difficult, but that he’d stay, on account of the respect Atanásio had for him.

Unfortunately, Fate had not yet finished with the poor lad.

A fortnight later, Atanásio contracted a respiratory illness, which killed him.

His will, which had been drawn up a year before, left nothing to Leonardo.

As for the business, it went into liquidation. Leonardo received two weeks’ pay.

The ill-starred lad gave it all to a beggar and went off to drown himself in the sea, by Icaraí Beach.

Henrique and Cecília couldn’t be happier.


The following biographical details have been translated from the Academia Brasileira de Letras website.

Machado de Assis (Joaquim Maria M. de A.), a journalist, short-story writer, feuilletonist, novelist, poet and playwright, was born in Rio de Janeiro on 21 June 1839, and also died there, on 29 September 1908. He was the founder of Chair No. 23 of the Brazilian Academy of Letters. A good friend and admirer of José de Alencar, who died about twenty years before the establishment of the Academy, it was natural that Machado should choose the name of the author of O Guarani as his patron. He was President of the Brazilian Academy of Letters for more than ten years, the Academy becoming known, familiarly, as ‘The House of Machado de Assis.’

He was the son of Francisco José, a labourer, and Leopoldina Machado de Assis. His mother died when he was little, but information is scarce about his early years. He was brought up on Livramento Hill and was an altar server at Lampadosa church.

Without the means to have proper schooling, he published his first literary work – a poem called Ela (She) – in the Marmota Fluminense magazine in 1855. The next year he got a job at the National Press Works as an apprentice typographer.

By 1859 he was a proof-reader and correspondent for the Correio Mercantil newspaper and in 1860 he became a member of the editorial staff of the Diário do Rio de Janeiro newspaper. He also wrote regularly for the magazine O Espelho, where he made his debut as a theatre critic, for the Semana Ilustrada – from 1860 to 1875 – and for the Jornal das Famílias, where he mainly published short stories.

His first book, Queda que as mulheres têm para os tolos (How Women are Attracted to Fools), was printed by Paula Brito in 1861, although he was described as its translator. In 1862 he became theatre censor, an unpaid role, but one which gave him free entry to performances. He also began to collaborate with O Futuro, which was produced by Faustino Xavier de Novais, the brother of his future wife.

His first book of poetry, Crisálidas (Chrysalids), was published in 1864. In 1867 he was appointed assistant director of the government bulletin Diário Oficial. Three months after Faustino Xavier de Novais’s death in 1869, he married his friend’s sister, Carolina Augusta Xavier de Novais. She was a perfect companion during the remaining 35 years of his life and introduced him to the Portuguese classics and the works of various English authors.

His first novel, Ressurreição, was published in 1872. Shortly afterwards he was appointed first official at the state secretariat of the ministry of agriculture, commerce and public works, thus embarking upon the civil service career that would be his main source of income throughout the rest of his life.

In 1874 he began to publish, in instalments in the Globo newspaper, the novel A mão e a luva (The Hand and the Glove). He also wrote feuilletons, short stories, poetry and serialised novels for newspapers and magazines such as O Cruzeiro, A Estação and Revista Brasileira.

One of his plays, Tu, só tu, puro amor (You, just You, Pure Love) was staged at the Imperial Dom Pedro II Theatre in 1880. From 1881 to 1897 he published his best feuilletons in the Gazeta de Notícias.

1881 saw the publication of the book which would give a new direction to his literary career – Memórias póstumas de Brás Cubas (The Posthumous Memories of Brás Cubas), which had been published in instalments in the Revista Brasileira from 1879 to 1880. He also revealed himself as an extraordinary short story writer in Papéis Avulsos (Loose Pages, 1882) and in a number of subsequent collections of short stories.

In 1889 he was promoted to director of commerce at the ministry.

He had continued to work for the Revista Brasileira in the period when it was under the direction of his great friend José Veríssimo. The group of intellectuals connected with the Revista had the idea for creating a Brazilian Academy of Letters and, when the Academy was inaugurated in 1897, he was elected President, a task he devoted himself to for the rest of his life.

His oeuvre covers practically all literary genres. His first works of poetry were the Romantic Crisálidas (1864) and Falenas (Moths, 1870); this was followed by indianism in Americanas (1875) and parnassianism in Ocidentais (Occidentals, 1901).

The Contos fluminenses (Rio Stories) were published in 1870 and the Histórias da meia-noite (Midnight Stories) in 1873; the novel Ressurreição (Resurrection) in 1872, A mão e a luva in 1874, Helena in 1876 and Iaiá Garcia in 1878, all of which were considered part of his Romantic period. From that point onwards he moved into the phase of his masterpieces, which evade literary categorisation and which make him the greatest Brazilian writer and one of the greatest authors in the Portuguese language.

During his life, his work was edited by the Livraria Garnier from 1869; in 1937, W. M. Jackson, of Rio de Janeiro, published the Obras completes (Complete Works) in 31 volumes. Raimundo Magalhães Júnior organised and published, in Civilização Brasileira, the following volumes of Machado de Assis: Contos e crônicas (Stories and Feuilletons, 1958); Contos esparsos (Random Stories, 1956); Contos esquecidos (Forgotten Stories, 1956); Contos recolhidos (Collected Stories, 1956); Contos avulsos (Separate Stories, 1956); Contos sem data (Undated Stories, 1956); Crônicas de Lélio (Lélio’s Chronicles, 1958); Diálogos e reflexões de um relojoeiro (Dialogues and Reflections of a Watchmaker, 1956). In 1975 the Machado de Assis Commission, which was established by the ministry of education and culture and was chaired by the president of the Brazilian Academy of Letters, organised and published, also in Civilização Brasileira, the Edições críticas de obras de Machado de Assis (Critical Editions of the Works of Machado de Assis), in 15 volumes, comprising short stories, novels and poetry by that greatest of Brazilian writers.

Publications: Desencantos, comedy (1861); Queda que as mulheres têm para os tolos, prose satire (1861); two comic plays: O protocolo and O caminho da porta (1863); Quase ministro, comedy; Crisálidas, poetry (1864); Os deuses de casaca, comedy (1866); Falenas, poetry (1870); Contos fluminenses, short stories (1870); Ressurreição,  novel (1872); Histórias da meia-noite, short stories (1873); A mão e a luva, novel (1874); Americanas, poetry (1875); Helena, novel (1876); Iaiá Garcia, novel (1878); Memórias póstumas de Brás Cubas, novel (1881); Tu, só tu, puro amor, comedy (1881); Papéis avulsos, short stories (1882); Histórias sem data, short stories (1884); Quincas Borba, novel (1891); Várias histórias, short stories (1896); Páginas recolhidas, short stories, essays, plays (1899); Dom Casmurro, novel (1899); Poesias completas (1901); Esaú e Jacó, novel (1904); Relíquias da casa velha, short stories, criticism, plays (1906); Memorial de Aires, novel (1908).

Published posthumously: Crítica (1910); Outras relíquias, short stories, criticism, theatre (1932); Crônicas, feuilletons (1937); Correspondência (1932); Crítica literária (1937); Páginas escolhidas (1921); Casa velha (1944).

To mark the centenary of Machado’s birth, in 1939, Monteiro Lobato wrote the following at the request of the Argentinian newspaper La Prensa:

‘The short stories of Machado de Assis! Where can we find stories more perfect in form, more sparkling with ideas and more permeated by philosophy? Where can you find stories more universal and more human whilst simultaneously local and individual? We’d need to go to France to find one of his brothers in the person of Anatole France. But Anatole France blossomed in the most propitious of gardens, amidst a highly developed civilisation, encouraged by all sorts of awards, and surrounded by all the finesse of comfort and art; Machado de Assis was born into poverty, amidst the squalor of colonial Rio, and received no awards other than his own auto-approval, and his monthly wage was scarcely enough to live on. Rather than having readers throughout the world, like Anatole France, Machado de Assis had just half a dozen friends as his readers. The paltry sum for which he sold the copyright for all his works to the Garnier publishing house […] shows clearly how limited was his readership.

Even so, despite all these limitations, it was his pen that produced the first masterpiece of Brazilian literature, Memórias Póstumas de Brás Cubas (The Posthumous Memoirs of Brás Cubas), a book that’s going to surprise the world one day. They’ll all be saying: ‘How on earth could this have appeared in such an inferior country, in a South American backwater?!’

And then he gave us Dom Casmurro (Mr Grumpy), that perfect novel, and Esaú e Jacó (Esau and Jacob) and Quincas Borba and, finally Memorial de Aires, a work that brings style and romance to emptiness, to the emptiness of old age, to the emptiness of his own almost seventy years.

In between the novels, he was producing short stories – and what stories! What marvellous stories, different from anything produced in Brazil, or in the whole of America! Stories without tricks, without stage props, without lots of landscape, everything based on the most meticulous design, like the paintings of Ingres. Human types and more human types, souls and more souls – an immense procession of figures more vivid even than their models. And with what style, with what purity of language!

There are few great heights in Brazilian literature: plenty of writers, plenty of books, plenty of printed paper, but also plenty of vain pretension and, in recent times, plenty of impostors. But all those defects have been redeemed by the appearance of works of eternal value, works that will endure as long as the language in which they were written. ‘Missa do Galo’ (Midnight Mass), ‘Uns Braços’ (A Pair of Arms), ‘Conto Alexandrino’ (An Alexandrian Tale), ‘Capitulo dos Chapeus’ (A Chapter of Hats), ‘Anedota Pecuniária’ (A Pecuniary Anecdote) [Translations of the first four are available in John Gledson’s A Chapter of Hats (2008)] – it’s difficult to choose between Machado’s stories, because they’re all drawn from the same spring. Ah! If only Portuguese wasn’t this clandestine language…

Before writing these lines, I re-read several of Machado de Assis’s works and it’s only because I promised La Prensa I would that I forced myself to speak about him, so little, so insignificant, so miserable did I feel! I felt ashamed of judgements I’d made previously in which, either out of snobbery or stupidity, I’d dared to make ironic remarks about such work. And, given that I didn’t withdraw from this undertaking, at least it gives me a chance to undergo public penance – because, in all honesty, I find it grotesque that anyone nowadays should dare to speak about Machado de Assis without removing their hat. Our attitude should be marked by complete and reverential humility. If anyone doubts that, let them re-read ‘Conto Alexandrino’ or ‘Missa do Galo.’

In your presence, Machado, we’re all bit players…

The wariness with which Machado de Assis lived his life in Rio de Janeiro was supremely felicitous in his case – a difficult case, of extreme intellectual superiority allied to extreme awareness that it wouldn’t do to flaunt it, in view of the colour of his skin and his mundane job in public administration. How many proud but empty ministers must have been his legal and social superiors – superior to him, who was, simply on his own merits, the highest of the highest in Brazil! Time’s broom has already swept the names of all those bigwigs, all those ‘superiors,’ into the bin; but the name of Machado de Assis continues to rise higher and higher.

He was oddly gregarious. He always liked literary associations and societies, going so far as to found an academy of ‘immortals’ (the Brazilian Academy of Letters), of which he was the president, and he was the only one who really became an immortal, without the quotation marks. The explanation may reside in his innate need to observe ‘the puppet show’: gathering the puppets around whatever human stupidity, he had them conveniently to hand for his study, just as, in his laboratory, an anatomist has a collection of rabbits, dogs and monkeys in cages for his experimentation.

Machado’s philosophy was permeated by melancholy: he’d studies the guinea pigs too much, he knew the human soul too well. A calmly resigned philosophy, the ultimate point of which appears in Brás Cubas, that hero of self-satisfied vulgarity, who concludes his posthumous memoirs with the balance sheet of his earthly existence, a positive balance sheet. How come, positive? ‘I didn’t have children, I didn’t pass on to any other being  the legacy of our misery.’

The life of Machado de Assis also had a positive balance. He didn’t have children and, given that he couldn’t pass on his genius, at least he didn’t pass on to any other being the colour of his skin, his stutter, his epilepsy, his disenchantment with the puppets. And there could have been nothing more generous in his life. What a terrible thing for any being – even for a being of some capacity – to carry the stupendous burden, for your whole life, of being the child of Machado de Assis!

‘Do you know who that is, the sad old crow coming out of that office?’

‘That miserable-looking mulatto, the one with the hunchback?’

‘Yes, that one. That’s the son of Machado de Assis…’

Just imagine the look of pious sympathy this piece of information would evoke!

Nature permits geniuses only one child: their work. Machado de Assis understood this better than anyone and, having given the world this most beautiful child, he walked sadly away from the madding crowd, with the tranquillity of those who’ve succeeded in the most challenging of all tasks – that of not leaving behind the merest shadow of pain.’

For his part, Lima Barreto – who was initially often referred to as the true successor of Machado – was less fulsome in his praise:

Not denying his merits as a great writer, I’ve always found a considerable aridity in Machado, a marked lack of sympathy, a lack of generous impulses, some puerile characteristics. I’ve never imitated him and he’s never been my inspiration. You can mention Maupassant, Dickens, Swift, Balzac, Daudet, perhaps, but Machado, never! You could go as far as Turgenev or Tolstoy in order to find my exemplars; but Machado, no! […] Machado wrote […] hiding what he felt so as not to be humiliated […] I’m not afraid to say what I think and what I feel, without calculating whether I’m going to be humiliated or praised. I think that’s a big difference.

(Obras Completas de Lima Barreto, Correspondências, Vol.2, 1956).

From Czech: LAST JUDGMENT, by Karel Čapek

(My translation of Karel Čapek’s short story Poslední soud, which was published in Povídky z jedné kapsy in 1929)

Kugler was a notorious criminal who had several murders to his account. Despite being the subject of various arrest warrants and being pursued by a whole army of policemen and detectives, he vowed he’d never be taken alive. And he wasn’t. That’s to say, not alive. His final – ninth – murderous exploit was shooting a policeman who was trying to arrest him. Before he died, the policeman fired seven bullets at Kugler, three of which were perfectly lethal. And thus, our man escaped earthly justice.

His death was so sudden that he didn’t even have time to feel any particular pain. As his soul left his body, it might have wondered at the marvels of the other world, a world beyond space, a dim and endlessly deserted world. But it didn’t wonder. For a man who’s even been in jail in America, the other world is simply a new environment where, with a bit of pluck, he’ll get by like anywhere else.

Finally, there came the inevitable Last Judgment. Because there’s permanent martial law in Heaven, his case was decided directly by the judges, rather than a jury, which – with his record – he might have expected. The courtroom was simply arranged, just like on earth; for reasons that will become evident, there was no cross by which witnesses might stand to take their oath. The judges were three old, meritorious officials who looked strict and thoroughly miserable. The formalities were boring: Ferdinand Kugler, unemployed, born on such and such a date, died… Here it became apparent that Kugler didn’t know the date of his death; and it became apparent to him that this didn’t help his case.

“What are you guilty of?” asked the presiding judge.

“Nothing,” came Kugler’s resolute reply.

The judge sighed: “Call the witness!”

A huge, powerfully built and extraordinary-looking old man sat down opposite Kugler. He was wearing a blue cloak that was studded with golden stars. When he entered, the judges had got to their feet, as had Kugler, who couldn’t help but be awe-struck. And it was only after the old man had sat down that the others resumed their seats.

“Witness,” said the presiding judge, “Almighty God, this Court of Last Judgment has called you to testify in the case of Ferdinand Kugler. Being All-Truthful, you don’t have to swear. All we ask, for the purposes of the hearing, is that you keep to the point and don’t wander off into matters that aren’t relevant to the law. And no interruptions from you, Kugler! As He knows everything, there’s no point in contesting anything. Witness, please testify.”

Having said all that, the presiding judge placed his elbows comfortably on the desk in front of him and took off his gold-rimmed spectacles, evidently prepared for a rather long speech from the witness. The older of the two other judges arranged himself comfortably for sleep. The recording angel opened the Book of Life.

God, the witness, cleared his throat and began:

“Yes, Ferdinand Kugler, the son of a factory worker, was spoilt ever since he was little. You were a very naughty boy! He loved his mother to bits but was ashamed to show it because he was rebellious and disobedient. Do you remember how you bit your father’s thumb when he was trying to smack you for stealing roses from the notary’s garden?”

“They were for Irma, the tax inspector’s daughter,” said Kugler.

“I know,” said God. “She was seven years old at the time. And do you know what happened to her afterwards?”

“No, I don’t.”

“She married Oskar, the factory owner’s son. He passed on an infection to her, and she died during a miscarriage… Do you remember Ruda Zárubov?”

“What happened to him?”

“He went to sea and died in Bombay. The two of you were the worst boys in the whole town. At the age of ten, Ferdinand Kugler was a confirmed liar and thief; he got into bad company, people like Dlabol, that alcoholic beggar, with whom he shared his food.”

The presiding judge waved his hand to indicate that this probably wasn’t relevant; but Kugler himself asked shyly, “And… what happened to his daughter?”

“To Marka?” said God. “She went off the rails altogether. She became a prostitute at the age of fourteen and died when she was twenty; she remembered you when she was in her death throes. When you were fourteen, you used to get drunk and run away from home. Your father worried himself sick, and your mother couldn’t stop crying. You dishonoured your home, and not a single young man would come into the house of a thief to woo your pretty sister Mamička. She’s still living all alone in poverty, trying to make ends meet with the meagre earnings from the little jobs that kind people deign to give her.”

“What’s she doing at the moment?”

“Right now, she’s at the Vlčeks’ shop buying thread so that she can sew until it gets dark. Do you remember that shop? You bought a rainbow-coloured marble there once; and on the very first day you lost it and couldn’t find it anywhere. Do you remember how you blubbed about it?”

“Where did it roll off to?” Kugler asked eagerly.

“Into the drain under the gutter. And it’s still there, thirty years later. It’s raining there now, and that glass marble is shivering in the cold, gurgling water.”

Overcome, Kugler bowed his head; but the presiding judge put his glasses back on and said:

“We must get to the point, witness. Did the accused commit murder?”

God the witness shook his head.

“He killed nine people. The first one in a brawl. For that, he was sent to prison. The second was an unfaithful girlfriend. He was sentenced to death for that, but he escaped. The third was an old man he robbed. The fourth was a night watchman.”

“Did he die?” Kugler blurted out.

“Yes, after three days,” said God. “He died in terrible pain, and he left behind six children. The fifth and the sixth victims were an old married couple; he killed them with an axe and discovered only sixteen crowns, even though they had twenty thousand hidden away.”

“Where?” shouted Kugler. “Where?”

“Under the straw mattress,” said God. “In a canvas sack, where they kept the money they made from usury and avarice. He killed the seventh person in America – an immigrant, a fellow-countryman, as helpless as a child.”

“So it was under the mattress,” Kugler muttered in amazement.

“Yes,” continued the witness. “The eighth got in Kugler’s way when he was being chased. Kugler’s arthritis was playing up at the time, and he was crazy with pain. My, how you suffered! The last one was the policeman he shot dead just before he died himself.”

“Why did he commit the murders?” asked the presiding judge.

“Like other people,” answered God, “from anger, from lust for money, sometimes with malice aforethought, sometimes on the spur of the moment. He was generous and he helped people sometimes. He was kind to women, he loved animals and he kept his word. Do you want me to list his good deeds?”

“No thank you,” said the presiding judge. “That won’t be necessary. Accused, do you have anything to say in your defence?”

“No,” said Kugler indifferently. It was all one to him by this stage.

“The court will withdraw to consider the matter,” said the presiding judge, and the three judges left the courtroom. God and Kugler remained in the courtroom.

“Who are they?” asked Kugler, nodding towards the judges as they left.

“People like you,” said God. “They were judges on earth, so they carry on judging here.”

Kugler bit his fingers.

“I thought… I mean, it’s no concern of mine, but… I’d have thought you’d do the judging, given that…, given that…”

“Given that I’m God,” the large old man completed the sentence. “But that’s the point, isn’t it? Because I know everything, I can’t be the judge. That wouldn’t be right. You don’t know who turned you in that time, do you, Kugler?”

“No, I don’t,” said Kugler, surprised.

“It was Lucka, the waitress. She did it out of jealousy.”

“Excuse me,” Kugler interrupted, “but you forgot to mention I shot that scoundrel Teddy in Chicago.”

“Not at all!” God objected. “He just about survived. He’s still alive. I know he’s an informer, but he’s a good man otherwise. He loves children. You mustn’t think that everyone is a complete and utter scoundrel.”

“Why don’t you… why don’t you, God, do the judging on your own?” asked Kugler, perplexed.

“Because I know everything. If the judges knew everything – absolutely everything –, they wouldn’t be able to judge either. All they could do would be to understand everything, so much so that their hearts would break. So how could I judge you? The judges only know about your crimes. I know everything about you. Everything, Kugler. And that’s why I can’t judge you.”

“But why do those people… why do they carry on judging… in Heaven as well.”

“Because people belong to people. As you can see, I’m just the witness. But when it comes to punishment, you know, it’s people who decide here in Heaven as well. Believe me, Kugler, it’s quite OK: human beings shouldn’t face any justice other than human justice.”

At that moment, the judges returned from their deliberations, and the presiding judge declared the last judgment in a firm voice:

“Ferdinand Kugler, for nine crimes of murder, including murder aforethought and murder with robbery, for the crime of carrying a gun, and for the theft of roses, the court condemns you to a lifetime in Hell. Next case, please. Is the accused František Machát here?”


From Czech: A MURDEROUS ATTACK, by Karel Čapek

(My translation of Karel Čapek’s short story Vražedný útok, which was published in Povídky z jedné kapsy in 1929)

That evening, Councillor Tomsa was sitting downstairs enjoying listening, through his headphones, to a beautiful recording of Dvořák’s Dances on the radio. But no sooner had he said to himself, Now, that’s what I call music!, when there were two loud bangs outside and glass came raining down on his head from the window just above him.

Whereupon he did what I suppose any of us would do: first he waited to see what would happen next, then – when nothing else did happen – he took off the headphones and glowered as he tried to work out what had actually happened. And it was only at that point that he really took fright, because he realised that someone had fired two shots through the window. A bullet had lodged itself in the door opposite. His first impulse was to run out into the street and grab hold of the hooligan by the collar; but when you’re getting on in years and cultivate a certain dignity, that impulse tends to give way quite rapidly to a second: call the police.

“Hello, send an officer immediately. Someone just tried to murder me.”

“Where are you?” said the sleepy, indifferent voice.

“I’m here, at home,” shouted Mr Tomsa, as if it were the policeman’s fault. “It’s scandalous – to shoot out of the blue at a peaceable citizen who’s sitting at home minding his own business! This has to be investigated most rigorously, Officer! It would be a fine state of affairs if…”

“OK,” said the sleepy voice. “I’ll send someone.”

The councillor’s impatience knew no bounds; it seemed that he was waiting for hours, but in fact it was only after about twenty minutes that a cool, calm and collected police officer turned up, who proceeded to inspect the holes in the window with great interest.

“Someone shot at the window, sir,” he said matter-of-factly.

“I already know that!” spluttered Mr Tomsa. “I was sitting by the window, wasn’t I!”

“Seven millimetres calibre,” said the officer, as he prised the bullet out of the door with a knife. “It looks like from an old army revolver. Look, the fellow must have been standing on the fence. If he’d been on the pavement the bullet would have lodged itself higher up. That means he was aiming at you, sir.”

“How odd!” Mr Tomsa replied sourly. “I was almost convinced he only wanted to hit the door.”

“And who did it?” asked the officer, without missing a beat.

“You’ll have to forgive me,” said the councillor. “I can’t give you his address; I didn’t actually see him, and I forgot to invite him in.”

“That makes it difficult,” the officer replied calmly. “So who do you suspect?”

That did it for Mr Tomsa. “Suspect!” he growled. “I didn’t even see the scoundrel, man! And even if he’d waited for me to blow him a kiss through the window, I wouldn’t have recognised him in the dark. Do you really think I’d have bothered you if I’d known who it was?”

“I quite understand,” said the officer soothingly, “but maybe you could think of someone who, say, would have something to gain from your death, or who’d want revenge for something… I mean, it wasn’t an attempted robbery; a robber doesn’t shoot if he doesn’t have to. But perhaps someone’s got it in for you. It’s up to you to tell us, sir, and then we can investigate it.”

That stopped Mr Tomsa in his tracks; he hadn’t thought about that side of things.

“I haven’t a clue,” he said hesitantly, as he contemplated his quiet life as an official and a bachelor.

“Who could possibly have it in for me? On my honour, I’m not aware of having any enemies at all.”

He shook his head.

“No, it’s out of the question. I don’t have any disputes with anyone, Officer. I live alone, I don’t go anywhere, I don’t stick my nose into anybody’s business… Why would anyone want to take revenge on me?”

The officer shrugged his shoulders. “That I can’t answer, sir. But perhaps something will occur to you by tomorrow. You won’t be afraid here, will you?”

“I won’t,” said Mr Tomsa.

How strange! he thought when the officer had left. Why, indeed, would someone want to shoot me? I’m virtually a recluse; I do my work in the office, and I go home – I don’t really have anything to do with anyone. So why would they want to shoot me?

He was starting to feel very sorry for himself. And very bitter.

The ingratitude! There I am working my socks off, taking work home, hardly spending anything on myself, not living it up, like a snail in its shell, and – bang! – someone wants to kill me. Dear God! Where do people get such anger? What have I ever done to anyone? How could someone hate me like that?

But then – sitting on the bed and with the shoe hed just taken off in his hand – another thought occurred to him:

Perhaps it was a mistake. Yes, of course! A mistake. They got the wrong person. Whoever it was thought I was someone else, someone he had it in for!

He sighed with relief.

But the original thought returned: Why would someone hate me so much?

The shoe fell out of his hand.

Well, there was that, he remembered, feeling a little embarrassed. That stupid thing I said the other day, but it was just something I said without thinking. Roubal is my friend, after all. I shouldn’t have said that about his wife. But everyone knows she’s seeing other men. He even knows it himself. It’s just that he pretends not to. But I shouldn’t have let that slip, idiot that I am…!

The councillor remembered how Roubal has swallowed heavily and had dug his fingernails into the palm of his hand.

Dear me, how I must have hurt him! He loves his wife. Loves her like crazy! Of course, I immediately changed the subject. But the way he was biting his lips! He certainly has cause to hate me.

Councillor Tomsa felt like a heap of woe.

But I know he didn’t try to shoot me. That’s impossible! Even though, I could hardly wonder if…

Councillor Tomsa stared gloomily at the floor. And then he remembered something else, something he’d have preferred not to remember.

The tailor! Fifteen years he’d been doing my tailoring, and then they told me he was very ill with TB. It’s natural, isn’t it? that you wouldn’t want to keep taking clothes so that a consumptive can cough all over them. So I stopped going to him… And then he came begging, that he hadn’t got any work, that his wife was ill, that he needed to find places for his children. Please would I give him my custom once more?

Christ! How pale he was, and how the sweat was running down him! “Mr Kolinský, I said, look, it’s no good, I need a better tailor, I wasn’t happy with your work.”

“I’ll try to do better, sir,” he muttered, sweating with fear and embarrassment. It’s a wonder he didn’t burst into tears! And I… I of course sent him away with a “We’ll see” – something these poor fellows must be only too familiar with.

Mr Kolinský might well hate me. How awful, to have to go and beg someone to help keep body and soul together, only to be dismissed with such indifference. But what was I meant to do?

I’m certain it couldn’t have been him, but…

The councillor’s conscience was weighing him down more and more. And something else he remembered:

That was awkward as well, the way I laid into the office servant. I couldn’t find that file, so I called the old fellow up and shouted at him as if he was a naughty boy. And in front of the others! “What a mess, you idiot! I said. It’s like a pigsty! I’ve a good mind to sack you.”

And then I found the file in the drawer of my own desk! And the old man just stood there, stood there trembling and blinking…

The councillor came out in a hot sweat.

But you don’t apologise to subordinates, even if you’ve been a bit unfair. Although you could hardly be surprised if they hate their superiors! How about if I give him some old clothes? Except that would be humiliating for him…

The councillor couldn’t lie down anymore; even the blanket was suffocating him. He sat on the bed with his arms round his knees and stared into the dark. And then he remembered something else:

That incident with that young Moravian in the office. He’s educated and writes poetry. But when he didn’t draw up that document properly, I said “Do it again” and I meant to throw it on his desk, but it fell under his legs, and he went all red – even his ears – as he bent down to pick it up… I could kick myself! After all, I rather like the young fellow, and to humiliate him like that, even if unintentionally…

Then another face popped up in his mind: the pale and puffy face of his colleague Wankl.

Poor old Wankl! He wanted to be office manager, the job I had. He’d have got a couple of hundred crowns a year more, and he has six children… Apparently he’d have liked to have paid for singing lessons for his daughter, but he couldn’t afford it. But I got the job because he’s such a plodding old workhorse – and his wife’s a real old shrew, terribly thin from all that scrimping and saving. All Wankl eats at midday is a dry bread roll.

Poor old Wankl! How must he feel when he sees me, with no family to look after, so much better off than him? But is that my fault? I always feel rotten when he gives me those resentful looks…

The councillor wiped the anxious sweat from his brow. And then he remembered something else:

Yes, the other day the waiter in the pub swindled me out of a few crowns, and I called the manager, who sacked him on the spot. “You thief,” he hissed at him, “I’ll make sure you never get a job in any other pub in Prague!” And the fellow sloped off without saying a word… You could see his shoulder blades under his coat.

The councillor couldn’t even endure sitting on the bed any longer; he went and sat by the radio and put on his headphones. But the radio was mute, there were no programmes at this time of night, so he put his head in his hands and remembered the people he’d met, all those strange people, all those young people, who he’d never understood and never thought about.

In the morning he stopped at the police station, rather pale and embarrassed.

“So,” asked the officer. “Have you remembered someone who might have something against you?”

The councillor shook his head.

“I don’t know,” he said hesitantly. “You see, there are so many of them, so many, that…”

He waved his hand disconsolately.

“Look, a fellow has no idea how many people he’s wronged. I certainly won’t be sitting by that window anymore, that I can tell you. But I just dropped by to ask you to forget about it.”


From Czech: THE FORTUNE TELLER by Karel Čapek

(My translation of Karel Čapek’s short story Věštkyně, which was published in Povídky z jedné kapsy in 1929)




nyone with half a brain will realise that this incident couldn’t have happened here or in France or Germany. As is well known, here and in those countries judges are required to punish wrong-doers according to the letter of the law rather than according to their ineffable acuity as superior gentlemen. This story involves a judge who made a judgement based not on the relevant sections of law but on his trusty common sense. So, as you will see, it has to do with England or, to be more precise, London, or, to be even more precise, Kensington; or perhaps Brompton or Bayswater – anyway, somewhere thereabouts. The judge was His Honour Judge Kelly and the woman who was the object of his ineffable acuity was Miss Edith Myers.

Continue reading From Czech: THE FORTUNE TELLER by Karel Čapek

From Portuguese: And the Sabiá Sings, by Aluísio Azevedo

(My translation of the short story No Maranhão, by Aluísio Azevedo, which was published in Pégadas in 1897)

When I was thirteen, up there in Maranhão, one of the families that was closest to mine was that of old Cunha. He was a good man, who’d retired after having made his money in the retail trade. His wife was Dona Mariana.

They had two children: Luís and Rosa – or Rosinha, as we called her. Luís was a year older than his sister and a few months younger than me.
You could say we were brought up together, because when I wasn’t at their place they were at ours.
The Cunhas lived in a large and beautiful colonial-style house, the back of which – as with all those houses along the shore – looked directly out to sea.
Apart from that house, Cunha had another place, where he went frequently with his family on Sundays, in their own boat.
They nearly always took me with them. The place was called “Boa Vinda” and was on the banks of the River Anil, not too far from Vinhais.
Those trips to Boa Vinda are among my fondest childhood memories. Brought up, as I was, by the seaside, I loved the water. At twelve years of age I was not only a strong swimmer but could steer a boat, take down a sail in a storm and row just as well as any fisherman on the prowl for piaba fish.
We used to leave São Luís in the small hours, arriving at Boa Vinda at dawn.
How delightful, the boating on the river! What beautiful, fresh mornings spent gliding between mango groves and scenting, on the breeze, the salty smell of the not-far-distant sea! And how pleasurable those lunches under the roof of the veranda, sitting on wooden benches around the linen-covered table, drinking new cashew wine from glazed terracotta mugs! And then… time to play! Running through the scrubland, hair blowing in the wind – foot-loose and fancy-free!
Then, in the evenings, when nature began its melancholy decline into night, we’d all sit on the terrace in front of the house and listen to the sweet, plangent song of the sururina birds, as they settled down for sleep in the surrounding bushes. Eventually, Luís would go to get his flute, Rosinha her violin, and – to their accompaniment – I’d sing some beautiful old Maranhão songs.
Dona Mariana and Cunha loved to hear me sing. At that time, my voice was still fresh and innocent – as was my soul.
Afterwards the plates and things were packed away in a large basket, which we carried on to the boat and then spread a canvas sail over it. Finally Luís, Rosinha and I sat on top of it, Cunha took up position at the helm with his wife by his side, and three slaves took the oars to row us back to the city.
Whereas the morning voyage had been cheerful and lively, the return at night always seemed slow and sad. Dona Mariana would keep dropping off to sleep, and Cunha would talk to us about what we’d be doing at school the next day. Luís would usually lie down, with his head on his sister’s lap, and I’d stretch myself out on the canvas, gazing at the stars.
On one of those nights when we were returning home, there was a beautiful moon. And the moonlight! As if it were specially for night-time voyagers on the water – conjuring up, ahead of us, white, sighing phantoms, which sped across the water, alternately appearing in their silver shrouds and then vanishing – like anguished drowned souls.
We’d already left Vinhais far behind and were gradually passing the large old properties on the Caminho Grande, which look out, on one side, on to the River Anil. Propped up with a cushion, Dona Mariana was dozing as usual, resting her head on the palm of her hand; Rosinha – with one arm over the side of the boat – was dreamily trailing the tips of her fingers in the rippling water, which sparkled at each pull of the oars; Luís was humming distractedly; old Cunha was bent over the handle of the tiller, with his big, carnaúba-palm hat pushed to the back of his head – shirt and cotton-duck coat open at the chest – while he gazed at the beaches as they slid by, as if the beauty of that northern night and the loneliness of that beautiful blue river had ensnared his bourgeois soul and miraculously carried him off to some poetic dreamworld.
But no! After a prolonged period of silence he sighed, turned to me, and said:
“What a waste of money! What utter carelessness! … Look at those overgrown ruins! It was a good forty years ago they started building. A big customs house… but they never got any further. Just like the Sagração wharf and the Mercês embankment. Scandalous!”
As I looked at those ruins, which seemed to grow in the moonlight, Cunha’s indignation continued to rumble over the lugubrious waters of the Anil, railing against all those accursed presidents of the province who’d taken so little care of our poor, beloved city.
Meanwhile, as our boat pushed sluggishly on, all that steeply sloping part of the city came opening up alongside us.
And it wasn’t long before the Praça dos Remedios came into sight in the distance, looming over the beach like a fortress from the times of war.
We could hear the leaves rustling in the casuarina trees.
“There it is!” shouted Cunha, pointing towards the shore. “Why squander money on a statue like that when there are so many things we really need but no one cares about…”
I looked in the direction he was pointing and saw – very tall, very white, and very sad-looking in the moonlight – the statue of Gonçalves Dias in the middle of the Praça dos Remedios.
I could summon up neither the spirit nor the words to protest against what old Cunha was saying. All I knew about Gonçalves Dias was that he was a poet who died tragically. Nothing more.
“Indeed!” growled Cunha. “The money it must have cost to hoist that big booby sky-high on to that humongous marble stick! A fortune! Everyone in Maranhão contributed! Whereas they couldn’t cough up even a couple of réis for the Campos Melo warehouse, which business has been crying out for for ever. A pack of idiots! I swear it makes me so angry, I almost regret taking out citizenship!”
I turned to look at the statue once more and – I don’t know why – Cunha’s words no longer filled my young mind with the respect they always used to command. Instead they upset me, like a blasphemy spat out at a sacred image. At home, all my family venerated the memory of our national poet and, at the school where I learnt to write the Portuguese language, my teacher always referred to him as “the great Gonçalves Dias.”
But I still said nothing in the poet’s defence – the poet who’d sung about the palm trees of Brazil. Instead I gazed more intently at that white, stone figure, who, in turn, was looking out, in mute glory, at that same sea that had become his sepulchre. And I thought he was so calm, so elevated, so distant from me and Cunha. So much so that I eventually blurted out:
“But Senhor Cunha, if the people made that statue for him, it must have been because the poor man deserved it!”
“Deserved?! How? What did he do? … My country has palm trees where the sabiá sings. The birds of my homeland sing sweeter by far?! That’s all he did! Write poems!”
And, beside himself with anger, off he went again, with a new tirade against the madmen who raise statues to poets instead of building the warehouses the retail trade so desperately needs.
Just at that moment, however, the boat came directly opposite the Praça dos Remedios.
The moon – lost and alone in the luminous sky – was bathing that rigid, white marble figure in its mysterious rays. And Rosinha, who’d paid no attention to our conversation, began to sing, in her high, crystalline voice, one of the most popular songs in Brazil:
If you’d like to know why
I sometimes fly
Away in my dreams
To that angel who sings
Up there in the sky,
Come with me, love,
To the heavens above
And then you’ll know why
I fly, and the sabiá sings.

In her innocence, and in sight of the statue, she’d unwittingly rebutted her father’s vituperation, paying the poet the highest compliment: reciting his words without mentioning his name.

I’m not superstitious, and I wasn’t back then, but I really did get the impression, at that moment, that the statue smiled.
A trick of the light. Of course.

From Portuguese: Military Efficiency (A little Chinese story), by Lima Barreto

[My translation of the short story Eficiência militar (Historieta chinesa) by the Brazilian writer Lima Barreto, which was first published in the Careta newspaper in Rio de Janeiro in 1922]


Li-hu Ang-Pô, the Regent of Canton, which was part of the Chinese Empire – “the Celestial Empire” or “the Middle Kingdom,” as it was called – had noticed that his army didn’t look at all warlike; nor had it demonstrated, in the most recent manoeuvres, any great military aptitude.

As everyone knows, during the ancient Chinese regime, the powers of the Regent of Canton were akin to those of an absolute monarch. He governed his province as a kingdom inherited from his parents, and his word was law.
The only restriction on his powers was the obligation to pay a hefty annual tax into the treasury of the Son of Heaven. The latter was comfortably ensconced amongst dozens of wives and hundreds of concubines in the mysterious imperial city of Peking but was invisible to the great masses of his people.
Having realised what a miserable state his army was in, Li-Hu Ang-Pô, the Regent of Canton, began to wonder what he should do to raise the morale of his army and make it more like… more like an army. As a result he doubled the soldiers’ rations of rice and dog meat; but this greatly increased the military expenditure of the kingdom; so, to mitigate that problem, it occurred to him – or rather, it was pointed out to him – that all he need do was double the taxes on fishermen, potters, and collectors of human manure (one of the main occupations in the labyrinthine city of Canton).


After a few months, he decided to test the success of the measures he’d introduced to enhance the pride, enthusiasm and martial vigour of his trusty soldiers. This took the form of general manoeuvres that would take place, when the cherry trees came into blossom in the spring, on the Plane of Chu-Wei-Hu – “Happy Days Plane” in our language. So, in due course, about fifty thousand Chinese soldiers, comprising infantry, cavalry and artillery, set up camp on the Plane of Chu-Wei-Hu under silk tents – silk being as common in China as canvas is here.

The commander-in-chief of that extraordinary army was General Fu-Shi-Tô, who’d begun his military career as a rickshaw-puller in Hong Kong. Indeed, he’d been so competent at that trade that the English governor had taken him for his own exclusive service.
The latter fact gave the General exceptional prestige amongst his countrymen because, although they generally detest foreigners – especially the English – they nevertheless respect the dreaded “red devils,” as they call the Europeans.
Having left the service of the British governor of Hong Kong, Fu-Shi-Tô could have no post in his own country other than general of the army of the Regent of Canton; and once appointed to that post, he immediately showed himself to be an innovator, making improvements both to troops and to ordnance – in recognition of which he was awarded the solid gold medal of the Imperial Order of the Dragon. It was he who replaced the cardboard cannons of the Cantonese army with those of Krupp, earning billions of taels in the process by way of commission, which he shared with the Regent. The French firm Canet wouldn’t have been so generous, which convinced him that Krupp’s cannons were better. So it’s clear that the ex-servant of the governor of Hong Kong knew a thing or two about artillery.


Li-Hua Ang-Pô’s army had been camping for over a month on Happy Days Plane, when the Regent decided to go and inspect the manoeuvres before conducting the final review.

Together with his retinue, which included his brilliant hairdresser Pi-Nu, he set off for the beautiful plane, fully expecting to see manoeuvres befitting a genuine Teutonic army. He was imagining glorious victories and how his profitable position as almost-king of the rich province of Canton would be secured for ever. With a powerful army at hand, no-one would dare to try and oust him.
When he arrived, he observed everything attentively and with curiosity. At his side, Fu-Shi-Tô explained strategies and tactics with a breadth of knowledge indicative of someone who had studied the Art of War between the shafts of a rickshaw.
But the Regent wasn’t happy. He’d noticed hesitancy and lack of élan in the troops, lack of speed and accuracy in the manoeuvres, and lack of obedience to the commander-in-chief and the officers; in short, instead of an army that should have been able to threaten the whole of China – should it wish to oust him from his comfortable and profitable position as Regent of Canton -, instead of all that, a decided lack of military efficiency. He pointed this out to the General, who responded thus:
“Your Most Excellent, Venerable, Powerful, Gracious and Celestial Highness is right; but those defects can easily be put right.”
“How?” asked the Regent.
“Simple! Our current uniforms are too similar to the German. We’ll make them more like the French, and that will fix everything.”
Li-Hu Ang-Pô pondered for a few moments, remembering that time he was in Berlin, the banquets the court dignitaries of Potsdam had laid on for him, the welcome he’d been given by the Kaiser and, above all, the taels he’d received via General Fu-Shi-Tô… It would be ingratitude on his part; but… He pondered a bit more until, finally, he barked out an order:
“Change the uniforms! Immediately!”


(The following biographical details have been translated from the [now defunct] Casa Lima Barreto website.)

Afonso Henriques de Lima Barreto was born in Rio de Janeiro on 13 May 1881 and died in the same city on 1 November 1922. The son of a typographer at the National Printing Works and of a state-school teacher, he was of mixed race. He was taught at first by his own mother, who died when he was seven. Through the influence of his godfather, Viscount Ouro Preto, an imperial minister, he completed his studies at the Pedro II National School, from where he went, in 1897, to the Polytechnic with the intention of studying to be an engineer. He had to give up his course, however, in order to become the breadwinner at home, after his father – bursar at the Colony for the Insane on Governador Island – himself became mentally ill in 1902. In the same year he had his first work published in the student press. The family moved to the Rio de Janeiro suburb of Engenho de Dentro, where the future writer decided to take part in a public examination for a vacancy in the Ministry of War. He came second but, because the first-placed candidate withdrew, he was able to take up the post, which he did in 1903.

Because his salary was only small, the family moved to a modest house in the suburb of Todos os Santos in which, in 1904, he began the first version of his novel Clara dos Anjos (Clara of the Angels). In the following year he began his novel Recordações do escrivão Isaías Caminha (Memoirs of the Clerk Isaías Caminha), which was published in Lisbon in 1909. He also published a series of reports in the Correio da Manhã newspaper and commenced the novel Vida e morte de M. J. Gonzaga de Sá (Life and Death of M. J. Gonzaga de Sá), which was not published until 1919. He participated in the Fon-Fon magazine and in 1907, together with some friends, launched the Floreal magazine, which survived for only four numbers but attracted the attention of the literary critic José Veríssimo. During this period he devoted himself to reading, in the National Library, the great names of world literature, including the European realist writers of the period; he was one of the few Brazilian writers who became familiar with the works of the Russian novelists.

In 1910 he was a juryman in a trial that condemned some soldiers involved in a student’s murder, an incident that came to be called ‘The Spring of Blood’; as a result he was passed over when it came to any possibilities of promotion in the secretariat of war. In the space of three months, in 1911, he wrote the novel Triste fim de Policarpo Quaresma (The Sad End of Policarpo Quaresma), which was published in instalments in the Jornal do Comércio, for which he wrote, and also in the Gazeta da Tarde. In 1912 he published two instalments of the Aventuras do Dr. Bogoloff (The Adventures of Dr. Bogoloff), in addition to little humorous books, one of them printed in the O Riso magazine.

Although alcoholism was beginning take hold of him, it did not prevent him from continuing to work for the press and, in 1914, he commenced a series of daily feuilletons in the Correio da Noite. In 1915 the A Noite newspaper published his novel Numa e a ninfa (Numa and the Nymph) in instalments, and he began a long phase of work with the Careta magazine, writing political articles on various topics.  In the first months of 1916, the novel Triste fim de Policarpo Quaresma appeared as a book, together with some notable short stories such as ‘A Nova Califórnia’ (New California) and ‘O homem que sabia javanês’ (The Man who Spoke Javanese); these were warmly received by the critics, who saw Lima as a true successor to Machado de Assis. He began writing for the political weekly A.B.C. After being hospitalised in July 1917, he delivered to his editor, J. Ribeiro dos Santos, the manuscript of Os Bruzundangas (The Bruzundangans – Bruzundanga being Lima’s satirical name for Brazil), which was not published until a month after his death, in 1922.

He applied for a vacancy in the Brazilian Academy of Letters, but his application was not even considered. He published the second edition of Isaías Caminha and, subsequently, the novel Numa e a ninfa in book form. He started publishing articles and feuilletons in the alternative press of the period: A Lanterna, A.B.C. and Brás Cubas, which published an article of his showing sympathy for the revolutionary cause in Russia. After being diagnosed with toxic epilepsy, he was pensioned off in December 1918 and he moved to another house in the Rua Major Mascarenhas in Todos os Santos, where he lived until his death.

At the beginning of 1919 he ceased his collaboration with the A.B.C. weekly, because he took issue with an article it published criticising the blacks. He published the novel Vida e morte de M. J. Gonzaga de Sá, which was personally edited and sent for typing by the editor Monteiro Lobato; this was the only one of Lima’s books to receive such standard editorial care and for which he was well paid; it was also well advertised, being praised by both old and new literary critics, such as João Ribeiro and Alceu Amoroso Lima. At this time he applied once more for a vacancy at the Brazilian Academy of Letters; on this occasion his application was accepted, but he was not elected, although he received the permanent vote of João Ribeiro. Under the title of ‘As mágoas e sonhos do povo’ (The People’s Sufferings and Dreams), he started publishing, in the Hoje magazine, weekly feuilletons of so-called ‘urban folklore’ and he entered into a second phase of collaboration with Careta, which lasted until his death.

From December 1919 to January 1920 he was hospitalised in consequence of a nervous breakdown, an experience recounted in the first chapters of the memoir O cemitério dos vivos (The Cemetery of the Living), which was not published until 1953, when it was issued in a single volume together with his Diário íntimo (Intimate Diary). In December 1920 Gonzaga de Sá was short-listed for the literary prize of the Brazilian Academy of Letters for the best book of the previous year; it received an honourable mention. In the same month, the short-story book Histórias e sonhos (Stories and Dreams) was published, and the manuscript of Marginália (Odds and Ends), comprising articles and feuilletons already published in periodicals, was delivered to his friend, the editor F. Schettino; the manuscript was lost, however, and the book did not come to be published until 1953.

A section of O Cemitério dos vivos was published in January 1921 in the Revista Souza Cruz, under the title ‘As origens’ (The Origins); but the work remained incomplete.  In April of that year he went to the little town of Mirassol in the State of São Paulo, where a doctor friend of his, Ranulfo Prata, who was also a writer, tried to put him together again, but in vain. With his health badly undermined, he turned into a sort of recluse in his little house in Todos os Santos, where friends came to visit him and where his sister Evangelina looked after him devotedly. Whenever possible, however, he would embark on another walk through the city he loved, keeping reading, meditation and writing for home, despite the constant presence of his father’s madness, which got worse through a series of crises.

In July 1921 Lima applied for a vacancy in the Brazilian Academy of Letters for the third time, but he withdrew his application for ‘entirely personal and private reasons.’ He delivered the manuscript of Bagatelas (Trifles) to the publisher; this book was a collection of his principal journalistic work from 1918 to 1922, in which he analysed, with rare vision and clarity, the problems of the country and of the world after the 1st World War. However, Bagatelas was not published until 1923. In November 1921 he published, in the Revista Souza Cruz, the text of a speech ‘O destino da literatura’ (‘The Destiny of Literature’) that he had been due to make – but had not managed to do so – in the town of Rio Preto, near Mirassol. In December he began work on the second version of his novel Clara dos Anjos, which he finished the following January. The manuscript for Feiras e mafuás (One Thing and Another) was delivered for publication, which did not happen until 1953.

In May 1922 the magazine O Mundo Literário published the first chapter of Clara dos Anjos, ‘O carteiro’ (The Postman). His health was declining steadily as a result of rheumatism and alcoholism amongst other things, and Lima suffered heart failure and died on 1 November 1922. They found him holding the copy of the Revue des Deux Mondes – his favourite journal – which he had just been reading. Two days later, his father died. They were both buried in the São João Batista cemetery, in accordance with Lima’s wishes.

In 1953 a publisher issued some volumes of his unpublished works. But it was only in 1956, under the direction of Francisco de Assis Barbosa and with the collaboration of Antônio Houaiss and M. Cavalcanti Proença, that all his work  was published in 17 volumes; these comprised all the novels mentioned above and also the following titles that were not published during his life: Os bruzundangas, Feiras e mafuás, Impressões de leitura (Literary Impressions), Vida urbana (City Life), Coisas do reino de Jambon (A Report from the Kingdom of Jambon), Diário íntimo, Marginália, Bagatelas, O cemitério dos vivos and two further volumes containing all his correspondence – both letters sent and letters received. In the following decades Lima has been the subject of many studies, both in Brazil and abroad. His works, particularly his novels and short stories, have been translated into English, French, Russian, Spanish, Czech, Japanese and German.  He has been the subject of doctoral theses in the United States and Germany. To mark the centenary of his birth in 1981, conferences were held about him throughout Brazil, resulting in the publication of innumerable books, including essays, bibliographies and psychological studies of the author and his works. There is currently a growing interest in him among new Brazilian writers, who see him as a pioneer of the sociological novel. His literary production, which is vast in view of his early death, is gaining him – quite rightly – more and more distinction.

Translator’s note: In an obituary for Lima in the Jornal do Brasil on 5 November 1922 , Coelho Neto – who had given the oration at Machado’s funeral in 1908 – described him as:

one of the best novelists Brazil has had, who observed things with the power and precision of a microscope, and who wrote with magisterial assurance, describing ordinary life like no one else has done. Just as he was neglectful of himself, of his own life, so was Lima Barreto neglectful of the work he constructed, not seeking to correct its defects of language, presenting it just as it flowed from his pen, without the necessary revision, the indispensable polishing, the definitive final touch which a work of art needs. Despite everything, however, what has remained to us of this man is worth so much by way of observation of life and depiction of characters that the rough edges cannot destroy the beauty: sometimes they compromise it here and there but only in the same way that a wall with stains and cracks can affect the harmony of a fresco, but cannot negate the magnificence of the painting.

Despite the nit-picking, this might be considered gracious in view of the virulent criticisms made of Coelho Neto by Lima.

From Portuguese: THE ROAD TO DAMASCUS, by Machado de Assis

(My translation of the story O caminho de Damasco, which was originally published in the Jornal das Famílias in Rio de Janeiro in 1871.)




It was two o’clock of an afternoon in June and it was a magnificent winter’s day – neither cold, nor rainy, nor sunny. That’s to say, the emperor star was still dominating the skies with his splendid rays but, on that particular day, his rays were soft and gentle. So, it wasn’t a sun for lizards to warm themselves by, but it was just the right sun for someone who was walking across Aclamação Square.

Ouvidor Street was just as busy as usual. There were people standing in front of the shops or sitting inside them; people walking down the street, people walking up; men, ladies and, once in a while, a horse-drawn carriage – all of which gave the principle road in Rio de Janeiro a bright and breezy look. Here and there, you could see a group of politicians exchanging news or ogling the ladies as they passed by, which, after all, is far more pleasurable than talking about the defence budget. As it happens, the minister of defence was speaking about that very thing in the House of Representatives at that very moment.There were also dandies – la jeunesse dorée –, who were discussing the latest goings on or the latest fashions. And amongst them, funnily enough, were some grey beards and even white beards. But if you were to ask those grey beards and white beards what they were doing there, they would no doubt have replied that youth has more to do with what’s inside than what’s out, and that ice can cover the mountain tops without descending to the plain. (And by “the plain” they mean “the heart.”)

Near Quitanda Lane, between the Garnier bookshop and the offices of the Jornal do Commercio, three elegant young men had been having a chat. One of them was just heading off downhill, another uphill and the third was about to get into a tilbury, which was standing there waiting for him. The first had black sideburns, the second a full beard, while the third just had an elegantly waxed, chestnut-brown moustache.

“So we’re agreed,” the sideburns called out to the others. “Ten o’clock at the door of the Alcazar Theatre.”

“Whoever arrives first will need to wait,” said the full beard.

“Yes,” said sideburns. “But let’s try not to be late.”

The moustache agreed, but asked for some laxity for himself. “I need to take care of the old lady.”

Sideburns shook his head impatiently.

“Really, Aguiar! I don’t know what to make of you. You’re a grown man, but you live like a nun!”

Full beard couldn’t help smiling: he was well aware of how little his friend resembled a nun. And he knew that sideburns was equally well informed about what Aguiar got up to.

Aguiar explained, as well as he could, the situation with the old lady, and the three of them promised to be at the door of the Alcazar at 10 o’clock that evening.

And just when Aguiar was about to say his final goodbye, a carriage drove out of Quitanda Lane into Ouvidor Street. It was pulled by a chestnut horse and driven by a youth dressed in white, whose expression of disdain for the pedestrians he passed would almost make you think that Cleopatra or Achilles must be inside the carriage; but one glance would disabuse you of such a notion: lolling on the seat of the carriage was a thin, blond girl, whose looks might have come from heaven, but whose dress and adornments were more reminiscent of purgatory.

The tears of sinners were crystallised in the refulgent jewellery that adorned her ears, her neck and her fingers. She was looking lazily at the passers-by to the left of the carriage, but without moving her head, and with such an aristocratic expression that one could understand both the arrogance of the coachman and the curiosity of the passers-by.

When she saw our three friends, she smiled and inclined her head slightly. Sideburns gestured something to her, to which she responded with a raised hand. All of it without the carriage stopping.

“Good – Candinha knows,” said sideburns. “We won’t have to send a note.”

And, after once more promissing to be there at ten, the three friends continued on their separate ways.

Of the three, it’s Aguiar who’s of most interest to us. He’s off in the tilbury, but it doesn’t matter: we’ll arrive in time to enter his house with him.



At the time, Jorge Aguiar was 23 years old. The previous year he’d returned from São Paulo with a degree certificate in his pocket and a number of young ladies jostling in his heart. I could say he also brought some knowledge of the law in his head, that is, if I didn’t intend to be scrupulously historically accurate. The fact is, he’d learnt only the minimum necessary to scrape through the exams, and even that minimum had remained behind on the Cubatão Mountains, without him missing it at all. The young ladies in his heart had been carried as far as Guanabara Bay, but it’s certain they didn’t disembark with him. Anyway, they weren’t worth it: his affection for none of them had merited being brought back home.

He’d have had a hard time if he’d had to make his living from what he’d learnt at college. But even though some say fortune is blind, in his case it had the eyesight of a lynx and knew it would have to make some adjustments to his life if he wasn’t to come a cropper. Jorge’s family was sufficiently well-off to keep him in the style to which he was accustomed. So he could sleep soundly and awaken in peace.
But it wasn’t all roses for him. There was a black spot in his blue sky. A black spot that wasn’t his father, who had that sort of blind affection for him that would accept no ifs or buts. In that respect he was a sort of Dr Pangloss, seeing a good reason for each and every deviation of his son from the straight and narrow. Not only that, but he nursed a dream of seeing Aguiar become a government minister. For that, he said, it was necessary to allow him a few months of freedom; after which he’d rein him in and try and get him the first seat that became available in a provincial assembly.
Such were the thoughts and plans of old Silvestre Aguiar, whose own youth had not been exactly monastic.
No, the black spot was Jorge’s mother. Dona Joaquina was an austere and respectable lady, even though sharp-tongued, loud, despotic and possessed of unusual energy for a fifty-two-year-old. No-one in the Aguiar household could remember her ever having been quiet for a whole hour – other than when she slept, of course, which did provide some blessed relief for the rest of the family. But she slept very little, waking at five in the morning.
You wouldn’t need to be terribly perspicacious to notice that Dona Joaquina was the real boss of the house. Silvestre was one of those anything-for-a-quiet life husbands: he never got annoyed, impatient or bored; he was known to have had various affairs, but none of those ladies had displaced his affection for his “plump little pudding.”
“Nature,” he used to say, “includes raging rivers and placid streams. If we were all raging rivers, humanity would have no placid streams. It’s good to have both. Providence likes there to be a tranquil rivulet, like me, at the foot of a mighty waterfall like Joaquina. And that’s called ‘harmony’.”
I should point out that, when he married Dona Joaquina, Silvestre was aware neither of her garrulousness, nor of her impetuosity. But it’s possible that, at the time, those gifts of hers weren’t yet fully developed. Their romance had begun on the occasion of the coronation festivities. One of Silvestre’s relatives had given a dinner, at which the two families – his and Joaquina’s – had met. It was generally thought she’d never marry because she’d already had five or six suitors and had despatched each and every one with a decisiveness that gave a foretaste of her future modus vivendi. So it was quite a surprise when, three months later, after Silvestre had gone to ask her parents for her hand, she replied to them in the affirmative.
“They’ll be happy together,” said her mother. “The reason she refused all those offers of marriage must be that God has been keeping this one for her especially.”
And, indeed, they were happy, Silvestre’s character perfectly complementing that of his wife. Dona Joaquina would occasionally get annoyed with the passivity of her husband, and would have no hesitation in letting him know; but, as he didn’t offer any sort of resistance, she always ended up having – as he explained it to himself – to “forego the joys of battle.”
So, this was the Dona Joaquina who was the black spot in Jorge’s sky. He had to be home by 10 p.m. at the latest, despite Silvestre’s feeble attempts to support his son’s cause. This he’d do by remarking that the lad couldn’t be expected to live the life of a nun; and that word “nun” – so insignificant in the mouth of anyone else – would then, in Dona Joaquina’s, give material for a lecture running to ten fullscap pages. Her husband would resort to silence, and 10 p.m. at the latest it was.
For a long time, Jorge followed his mother’s orders, but his friends helped to pervert his upright and chaste character; with the result that one night he arrived home at 11. His mother was still up and came to open the door for him in person.
“Oh! Mummy!” he exclaimed in shock.
Dona Joaquina said nothing. She closed the door and ascended the stairs quietly in front of him. It was the only occasion she hadn’t used her mouth to deal with a problem, and her reaction was all the more sublime on that account.
From then on, Jorge was scared of disobeying his mother; but, as strolls and visits to the theatre and to parties didn’t really fit with such obedience, the young man eventually got a key made for himself, which gave him ample opportunities to take wing.
In addition he managed to conjure up lots of invitations to dinner parties and dances, which the good lady didn’t object to.
And in these ways, and various others, our Jorge Aguiar managed to evade the vigilance and the orders of his mother. The one who wasn’t fooled was his father, who frequently saw him slipping out and guessed the real reason for all those invites; but good old Silvestre applauded his son’s craftiness, thinking it augured well for a career in politics.



When Jorge Aguiar arrived home, Dona Joaquina was giving her final orders in respect of a large quantity of coconut cakes and checking on the task she’d given to two young seamstresses that morning. Silvestre was playing backgammon with Fr Barroso, and Clarinha was playing some German variations on the piano.

This Clarinha, who’s suddenly appeared in this story unannounced, was a niece of Dona Joaquina, and thus a cousin of Jorge. She’d lost here mother while still a child; and her father had become infatuated, two years before, with an Italian woman who’d arrived in Rio on the dubious pretext of being a singer; so he’d hitched his star to the lady of his dreams and was now accompanying her around Italy. Thus, to all intents and purposes, Clarinha had lost both her parents. But Dona Joaquina treated her just as if she were her own daughter.
The young woman was extraordinarily beautiful, which was only enhanced by her air of deep melancholy – a melancholy that was understandable, given that, having been born into a well-off family, she’d seen her father squander his inherited wealth and had lost her mother at an age when she most needed her; and then to be completely abandoned by her father and obliged to depend on the goodwill of her aunt and uncle. Consequently it was no surprise that she didn’t often laugh.
However, she overcame the slings and arrows of her outrageous fate by learning to work with a docility which her aunt found enchanting. Dona Joaquina used to say her neice had inherited her own competence in the art of home management. Indeed, it would have been difficult to find another young woman – Clarinha was 18 at the time – possessed of such gravity, prudence, energy and orderliness. She spent such spare time as she had in studying music and French, because she was hoping to become a teacher eventually and to be able to make her own way in the world.
Whilst admiring her niece’s prudence, Dona Joaquina sought to allay the fears that gave rise to it by assuring her that, for as long as she was alive – and even afterwards – Clarinha would want for nothing. In addition, she was young, and it wouldn’t be long before marriage would provide her with absolute security.
“Marriage?” said Clarinha, sadly. “That’s not for me.”
“Why not?”
“Who’d want to marry me?”
“Any young man who’s not an idiot, Clarinha. You think it’s easy to find a wife like you?”
Clarinha shook her head and said nothing.
Indeed, her behaviour confirmed a predisposition to spinsterhood. She seemed indifferent to men, she didn’t beautify herself before going to balls, she didn’t dance at them, she didn’t linger by the window, and she was perfectly deaf to the admiration that her beauty elicited. She usually wore dark clothes because she was drawn to their melancholy colours; her manners were modest and reserved; she didn’t talk much and, as I said, she laughed even less.
So, at the request of Fr Barroso, she was playing the piano in the lounge. The priest was crazy about music and, with the insouciance of a born backgammon player, was wont to remark that music would take the edge off Aguiar’s defeats. It certainly was the case that the host rarely overcame his guest.
“A two and a one,” said Commander Aguiar as he threw the dice and tapped one of the priest’s boards.
“No chance!” replied the priest as he shook the dice.
“Now you’ll see what it’s all about! I need double four.”
“Stop gabbing and throw!”
The priest threw the dice.
“Double four!”
Silvestre Aguiar scratched his nose, while the implacable priest, having beaten his opponent twice, blew his nose noisily into a red handkerchief.
“It’s no good without snuff,” he muttered.
“Hasn’t the boy come back yet?” said Aguiar. “It was careless of me. I should have bought some yesterday.”
Clarinha stopped playing and was just about to go and check whether the boy had returned when her uncle told her there was no need.
At that moment, Jorge entered the lounge. He kissed his father’s hand, shook hands with Fr Barroso and went to greet his cousin.
“You know what?” the priest whispered to the commander. “Why don’t the two of them get married?”
“I wouldn’t get in their way, if they wanted,” Silvestre replied. “But it’s up to them. I don’t think they’re courting. And anyway, the lad hasn’t quite left the folly of youth behind yet.”
“Forgive me for saying so,” said the priest, “but he’s heading for trouble like this. Youthful habits are rarely left behind. You need to rein him in before it’s too late.”
“I was no different myself at his age,” said Silvestre, “but nowadays I’m second to none when it comes to behaviour. Leave him be. He’ll follow the same path as his father.”
Jorge exchanged a few words with his cousin before heading to his room, leaving her to continue playing the piano, and the two old gentlemen to finish their game.
But then a new character appeared upon the scene: Dr Marques – forty-four years old, ruddy-faced, energetic, with greying hair and beard. He was the family’s doctor and had known the commander since they were boys. Indeed, they were the closest of friends. He and the priest were the most regular guests in the house.
“Just the person!” said the priest. “Have you got the box?”
“Of course,” said the doctor, after going to shake hands with Clarinha.
“Thanks be to God! Let’s have a pinch then.”
“Two!” Silvestre corrected him. “Two pinches! The attack has to come from both port and starboard.”
The two backgammon players wiped their fingers before each taking a generous pinch from the doctor’s bag. The priest inserted his in both nostrils, after which he used his handkerchief to brush off the dust that had fallen on his shirt. For his part, the commander pressed down his right nostril with his thumb before introducing the whole pinch into his left.
Dr Marques left them to carry on with the backgammon and went over to the piano, just as Clarinha was about to get up and leave the room.
“Don’t you want to play any more?” he asked.
“I need to do something,” she whispered, without looking up.
Dr Marques gave a quick glance at the two backgammon players. Seeing they were concentrating on the dice, he whispered in her ear:
“And your reply?”
“Let me go…”

She walked rapidly to the door and disappeared, leaving Marques standing awkwardly by the piano – as the reader will certainly imagine. Meanwhile Fr Barroso threw the dice before exclaiming happily:

“Poor you, Commander! Poor you!”



Dr Marques went to look for Jorge and found him in the study, sitting in the sofa and reading a novel by Feydou. He shut the door and pulled up a chair. Without changing his position, Jorge closed the book, using a bill from his tailor as a bookmark.

“Any news?” he asked.
“No,” came the reply. “And that’s the worst of it.”
“How come?”
“I asked her for her reply just now, but she didn’t say anything; and the way she left the room has left me with no hope. I think your advice about writing the letter wasn’t so good.”
“Nonsense! It was perfectly good advice: a letter doesn’t prove anything about her not liking you. It could still turn out fine. Let me tell you something.”
“Don’t get disheartened. My cousin will have to yield because she won’t find a better husband than you… You’ll make her happy. The only reason she didn’t reply is because she’s so shy. She’s worried it might be taken amiss. Look, why don’t you have a word with my mother?”
“Your mother?”
“Yes. Clarinha has great respect for her; I’m sure it’s the thing to do. Go and speak to her. That should do the trick.”
Dr Marques stood up, took a pinch of snuff, walked to the mirror, patted his whiskers and returned to his seat by the sofa.
“Are you sure she hasn’t got another suitor?”
“Well, I can’t be absolutely sure, but nothing suggests she has. Clarinha’s a very private person; she spends her time looking after the house. So, I can’t see inside her head, but I haven’t heard anything… Take my advice: speak to my mother.”
“Fair enough!” said Marques. “I will.”
As can be seen, the family doctor was in love with Silvestre Aguiar’s niece. I don’t want to make out that this was one of those fiery, unbridled passions of youngsters, nor one of those mellow, latter-day loves of maturity. Rather, it was a mild, temperate and considered affection. Dr Marques had never married; everything suggested permanent bachelorhood, and so it would have been until the day he died, if Clarinha’s qualities – her industry and her innocent and grave demeanour – had not impressed themselves on him so far as to awaken the idea of marriage.
The prospect of staid family life began to seduce him. And reason soon backed up the idea, comparing a solitary old age with an old age made easier by the care of a worthy and solicitous wife. Clarinha seemed to have all the necessary qualities to be his companion, and he’d confided in his friend Jorge. In turn, Jorge had recommended an epistolary approach, and – with the docility of an obedient dog – Dr Marques had duly plucked up the courage to write a letter to the young lady.
And that’s the letter they’d been talking about. We already know that the young lady not only had not responded, but had even, apparently, fled from her suitor. This could have been because she was in love with someone else, as he’d suggested to Jorge, or it could simply have been the result of her timidity, accustomed as she was to comply with the rigid doctrines of Dona Joaquina. In the opinion of that good lady, a bride should only get to know the groom on the day of her marriage.
“And that’s more than enough,” she used to say.
It’s certainly the case that old Aguiar’s wife no longer remembered their wedding day, not to speak of their courtship. But that’s only natural: people have ideas appropriate to their age; fifty-year-olds don’t have much sympathy for the folly of twenty-year-olds, and the latter find the austerity of fifty-year-olds distinctly odd.
Clarinha, however, was happy to be guided by the ideas of her aunt, and it’s quite possible that her reserve was simply the result of that influence.
What’s certain is that Marques had made no progress when Jorge suggested going to speak with his mother, a suggestion which the doctor accepted and resolved to put into practice the following day.
It should not be thought, however, that Jorge’s advice originated in sympathy for his friend’s cause. In fact he was completely indifferent who his cousin might marry. He would have given the same advice to any man who’d asked for it. The principal concern of the commander’s son was to be completely free to enjoy life as he wished, without the need to worry about anything. The lady who’d passed by when he was talking with his friends in Ouvidor Street was – hard as it is to say – more important to him than his cousin. In a nutshell, he was well advanced in the career of a libertine.
As soon as the doctor had left the study, Jorge resumed his reading. Shortly after that, he was called to dinner. He dined, he dozed a little, later on he pretended to be having a cup of tea and, at half past ten, when his mother thought the whole house was reposing in the lap of her virtuous doctrines, our Jorge opened the door and hurried eagerly towards pleasure.



I  think the reader can do without a description of the party at which Jorge was the life and soul. It was one of the most magnificent suppers there had ever been in the hotels of Rio. And it finished when dawn was sweeping the darkness from the sky, and the sweepers were sweeping the streets.

Jorge had rather overdone it with the wine, as a consequence of which his mind was a little dulled. Fortunately no-one saw him enter the house, where he slept until midday, having ordered the servant – who was privy to his adventures – to tell the old lady he had been unwell in the night. The good woman was greatly alarmed when she was told, but nevertheless she ordered that he should not be woken up – exactly as her son wanted.
Jorge’s adventures were legion. He’d completed his education so successfully that he’d acquired the reputation of being one of the greatest madcaps in the whole of Rio. As a result, there was hardly a banquet, an outing or some hare-brained scheme in which he wasn’t a conspicuous participant.
His father was giving him a generous allowance, and Jorje didn’t tarry in squandering it. Although he used it, at first, for his necessities, it wasn’t long before his allowance became much less than his expenditure; and when such a situation arises, either in the finances of an individual or in those of a country, the result is a thing called “a deficit.” Finding himself in possession of such a thing, Jorje was faced with two choices: work or credit. The latter had the great advantage of dispensing with the former. So, Jorge addressed the problem partly by leaving some of his debts open and partly by having recourse to lenders.
He did this without losing either his glittering social position or the disinterested affections of some of the young ladies of that time. These affections generally showed themselves in the form of a mad, headlong passion. And during two or three weeks they’d conjure up for him visions of a heavenly, romantic life, filled with the purest and most devoted love. They wouldn’t hesitate to sacrifice, for his sake, all and every suitor, past or present. Jorge was in seventh heaven. Although, in theory, he didn’t believe in love, whether in relation to these young ladies or to anyone else, in practice he was flattered by the attentions of such frivolous and giddy butterflies.
His self-satisfaction, however, tended to be dented somewhat, round about the end of the second or third week, when the butterfly would send the object of her attentions a bill for some present he’d bought her, or a simple request for repayment of a loan. So Jorge’s illusions proved costly.
And there were other outgoings. In the society in which he occupied such a prominent position, there was a certain class of men whose communist ideals had only one defect: they related to other people’s pockets. Jorge’s pocket – ever available and ever generous – was one of that number. Not only that, but the commander’s son had his pride and would have been mortified to have been called a cheapskate.
The real person who suffered all those setbacks was his father, who paid for his son’s frivolities, including his bills and debts. After a few months, the Commander came to the conclusion that Jorge’s apprenticeship was proving rather costly. So he decided it was time for it to end.
After all, he thought, he must be bored with bachelor life by now and ready to turn to more serious things. It’s very wrong to try and engage young men in serious things before they’ve become bored with frivolities. A man who doesn’t make mistakes in his youth, makes them in his old age. So, let’s sort it out.
But it was too late.
Jorge was thoroughly entrenched in his bad habits; he’d gone further in that direction than many others in a lifetime. He was no longer open to reason. Silvestre tried gentle persuasion, but to no avail. And when he tried more robust methods, the resistance he encountered made him realise how bad the situation was – the situation he himself had created.
Dona Joaquina didn’t let the opportunity pass of justifiably pointing out to her husband, in the strongest possible terms, the error of his ways. The boy wouldn’t obey her any more, which she blamed on Silvestre’s complacency when their son first set out on the wrong road. I could give a verbatim transcript of the speech in which Dona Joaquina described the situation to her crestallen and shamefaced husband; but I won’t, if you don’t mind, because she didn’t stop until she ran out of breath.



During those months in which Jorge gave free rein to his every whim, Dr Marques had advanced his cause vis-à-vis Clarinha, albeit only a little. After hesitating for two months, he’d plucked up the courage to reveal his feelings to the young lady’s aunt. The latter responded favourably, imposing just one condition: that her niece should love him.

“Ah! Senhora,” said Marques, “I can’t guarantee anything in that regard. I don’t know whether she loves me or not. Donna Clarinha is so shy that there’s no way of knowing…”
“Fair enough,” replied Donna Joaquinha. “I’ll make it my job to find out. But the reason I imposed that condition is that I know Clarinha very well; I know she’s a very sensible girl who is perfectly able to choose her own husband. Were it otherwise, it would be down to me to find her a fiancé.”


Donna Joaquina was as good as her word. She asked Clarinha if she’d ever thought of marriage.
“Marrying? Me?”
“Yes, you.”
“No, I’ve never thought about it.”
Clarinha’s tone was cold and indifferent; nevertheless, it seemed to her aunt that the idea had saddened her.
Perhaps she’s already in love with him, she thought.
There followed some moments of silence.
“Did you know that a man has expressed a desire to marry you?” asked Aguiar’s wife in the end.
Clarinha’s eyes opened wide. “To marry me?”
“Yes, you.”
“You’re pulling my leg, Auntie.”
“Why would I do that? Don’t you deserve to have a husband?”
Clarinha didn’t reply.
“And that man is a good acquaintance of ours.”
“So you’ve noticed?”
Clarinha laid her hand on her heart.
“No,” she murmured.
“Can you guess who it is?”
“No, I’ve no idea.”
“It’s Dr Marques.”
Clarinha went pale. The dear old lady kept her eyes on her face, trying to read her feelings. But – truth be told – Donna Joaquina didn’t know how to read physiognomies. Whatever the cause of the commotion in Clarinha’s face, her aunt decided it was a good omen for the doctor.
She loves him, she thought. There’s no doubt. Everything’s settled.
It took Clarinha ten minutes to recover her voice.
“You know what’s best for me, Auntie. I’ll do as you wish.”
“What I wish!” exclaimed Donna Joaquina. “No, no!
Nothing of the kind! This is just a discussion.”
“Dr Marques is an excellent man,” said Clarinha.
“And will be an excellent husband?” asked a smiling Donna Joaquina by way of conclusion.
Clarinha didn’t reply, which the Commander’s wife took for agreement. Consequently she lost no time in letting the doctor know the result of her mission.


As soon as Clarinha was alone, she ran to her room and burst into tears – silent, stifled tears, so that no-one would hear or even suspect. Then she took a portrait from a draw, gazed at it for a long time and kissed it over and over again. When she reappeared in the sitting room, there was no sign that’s she’d been crying. She just looked sad but, as that was her natural state, no-one sought to know why.


When Marques heard how Donna Joaquina had got on, he couldn’t contain his joy.

“But,” said Aguiar’s wife, “I think it would be a good idea for you to hear it from Clarinha’s own lips, because I was only reading her face.”
Marques lost no time to personally sound out Clarinha’s heart. He was an honest man and would have hated to think of her marrying him against her will.
The result of this new attempt was more satisfactory than the result of the first. Although the young lady didn’t exactly confess her love in the words of a passionate heart, she did speak very affectionately to the doctor. So Donna Joaquina set about arranging the wedding.
Silvestre Aguiar’s participation in that process amounted to suggesting that his niece’s wedding should take place within a month and a half. His agreement to the wedding itself had been requested as a mere formality, because Donna Joaquina’s decision was perfectly sufficient in that respect. And, in any case, Aguiar had no objections at all; on the contrary, he was all in favour.
“I always said the doctor was a crafty old so-and-so,” he observed. “The way in which he’s stolen the young lady from us is proof perfect.”
However, Fr. Barroso, who was considered one of the family, was not so happy when it was his turn to be approached for approval.
“I’ve nothing against it,” he said, “but… does Clarinha love him?”
“No question!” said Dona Joaquina.
The priest looked at the commander’s niece; the satisfaction he saw in her face was so pronounced that he did no more than shrug his shoulders and congratulate her and her aunt and uncle.
But that afternoon, finding himself alone with the young lady, he asked her:
“What’s this all about, Clarinha? What about your love for…?”
“It died,” she replied sadly. “It was a hopeless love – the sort of love that kills you if it doesn’t die. It probably would have been better if it had killed me; but God just wanted it to die. I’m not complaining; I’m resigned to my fate.”
The priest shook his head.
“No, Clarinha. Your love didn’t die: you still feel it, and that’s bad, my daughter; it’s wrong to be marrying one man when you love another…”
“Oh, no!” said Clarinha. “No! I assure you it died; and even if it hasn’t yet, I swear that it will.”
“You swear! My poor child! Do you know what you’re saying?”
Two tears appeared in her eyes. The priest saw them and embraced her.
“Never!” she said. “What would be the point of being married to a man who doesn’t love me, who can’t love me?”
“Yes,” the priest murmured sadly, “Jorge is on the road to ruin.”
“I’ll be marrying an honest man,” Clarinha continued. “It’s true I don’t love him; but I do have some affection and respect for him; you might even say I’m happy – as happy as a wretched person can be. But please don’t mention any of this; it would only cause trouble for all of us.”
Barroso hugged her again.
“You’re a good soul, Clarinha, and you deserve to be happy. This is all your father’s fault. If he hadn’t abandoned you, you would probably never have fallen in love with your cousin; it all came from living in the same house. Your father…”
“Forgive him,” she answered. “My father has a bad head but a good heart. Come now! Promise me you won’t try to stop this marriage.”
“If that’s your wish, I promise.”
She kissed his hand. “Thank you.”
And it was good old Fr Barroso who celebrated the marriage, and who was trembling when he had to say the sacred words. When the ceremony was over, he whispered – with a tear in his eye – to the groom:
“Make her happy. She deserves it.”
Jorge attended the wedding. He complimented the bride rather nonchalantly, made a few off-colour jokes to some of his male friends, and left to spend the night in the Alcazar.


Now we leap forward about eleven months. All the main characters in this story are still alive. The commander still plays backgammon with the priest; Donna Joaquina’s loquacity has diminished somewhat with the passage of time; and, as for Jorge, he’s making the most of the debauched reputation he’s gained at his father’s expense. Silvestre has tried everything he could think of to drag his son back from the benighted path on which he himself unwittingly set him, but in vain; the die’s been cast.

Aguiar had achieved something, however: he’d arranged a civil-service job for his son, to see if he’d get the habit of work. But Jorge saw it principally as a source of income and spent as few hours on it as he could. He clocked in at 9 a.m., which was, in itself, quite an effort, and left the office at 11 a.m. On many occasions he didn’t go into work at all, so that the state wouldn’t get into the habit of expecting him. But he always went in on the first day of the month, which was pay day.
Meanwhile, Marques was happy; his wife was all he could have dreamt of: homely, affectionate, devoted and respectful. For her part, Clarinha wasn’t happy, but it could have been worse. Her husband was an honest man, who lived for her and tried as hard as he could to make her happy. And it pained him to see the melancholy look in her face; but she assured him it was just her nature.
“I’ve always been like this. It’s just how I am. You’ve never known me any different, have you?”
“That’s true,” the doctor replied, “but if only I could find a way…”
“I’m happy, I really am,” she said, smiling sadly.


One night, Commander Aguiar, who rarely, if ever, went to the theatre and had very old fashioned ideas on the subject, decided to go to see a play by Ginásio. His wife didn’t accompany him; she hated the theatre.

Having bought his ticket, he entered the auditorium. At the end of the first act, he went out to the vestibule, where he came across a friend.
“Fancy seeing you here!” said the friend.
“Yes, I know,” said Aguiar. “But, just like anyone else, I do like to see new things once in a while. And you?”
“I still haven’t retired… Where are you sitting?”
“In the gallery.”
“Come to my box.”
So Aguiar went to his friend’s box, which was at the second level.
The curtain was raised, and the second act began. Half way through, the door of the next box opened, and a woman entered. From the extravagance of her dress and her manners, it was clear she was a lady of fashion. All eyes, all binoculars and all eyeglasses turned in her direction and, for five minutes, the action wasn’t on the stage but in the auditorium. And although the anonymous lady had the air of an ingénue, she wasn’t: she’d elicited exactly the effect she wanted.
Like everyone else, Silvestre turned to look at her. And shortly afterwards a young man followed her into the box – an elegant, red-faced young man who was a little unsteady on his feet.
It was only with difficulty that Aguiar managed to keep quiet: it was Jorge.
Shaking with anger, Silvestre stood up and glared at his son. But Jorge didn’t notice; instead he scanned the opposite boxes before sitting down on the far side of the your lady, which was about all he could do for the sake of decorum.
The commander stayed on his feet, still glaring at his son. It was not until after Jorge had looked through his binoculars at the stage and then at some of the boxes on the other side, and until after he’d stretched himself lazily on his chair, that he noticed his father.
He froze.
Silvestre continued to glare at him. Jorge diverted his eyes twice, only to return them – twice – to his father. Finally he stood up, picked up his hat and left.
Aguiar didn’t wait for the play to finish.
He returned home and asked if his son had arrived; he was told that he had. He ordered that Jorge be summoned, and the latter was not tardy in arriving; on entering his father’s study, he flung himself at his feet.
The commander gave him a thorough dressing-down, with the conclusion that, if he didn’t mend his ways, he’d be thrown out of the house.
Jorge returned to his room, embarrassed and annoyed – but still not repentant. What extraordinarily bad luck to have met his father in the theatre, given that his father almost never went! He imagined some ill-wisher must have been behind it. He ran various plans through his head before falling into a deep sleep, from which he didn’t wake until breakfast-time.
Old Aguiar told the priest what had happened in the theatre and asked for advice what to do if his son didn’t mend his ways. After a few moments thought, Fr Barroso replied:
“I don’t know what to say. Maybe it would be best to wait and see if he does mend his ways… Would you like me to speak to him?”
“Yes please.”
“But it’s your own fault, Commander. Spare the rod, spoil the child. How many times did I tell you it was a bad idea to let him run wild like that? And this is the result.”
So Fr Barroso sent an invitation to Jorge to come to the presbytery – an invitation that caused the young man some alarm. What might the priest want to talk about? But, deep down, he knew.
His first instinct was to ignore the invitation but, eventually, he went. The priest was awaiting him impatiently.
The presbytery was a modest building, modestly furnished. The priest was sitting in a high-backed leather chair in front of a writing desk and was engrossed in a large book. He didn’t move when the commander’s son was shown into the room by the servant. After a few moments, he gestured for the servant to leave and continued reading until he got to the bottom of the page. Then he closed the book and invited the young man to take a seat in front of him.
“Jorge,” he asked, “how long are you intending to continue with this sort of life?”
As the priest expected, there was no answer. So he continued:
“Your father had such hopes for you! He did his utmost to get you a good job and a position in society. And you’ve squandered it all for the life of a libertine. By the time your father realised how bad it had got, it was almost too late. But he never expected to see what he saw last night. Imagine – if you can – the shame and the pain that it caused him.”
The priest fell silent again before continuing:
“There’s still time; everything’s not lost. You can save yourself; you must save yourself.”
“Fr Barroso,” said Jorge, “I don’t deny my life’s been a bit free and easy, but I haven’t done anything so completely out of the ordinary.”
“And well do I know it,” replied the priest. “You’ve been doing the ordinary things of this world. And some of the ordinary things of this world are among the very worst things…”
“But I don’t do anything that needs to be changed…”
The priest made a gesture of impatience.
“And what about the scandal yesterday evening?”
“What happened yesterday was just a coincidence.”
“An honest man wouldn’t expose himself to such a coincidence.”
Jorge frowned.
“Oh! Forgive me for being taken aback! I’m old, I’m simple, and I’m a priest; but I have the right to tell you the truth: you’re an idiot. That’s the least I can say to you.”
The priest had raised his voice, and his anger was more than evident. Despite himself, Jorge felt cowed by the authority of that good, old man. He said nothing, but Fr Barroso insisted he promise to devote himself to his career and overcome his bad habits.
Jorge thought for a while before replying, “Alright, I promise to turn over a new leaf.”
“And you really mean it?”
The young man hesitated again before saying, “Yes.”
He didn’t really mean it, but the reverend father was an honest man who preferred to believe in the honesty of others.
“Glad to hear it. Turn over a new leaf, Jorge; it will only do you good, you’ll see. Just think how happy it will make your parents! When I think…”
The old man sighed.
“When you think?” said Jorge.
“When I think,” Fr Barroso continued, “that today you could have been a happy man alongside a happy wife… a woman who loved you…”
“Which woman?” asked Jorge. “Who was she?”
The priest was just about to say, when he suddenly remembered how inappropriate that would be, given that Clarinha was now married. So he said nothing.
“Which woman?” Jorge repeated.
Without replying, the old man stood up.
Jorge stared at him, trying as hard as he could to think who it could be. But he couldn’t think of anyone, so he asked yet again, “Which woman?”
“What’s the point?” said the old priest. “The benefits she would have brought you are no longer available…”
“No longer?”
“That’s right: no longer.”
“Why? …”
“Because… Because she’s dead.”
Jorge couldn’t believe what the priest had just said.
“But if she’s dead, what harm is there in telling me her name? … Hold on! … Are you trying to tell me… It’s Clarinha, isn’t it?!”
The priest shook his head.
I’m right, Jorge thought. It’s her.
“It doesn’t matter,” said Fr Barroso. “The past is the past. You’ve promised to turn over a new leaf; are you prepared to do that?”
Jorge at least felt sufficiently constrained as to avoid repeating a promise he had no intention of keeping; instead he proferred his hand, as if in response to the question.
“May God be your guide,” said the priest. “It was I who baptised you; don’t let me die knowing I couldn’t save, for a second time, a soul entrusted to my care.”
Having summoned up an appearance of humility in response to those heartfelt words, Jorge took his leave as soon as he could.



The austere old priest was wrong: Jorge hadn’t left as a changed man; all the advice and all the promises had evaporated from his mind. Of all that Fr Barroso had said, the only thing that remained with him was the thought of Clarinha’s love.

If he’d been told back then, he’d almost certainly have shrugged and gone to tell his closest friends about it. Being loved by her was one thing, but marriage would have meant less freedom and serious obligations, things that were anathema to his way of thinking. But now the situation was different; the idea that a married lady was in love with him when she was single opened his eyes to new hopes and possibilities.
It’s true, he thought to himself, it’s all getting a bit tedious. It will be good to take a break; I can get back into the swing of things afterwards. An affair would be something new. Clarinha used to love me; who knows if she won’t love me again?
Jorge spent the whole night entertaining himself with these and similar thoughts. A passionate affair with his cousin would have the advantage of making it look as if he really had turned over a new leaf, as he’d necessarily have to devote to it the time that he’d otherwise devote to painting the town red.
It was with these ideas that he awoke the following day. His father still looked like thunder; so, to start creating the illusion he planned, he stayed at home that day. He took himself off to his study, where his mother found him reading. And from that day forward he adopted a way of life that completely fooled both his family and Fr Barroso. So much so, that Silvestre recovered the cheerfulness that his visit to the theatre had caused him to lose; and the priest – delighted to see the change in the young man – readily forgave all his previous stupidity. Happiness was flowering once more at home.


Up until that point, whenever Clarinha went to visit her aunt and uncle, her cousin hadn’t been home, which had been a great relief to her. After the apparent change in Jorge’s habits, however, not only did she find him at home, but he seemed to have a much better relationship with his parents. Whereas, before, they preferred not to talk about him, now they were overflowing with joy at the return of the prodigal son. Marques expressed his amazement to Jorge at the sudden change.

“Well,” said Jorge, “it’s simply that I’ve turned over a new leaf.”
Marques was delighted at this unexpected turn of events – unlike Clarinha, who saw Jorge’s presence as an obstacle to her relationship with her aunt and uncle; not because she still loved him, nor because she was afraid for herself, but because he’d be a constant reminder of a recent past.
Jorge had acquired skills of dissimulation beyond his years. He treated his cousin with no more than routine affability and didn’t let slip the slightest sign that he knew she used to love him.
He did notice, however, her reserve towards him, and the awkwardness his presence caused her – those vague signs that she really had been in love with him before she married the doctor.
Very well, Doctor! Jorge said to himself. You’ve got a new and more difficult campaign in front of you. Before it was just skirmishes. Now I’m challenging you to pitched battle: winner takes all!
He began to frequent the doctor’s house; at first, Clarinha didn’t appear; but, one day, her astute cousin invited himself for dinner. The young woman had to make her appearance. She managed to remain reserved, but it was difficult when faced with Jorge’s respectful manners and affectionate language. The sinner appeared to have undergone a Damascene conversion.
In addition, Clarinha’s innocence and naivety led her to a dangerous conclusion: that to continue to steer clear of her cousin would be a proof of weakness and unjustifiable fear; and that it would be more appropriate to her married state if she faced up to him. Avoiding him would be like acknowledging he still had some power over her, whereas she now knew he didn’t.
So it was not long before their old intimacy was re-established, even though – as in the past – an intimacy that was no more than superficial. Jorge deluded himself into thinking she was in love with him again. Even so, he’d wait for her to make the first move; to do so himself would be too risky.
Let the enemy get tired, he thought. A good tactic. Worthy of a general!
And with that thought he let the days pass without breaking his self-imposed silence.
He noticed how attentive and affectionate the young woman was to her husband, and the peace that reigned between them – so much so that he began to envy Marques. It might be said it was only then that a window of redemption, however small, began to open up for him. The sight of the others’ happiness invited him to seek his own happiness, but he was convinced his happiness lay only in his cousin, and she was lost for him.
One morning, between puffing on his cigar and drinking his coffee, his train of thought ran as follows:
What am I doing? It can’t go on like this. I need to do something. The poor girl must think I’m a terrible lover.
So, later that day, while sitting talking to his cousin, he came straight out with a declaration of love.
Furious, Clarinha immediately stood up, responding to what he’d said with chilly silence before leaving him alone in the room.
But the young man was not to be rebutted so easily. He ceased his visits for a few days; and when he did return it was together with his mother and father, so that Clarinha could hardly fail to appear. Jorge calculated, correctly, that she wouldn’t have confided in her husband about what had happened.
Good! he thought. All is not lost.
In time, the situation returned more or less to what it had been before.
One day he wrote a letter to Clarinha, left it on the piano while she was playing, and promptly headed for the door. She called him back. He turned and said, “You need to open it.” She didn’t. Instead, when he approached, she returned it to him unopened.
“Cousin,” she said. “You might at least acknowledge the kindness I’ve shown you as a relative. Because it is kindness, to have heard your insulting words and not to have conveyed them to my husband. If there’s one thing you could do to make up for it, it would be to forget I exist and never return to my house.
“But why such cruelty?” said Jorge, trying to give his voice a tone of misery and despair.
Clarinha didn’t reply.
“And yet,” said Jorge, “once upon a time…”
The young woman looked at him in astonishment.
“Once upon a time you were head over heels in love with me.”
Clarinha went pale.
“That’s nonsense. I always treated you with respect, but… My husband’s coming! Try repeating to him what you’ve just said to me.”
Indeed, she’d heard his footsteps in the corridor, and he was just entering the room. She’d raised her voice for the final words, in the hope of resolving things with a short, sharp shock; but Marques hadn’t heard; he approached and shook Jorge warmly by the hand.
For the next three days, the latter refrained from visiting; on the fourth day, he entered the room with the intimacy of a family member – an intimacy that Marques was only too happy to encourage between the two families.
On this occasion, Marques was sitting on the sofa and Clarinha was sitting in front of him on a stool; she was looking at him with such affection and respect that the young man felt forced to avert his eyes. It was the first time the serpent of jealousy had bitten his heart.
“Come in!” said the doctor, noticing how Jorge had hesitated at the door. “Don’t be alarmed! We’re just two happy creatures, and that’s partly thanks to you.”
Clarinha looked at her husband.
“That’s a surprise for you, isn’t it?” Marques said to his wife. “It was Jorge who encouraged me when I didn’t dare do more than admire you in silence. The idea of writing that first letter, to which you didn’t reply, was his.”
“Ah!” she said, before extending her hand to her cousin and adding, “Thank you!”
The happiness that seemed to be expressed by that gesture and those words delighted her husband; whereas Jorge, offended and jealous, hardly touched her fingers.
Meanwhile Clarinha was thinking:
So he had no idea at that time that I loved him; but who could have told him? Fr Barroso? … Impossible! … And yet no-one else knew; it was him, it had to be. But why?



One shouldn’t play with fire – a simple truth that Jorge learnt the hard way when he found himself engulfed in the flames he’d lit so carelessly.

Just to be clear, they weren’t purifying flames; his love had not been ignited in heaven. The fire came from the earth or from hell: a raging, voluptuous, insensitive passion, a mixture of caprice, sensuality and madness.
But the situation had changed: he noticed that the doctor’s affability towards him had completely disappeared.
She’s told him everything, he thought.
He tried to find out the truth, but how? He could drag it out of Clarinha, but she wasn’t giving him the opportunity: she would no longer receive him when she was alone, only speaking to him in the presence of her husband.
Jorge was desperately trying to find a way of resolving the crisis caused by the free rein he’d given to his criminal passion; he was furious with his cousin and he hated Marques; in fact, he hated the whole world in so far as it was placing obstacles in the way of his deplorable ambition.
One Sunday, when he was mulling over all this in his room, Fr Barroso appeared at the door. Jorge stood up to speak to him but, with a look of thunder, the priest ignored him and went to sit in a chair.
Jorge tried to make a joke about how grumpy Fr Barroso looked, but the priest interrupted the attempt:
“I haven’t come to make jokes, Jorge, but to give you a piece of my mind and, if needs be, to punish you. Don’t be surprised! I can easily tell all to your father, who’s an honest man. You might think I’m meek and mild, but it’s just my thin outer shell; inside I’m burning with hatred for anything that offends morality and virtue.”
“But I’ve mended my ways…”
“No,” said the priest. “It’s even worse than it was. New wine shouldn’t be poured into old bottles.”
Jorge realised that the reference was to the current state of his passions and, in his heart of hearts, he had to admit that he hadn’t changed for the better.
The priest sat in silence for a while, before saying, “I know everything.”
“What everything?”
“I know that you dared to set your sights on someone who only deserved your respect; and I regret that, inadvertently, I was the cause of it; but that doesn’t excuse you: it was vile, what you did. She told me everything and asked my advice. I advised her to tell her husband, but she didn’t want to; she said it would only make him feel ashamed, and she didn’t want that. I accepted her point of view, but I too had something on my conscience, and I told her everything.”
“You did!” Jorge got to his feet all of a sudden.
“Yes, I did,” said the priest calmly. “What’s that to you? I did what I saw as my duty: I listened to my conscience.”
Furious, Jorge stood there biting his lips.
Fr Barroso continued:
“I also asked her not to let it become a scandal, for her own sake and for the sake of your parents, who are decent people. You yourself were irrelevant to my request. She promissed, and she was as good as her word – which doesn’t prevent her from holding you in contempt.”
“And?” said Jorge, with a gesture of impatience.
“At first she wasn’t in agreement: she was afraid that if she said anything it would disrupt her domestic harmony and the happiness of her aunt and uncle. But when I assured her that nothing of the kind would happen, she thanked me… I can see you find all this mortifying, but bear with me… Clarinha deserves to be adored like an angel. You have forfeited that treasure… Yes, I can say that now, given that you already know it; you’ve forfeited it because she loved you in silence and you knew nothing about it, so immersed were you in the world of bought love and futile pleasures.”
This was salt added to Jorge’s wound. He felt humiliated and angry. He wanted to speak, but the priest wouldn’t let him.
“So,” said Fr Barroso, “I’ve come to ask you or, to be more precise, to insist, that you never go back to your cousin’s house, and that you forget her. You must do that whether you like it or not. And let me tell you: I’m prepared to do whatever it takes to protect her.”
“Protect her?” said Jorge, after a pause. “But she doesn’t need to be protected: I’ve never done her any harm. Is it my fault that I fell…”
The priest interrupted him.
“Let’s not talk about love, let’s talk about duty. Do you agree never to return to her house and to stop thinking about her?”
“Fair enough,” said Jorge. “I won’t go there again, but when it comes to thinking about her…”
“My son,” said the priest, lowering his voice. “There are sins of thought as well as of deed. It will be better if you wipe her from your mind. May I give you some advice.”
“What advice?”
“Leave Rio for a while. When you return, I’m sure you’ll come and give me a hug because you’ll have realised what an abyss I’ve saved you from.



Fr Barroso’s visit had left the amorous young man irritated, but a few hours of reflection were enough to convince him that further efforts would be in vain. Everything and everyone was against him; it was a contest he couldn’t win.

Added to this was his growing annoyance at the knowledge that his cousin had been in love with him and that he hadn’t noticed.

The most sensible thing would be to call it a day.
But his vanity got in the way; that great motor of human activity is often more powerful than any reasons of conscience or impulses of the heart. Jorge asked himself if it was appropriate to lay down his arms in the face of danger, no matter how great; and if it was appropriate to succumb to a stupid imposition of polite society. His vanity said No. But, as his vanity was saying one thing, and reality another, he found it best – like it or not – to adopt the priest’s suggestion.
When she finds out, he thought, that I’ve left for her sake, in order to assuage the pain, she’ll believe my pain is real, and that will only be to the good. Once upon a time she loved me, and she won’t have forgotten that.
Having obtained permission from his work, he left Rio after a few days. He told his father he hadn’t been feeling too well and needn’t to go to the country for a bit of rest and quiet. Aguiar and Dona Joaquina were suspicious, but Fr Barroso managed to convince them their son was telling the truth.
“Off you go,” said the priest to Jorge the day before his departure. “I’m glad you’ve listened to me and that you can still hear the voice of your conscience.”
The poor priest! If he’d only known that this was just another ruse! A way of giving the rejected lover a certain je ne sais quoi.
And so Jorge departed.


That night, Aguiar and Fr Barroso sat down to start a game of backgammon.

“Tell me, Father: do you think my son has really turned over a new leaf?”
“Yes, I do, Silvestre. He’d gone off the straight and narrow, but his heart is sound and he’s pulled himself together now. Believe me!”
In recent times, Clarinha had looked even sadder than usual but, after her cousin’s departure, she looked really cheerful and was even more affectionate towards her husband. This was due, in no small part, to the unshakeable confidence the doctor had shown in her during the previous goings-on.
When she consulted her heart, she found nothing relating to her cousin.
Or rather, there was something: a shade of disgust, a bitter memory that this honest wife could not forgive. A comparison of the affection, kindness and respect she received from her husband with Jorge’s cold and calculating passion was all in favour of the former.
This is the way things were when Dr Marques fell gravely ill. From the very first days, it was clear the illness was terminal. His suffering was considerable and, if anything, Clarinha’s was even more so. A secret voice seemed to be whispering to her that she was going to lose her companion. One of the doctors who was attending Marques thought it best to tell her the sad truth; on hearing it, she held herself together bravely, even though the depth of her sorrow was clear. Meanwhile Fr Barroso visited the patient as often as the priest’s age and duties permitted.


One day, Jorge appeared from out of the blue. He’d found out about Marques’s illness and had returned to Rio as fast as he could. At least, that was the explanation he gave. The truth was that he was fed up with being away; he’d only heard that Marques was ill when he arrived in Rio. He’d gone to his home, but his parents weren’t in. One of the servants, however, had told him the illness was terminal.

He hurried to his cousin’s house.
The sight that met him affected him more than he’d expected. Clarinha was sitting beside her husband’s bed, sad but resigned, and indifferent to everything around her.
Marques looked at Jorge and recognised him. He extended a skinny and tremulous arm, and the young man grasped and held his hand. Jorge then offered his hand to Clarinha, but she either didn’t notice his gesture or didn’t want to cause grief to Marques. The patient smiled weakly.
Jorge left the room.
The doctors gave Marques only five or six days more. He was aware of his state and was preparing himself to die.
No matter how sad all this was, however, it wasn’t enough, at first, to stop Jorge thinking almost exclusively of his cousin – except that he eventually started to experience a new sensation. It was as if the presence of death had started to purify his passion. Seeing the poor wife on the verge of widowhood and dedicating herself entirely to caring for her life’s companion until his last breath; seeing how zealously she was looking after him, her silent tears, the hours and hours she stayed with him, her words of consolation, her tenderness; it was as if all of this awakened something that had lain dormant in his heart, and the pure flower of his eighteen-year-old self began to bloom anew.
On many occasions he sat with the patient himself, in the course of which he often found himself alone with his cousin. They helped each other with whatever needed to be done; but whenever Marques fell asleep, they both remained silent, she with her eyes fixed on her husband, he with his on her.
It wasn’t easy for her to agree to her cousin’s presence; but her uncle had insisted on it, and she had to concede.
The old priest was also not happy about Jorge being there, but it was the young man himself who’d said to him, the day after he’d arrived, “You’re probably surprised that I’m here.”
“I am,” said the priest.
“I swear to you that…”
“Swear nothing,” said Fr Barroso. “All I ask is that you respect death.”
When it came to the end, Marques died in the arms of his wife. The widow’s tears and despair were heart-rending. Everyone tried to console her – everyone except Jorge, who left the house and didn’t return until the next day.



Three months later, Fr Barroso was in the house when Jorge appeared. He was cheerful and unusually polite.

“Father,” he said. “I’m arriving happy, but I could be leaving sad. It all depends on you.”
“On me?”
“Yes, Father.”
Jorge sat down.
“Do you remember me telling you I’d turned over a new leaf?”
“I do.”
“I was lying.”
“And I’m sorry to hear it.”
“Yes, I was lying, Father. You shouldn’t be surprised. At that time, I thought common sense was just prejudice, and that I was right while everyone else was wrong. But now, Father, I’ve really turned over a new leaf.
The priest smiled.
“And you won’t be surprised,” he said, “that I have every right not to believe you.”
“You do, but I hope to convince you this time.”
After a few moments, Jorge continued.
“When I agreed to leave Rio, it was not with the best of intentions. I was just pretending to go along with your advice; but, in the depths of my soul, I was only interested in one thing. I returned unexpectedly because the thought of… of the person we both know had taken control of me.”
“I guessed as much,” said the priest.
“But when I arrived,” Jorge continued, “and when I saw that divine woman, so tormented, so sad, at the side of her dying husband, lavishing ever care on him that nature or religion could inspire, when I confronted that sombre spectacle, I swear to you, Father, that at that moment all my recent past dissolved, and I became a new man.”
What? thought the old priest. Is this really the same Jorge?
“I didn’t tell you this at the time,” Jorge continued. “I wanted to make sure I wasn’t mistaken, that I really loved that girl with the pure adoration she deserves. Three months have passed, and I still feel the same… I love her, and I beg you to say a word on my behalf.”
“What do you want then?” asked the priest.
“I want to marry her.”
“With all my heart and soul.”
The priest stood up and took the young man in his arms.
“That’s good,” he said, “that’s very good. You can count on me, Jorge. I shall be the advocate for your cause. Didn’t I say you still had a good heart? Everything was not lost…”
Jorge’s response to the old priest’s kindness was no less sincere; he told him all his hopes and fears, the greatest of which was that he’d be turned down.”
“It would be entirely understandable if she won’t forgive me for the way I behaved.”
“She will forgive you,” said the priest. “Perhaps she won’t love you now, but she’ll grow to love you. Go in peace and leave it to God, who loves sinners who repent.”
Jorge left the presbytery torn between fear and hope. But he believed in the old priest, and he knew that if anyone could convince Clarinha it was he. And when his parents got to know the situation, they too would speak in his favour.
Jorge didn’t want to get married without there being an alliance of hearts first; but what seemed most essential to him was to convince his cousin that he was desperate for her love.
Would she grow to love him again? Aye, there’s the rub, as Hamlet said.
Jorge headed straight for home. On the way, he met some friends. All of them were amazed at the change that had come over him.
“God help us!” said one. “You look like an anchorite!”
“Finally!” said another, who was standing a little way off.”
“Finally what?” asked Jorge.
“You’ve finally fallen in love. Why else would you look so pale?”
Others – those who owed him money – gave him a wide berth. Jorge didn’t even notice them; he had just one thought: Clarinha.
No surprise, therefore, that when, continuing on his way, the lady we met briefly in the first chapter of this story called his name on passing him by, he didn’t so much as raise his hat. She felt mortally offended and, that night, seated between two acquaintances at the Alcazar, painted a sorry picture of him.
“Do you remember,” said one of them, “that it was Jorge who bought you your carriage?”
“That’s all water under the bridge,” she replied philosophically. “Whatever he bought me or didn’t buy me back then, he’s turned into a complete lout.”


Fr Barroso was as good as his word; he went to speak to Clarinha. The widow greeted her old friend with real affection. It was a week since he last visited, and she was becoming concerned for his health.

“It’s good to see you,” she said. “I was worried you might not be well.”
“No, I’m perfectly well,” he said. “On the contrary, I’ve never been so healthy. And do you know why?”
“Because I was talking to your cousin Jorge yesterday.”
Clarinha said nothing.
“He’s saved, he’s cured, the good fellow. He’s just worried about one thing: that you won’t forgive him. You need to forgive him, Clarinha.”
“I forgive him everything.”
“No, not like that; you need to forgive him sincerely, with a bit of oomph! Because he’s truly sorry, and all he needs to be as happy as he was once upon a time, and as he should be now if he hadn’t gone off the rails, is to be pardoned by you. You will pardon him, won’t you?”
“You know very well,” said Clarinha, “that I can’t disobey you. I grant him forgiveness as you request.”
“With all your heart?”
“With all my heart.”
“It’s a question,” said Fr Barroso, “of saving a soul. Anyone else would happily refuse to get involved, but I’m a priest; it’s my duty to contribute to the cessation of sin. Jorge has come back to life, but anything could knock him off course again, and forever.”
Clarinha had already guessed the rest.
“It’s only three months since my husband died,” she said. “Give me time to grieve for the best of men. As for Jorge, his soul is beyond saving. I’ve forgiven him; that’s all.”
The young woman remained resolute, and Jorge didn’t find out how the conversation had gone because the old priest thought it best not to tell him – perhaps, despite everything, because he still felt a touch of resentment about the way Jorge had behaved. But he did try to console him.
Old Aguiar insisted on his niece coming to live in her old home; but she declined – she didn’t want to live so close to her cousin.
Meanwhile Jorge lost no opportunity to meet her and see her. His presence, the respect he showed her, the proofs of his dedication, his exemplary life and, in addition, certain memories that remained in the young woman’s heart, all of this set in motion the natural denouement.


A year after the death of Dr Marques, the cousins got married. The news caused amazement in the dubious society that had been Jorge’s early education in adulthood.

“He was half lost already,” was the mocking comment of the lady he’d accompanied that night at the Ginásio when the Commander had seen him.
It was Fr Barroso who conducted the wedding ceremony. His joy can hardly be imagined, almost as if it was all his own work. And, in truth, he wouldn’t have been far wrong.
A month later, when he was visiting the new couple in their house, Jorge recalled the profound impression he had in the five days during which he’d accompanied the death throes of Dr Marques.
“It was only then,” he said, “that I really fell in love.”
The priest smiled.
Nihil sub sole novum,” he said. “Nineteeen centuries ago, the same thing happened to a famous man who used to persecute Christians. When he was on his way to Damascus, a vision turned his life around. That man was St Paul. He married the best of brides, the Church, and – please God – you two will love each other as those two did. God will forgive me the comparison because to love is to be close to heaven.”


Clasics in Ñspel: NUMBER 13, by M R James



Amñ ɖ tǎnz v Jutḷnd, Vîborg justli holdz a hî ples. It z ɖ sīt v a biṣ́pric; it hz a hansm bt olmst intîrli ny cʈīdṛl, a ćarmñ gardn, a lec v gret byti, n mni storcs. Nir it z Hald, acǎntd wn v ɖ pritiist ʈñz in Denmarc; n hard bî z Finderup, ẃr Marsk Stig mrdrd Cñ Eric Glipñ on St Ssīła’z De, in ɖ yir 1286. Fifti-six bloz v sqer-hedd ayn mesz wr trest on Eric’s scul ẃn hiz tūm wz opnd in ɖ sevntīnʈ snćri. Bt I am nt raitñ a gîd-bc.

Ɖr r gd hotelz in Vîborg—Preisler’z n ɖ Fīnix r ol ɖt cn b dzîrd. Bt mî cuzn, huz xpirịnsz I hv t tel y nǎ, wnt t ɖ Goldn Layn ɖ frst tîm ɖt h viẓtd Vîborg. H hz nt bn ɖr sins, n ɖ folowñ pejz wl, phps, xplen ɖ rīzn v hiz abstnśn.

Ɖ Goldn Layn z wn v ɖ vri fy hǎzz in ɖ tǎn ɖt wr nt dstroid in ɖ gret fîr v 1726, ẃć practicli dmoliśt ɖ cʈīdṛl, ɖ Sognekirke, ɖ Raadhuus, n so mć els ɖt wz old n inṭrestñ. It z a gret red-bric hǎs—ɖt z, ɖ frunt z v bric, wɖ corbisteps on ɖ geblz n a txt ovr ɖ dor; bt ɖ cortyard intu ẃć ɖ omnibus drîvz z v blac n ẃît wŭd n plastr.

Ɖ sún wz dclînñ in ɖ hevnz ẃn mî cuzn wōct p t ɖ dor, n ɖ lît smout fl upn ɖ impozñ fsād v ɖ hǎs. H wz dlîtd wɖ ɖ old-faśnd aspect v ɖ ples, n promist himslf a ʈuṛli saṭsfactri n aḿzñ ste in an ín so tipicl v old Jutḷnd.

It wz nt biznis in ɖ ordnri sns v ɖ wrd ɖt hd bròt Mr Anḍsn t Vîborg. H wz ingejd upn sm rsrćz intu ɖ Ćrć hisṭri v Denmarc, n it hd cm t hiz nolij ɖt in ɖ Rigsarkiv v Vîborg ɖr wr peprz, sevd fṛm ɖ fîr, rletñ t ɖ last dez v Romn Cʈoḷsizm in ɖ cuntri. H pṛpozd, ɖrfr, t spend a cnsidṛbl tîm—phps az mć az a fortnît or ʈri wīcs—in xaṃnñ n copiyñ ɖz, n h hopt ɖt ɖ Goldn Layn wd b ebl t gv him a rūm v sfiśnt sîz t srv alîc az a bedrūm n a studi. Hiz wśz wr xplend t ɖ landlord, n, aftr a srtn amǎnt v ʈt, ɖ latr sjstd ɖt phps it mt b ɖ bst we fr ɖ jntlmn t lc at wn or tū v ɖ larjr rūmz n pic wn fr himslf. It sīmd a gd îdīa.

Ɖ top flor wz sn rjctd az inteilñ tù mć gtñ upsterz aftr ɖ de’z wrc; ɖ secnd flor cntend no rūm v xacli ɖ dmnśnz rqîrd; bt on ɖ frst flor ɖr wz a ćôs v tū or ʈri rūmz ẃć wd, so far az sîz wnt, sūt admṛbli.

Ɖ landlord wz stroñli in fevr v Numbr 17, bt Mr Anḍsn pôntd ǎt ɖt its windoz cmandd onli ɖ blanc wōl v ɖ nxt hǎs, n ɖt it wd b vri darc in ɖ afṭnun. Îɖr Numbr 12 or Numbr 14 wd b betr, fr bʈ v ɖm lct on ɖ strīt, n ɖ brît īvnñ lît n ɖ priti vy wd mor ɖn compnset him fr ɖ adiśnl amǎnt v nôz.

Ivnć̣li Numbr 12 wz s’lectd. Lîc its nebrz, it hd ʈri windoz, ol on wn sîd v ɖ rūm; it wz ferli hî n unyẓ́li loñ. Ɖr wz, v cors, no fîrples, bt ɖ stov wz hansm n rɖr old—a cást-ayn irex́n, on ɖ sîd v ẃć wz a repriznteśn v Ebṛham sacṛfîsñ Îzac, n ɖ inscripśn, ‘I Bog Mose, Cap. 22,’ abv. Nʈñ els in ɖ rūm wz rmarcbl; ɖ onli inṭrestñ picćr wz an old culrd print v ɖ tǎn, det abt 1820.

Suprtîm wz aproćñ, bt ẃn Anḍsn, rfreśt bî ɖ ordnri ablūśnz, dsndd ɖ sterces, ɖr wr stl a fy minits bfr ɖ bel rañ. H dvotd ɖm t xaṃnñ ɖ list v hiz felolojrz. Az z yźl in Denmarc, ɖer nemz wr dspleid on a larj blacbōrd, dvîdd intu coḷmz n lînz, ɖ numbrz v ɖ rūmz biyñ pentd in at ɖ bginñ v ć lîn. Ɖ list wz nt xîtñ. Ɖr wz an advc̣t, or Sagförer, a Jrmn, n sm bagmen fṛm Copnhagn. Ɖ wn n onli pônt ẃć sjstd eni fūd fr ʈt wz ɖ absns v eni Numbr 13 fṛm ɖ têl v ɖ rūmz, n īvn ɖs wz a ʈñ ẃć Anḍsn hd olrdi notist haf a duzn tîmz in hiz xpirịns v Deniś hotelz. H cd nt hlp wunḍrñ ẃɖr ɖ objx́n t ɖt ptiklr numbr, comn az it z, wz so wîdspred n so stroñ az t mc it dificlt t let a rūm so tic̣td, n h rzolvd t asc ɖ landlord f h n hiz colīgz in ɖ pṛfeśn hd acć̣li met wɖ mni claynts hu rfyzd t b acoṃdetd in ɖ ʈrtīnʈ rūm.

H hd nʈñ t tel m (I am gvñ ɖ stori az I hŕd it fṛm him) abt ẃt pást at supr, n ɖ īvnñ, ẃć wz spent in unpacñ n arenjñ hiz cloɖz, bcs, n peprz, wz nt mor ivntfl. Twdz ilevn o’cloc h rzolvd t g t bed, bt wɖ him, az wɖ a gd mni uɖr ppl nawdez, an olmst nesṣri priliminri t bed, f h mnt t slīp, wz ɖ rīdñ v a fy pejz v print, n h nǎ rmembrd ɖt ɖ ptiklr bc ẃć h hd bn rīdñ in ɖ tren, n ẃć alon wd saṭsfî him at ɖt preznt momnt, wz in ɖ pocit v hiz gretcot, ɖen haññ on a peg ǎtsd ɖ dînñrūm.

T run dǎn n s’kr it wz ɖ wrc v a momnt, n, az ɖ paṣjz wr bî no mīnz darc, it wz nt dificlt fr him t fînd hiz we bac t hiz ǒn dor. So, at līst, h ʈt; bt ẃn h arîvd ɖr, n trnd ɖ handl, ɖ dor intîrli rfyzd t opn, n h còt ɖ sǎnd v a hesti muvmnt twdz it fṛm wɖn. H hd traid ɖ roñ dor, v cors. Wz hiz ǒn rūm t ɖ rît or t ɖ left? H glanst at ɖ numbr: it wz 13. Hiz rūm wd b on ɖ left; n so it wz. N nt bfr h hd bn in bed fr sm minits, hd réd hiz wóntd ʈri or for pejz v hiz bc, bloun ǎt hiz lît, n trnd ovr t g t slīp, dd it ocŕ t him ɖt, ẃr-az on ɖ blacbōrd v ɖ hotel ɖr hd bn no Numbr 13, ɖr wz undǎtidli a rūm numbrd 13 in ɖ hotel. H flt rɖr sori h hd nt ćozn it fr hiz ǒn. Phps h mt hv dn ɖ landlord a litl srvis bî okpayñ it, n gvn him ɖ ćans v seyñ ɖt a wel-born Ñgliś jntlmn hd livd in it fr ʈri wīcs n lîct it vri mć. Bt probbli it wz yzd az a srvnt’s rūm or smʈñ v ɖ cnd. Aftr ol, it wz most lîcli nt so larj or gd a rūm az hiz ǒn. N h lct drǎẓli abt ɖ rūm, ẃć wz ferli psptbl in ɖ haf-lît fṛm ɖ strīt-lamp. It wz a krịs ifct, h ʈt. Rūmz yẓ́li lc larjr in a dim lît ɖn a fl wn, bt ɖs sīmd t hv cntractd in leñʈ n groun pṛporśṇtli hayr. Wel, wel! slīp wz mor importnt ɖn ɖz veg rūṃneśnz—n t slīp h wnt.

On ɖ de aftr hiz arîvl Anḍsn atact ɖ Rigsarkiv v Vîborg. H wz, az wn mt xpct in Denmarc, cîndli rsivd, n axes t ol ɖt h wśt t si wz md az īzi fr him az poṣbl. Ɖ dokmnts leid bfr him wr far mor ńmṛs n inṭrestñ ɖn h hd at ol antiṣpetd. Bsdz ofiśl peprz, ɖr wz a larj bundl v corispondns rletñ t Biṣ́p Jörgen Friis, ɖ last Romn Caʈ̇lic hu hld ɖ si, n in ɖz ɖr cropt p mni aḿzñ n ẃt r cōld ‘intiṃt’ dītelz v prîṿt lîf n indivijl caṛctr. Ɖr wz mć tōc v a hǎs ǒnd bî ɖ Biṣ́p, bt nt inhaḅtd bî him, in ɖ tǎn. Its tennt wz apaṛntli smẃt v a scandl n a stumḅlñbloc t ɖ rformñparti. H wz a dsgres, ɖe rout, t ɖ siti; h practist sīcrit n wicid arts, n hd sold hiz soul t ɖ eṇmi. It wz v a pìs wɖ ɖ gros c’rupśn n sūṗstiśn v ɖ Baḅloniś Ćrć ɖt sć a vîpr n blud-sucñ Troldmand śd b patṛnîzd n harbrd bî ɖ Biṣ́p. Ɖ Biṣ́p met ɖz rproćz boldli; h pṛtstd hiz ǒn abhoṛns v ol sć ʈñz az sīcrit arts, n rqîrd hiz antaġnists t brñ ɖ matr bfr ɖ propr cort—v cors, ɖ spirićl cort—n sift it t ɖ botm. Nwn cd b mor redi n wilñ ɖn himslf t cndem Mag. Nicolas Francken f ɖ evidns śoud him t hv bn gilti v eni v ɖ crîmz inforṃli alejd agnst him.

Anḍsn hd nt tîm t d mor ɖn glans at ɖ nxt letr v ɖ Protistnt līdr, Rasmus Nielsen, bfr ɖ record ofis wz clozd fr ɖ de, bt h gaɖrd its jenṛl tenr, ẃć wz t ɖ ifct ɖt Crisćn men wr nǎ no longr baund bî ɖ dsiźnz v Biṣ́ps v Rom, n ɖt ɖ Biṣ́p’s Cort wz nt, n cd nt b, a fit or compitnt trîbynl t juj so grev n weiti a cōz.

On līvñ ɖ ofis, Mr Anḍsn wz acumṗnid bî ɖ old jntlmn hu prizîdd ovr it, n, az ɖe wōct, ɖ convseśn vri naćṛli trnd t ɖ peprz v ẃć I hv jst bn spīcñ.

Herr Scavenius, ɖ Arc̣vist v Vîborg, ɖo vri wel informd az t ɖ jenṛl run v ɖ dokmnts undr hiz ćarj, wz nt a speṣ́list in ɖoz v ɖ Ref̣meśn pirịd. H wz mć inṭrestd in ẃt Anḍsn hd t tel him abt ɖm. H lct fwd wɖ gret pleźr, h sd, t siyñ ɖ pubḷceśn in ẃć Mr Anḍsn spouc v imbodiyñ ɖer contents. ‘Ɖs hǎs v ɖ Biṣ́p Friis,’ h add, ‘it z a gret puzl t m ẃr it cn hv std. I hv studid cerf̣li ɖ tpogṛfi v old Vîborg, bt it z most unluci—v ɖ old térịr v ɖ Biṣ́p’s proṗti ẃć wz md in 1560, n v ẃć w hv ɖ gretr part in ɖ Arkiv—jst ɖ pìs ẃć hd ɖ list v ɖ tǎn proṗti z misñ. Nvr mînd. Phps I śl sm de s’xid t fînd him.’

Aftr tecñ sm x’sîz—I fget xacli hǎ or ẃr—Anḍsn wnt bac t ɖ Goldn Layn, hiz supr, hiz gem v peśns, n hiz bed. On ɖ we t hiz rūm it ocŕd t him ɖt h hd fgotn t tōc t ɖ landlord abt ɖ omiśn v Numbr 13 fṛm ɖ hotel bōrd, n olso ɖt h mt az wel mc śr ɖt Numbr 13 dd acć̣li xist bfr h md eni refṛns t ɖ matr.

Ɖ dsiźn wz nt dificlt t arîv at. Ɖr wz ɖ dor wɖ its numbr az plen az cd b, n wrc v sm cnd wz evidntli gwñ on insd it, fr az h nird ɖ dor h cd hír ftsteps n vôsz, or a vôs, wɖn. Jrñ ɖ fy secndz in ẃć h hōltd t mc śr v ɖ numbr, ɖ ftsteps sīst, sīmñli vri nir ɖ dor, n h wz a litl startld at hírñ a qc hisñ briɖñ az v a prsn in stroñ xîtmnt. H wnt on t hiz ǒn rūm, n agn h wz s’prîzd t fînd hǎ mć smōlr it sīmd nǎ ɖn it hd ẃn h s’lectd it. It wz a slît dis’pôntmnt, bt onli slît. F h faund it riyli nt larj inuf, h cd vri īẓli śift t anɖr. In ɖ mntm h wontd smʈñ—az far az I rmembr it wz a pocithanc̣ćīf—ǎt v hiz portmanto, ẃć hd bn plest bî ɖ portr on a vri inadiqt tresl or stūl agnst ɖ wōl at ɖ farɖist end v ɖ rūm fṛm hiz bed. Hir wz a vri krịs ʈñ: ɖ portmanto wz nt t b sìn. It hd bn muvd bî ofiśs srvnts; dǎtlis ɖ contents hd bn pt in ɖ wordrob. No, nn v ɖm wr ɖr. Ɖs wz vxeśs. Ɖ îdīa v a ʈeft h dsmist at wns. Sć ʈñz rerli hapn in Denmarc, bt sm pìs v stypidti hd srtnli bn pformd (ẃć z nt so uncomn), n ɖ stuepige mst b svirli spocn t. Ẃtvr it wz ɖt h wontd, it wz nt so nesṣri t hiz cumf̣t ɖt h cd nt wêt tl ɖ mornñ fr it, n h ɖrfr setld nt t rñ ɖ bel n dstrb ɖ srvnts. H wnt t ɖ windo—ɖ rît-hand windo it wz—n lct ǎt on ɖ qayt strīt. Ɖr wz a tōl bildñ oṗzit, wɖ larj spesz v ded wōl; no pasrz-bî; a darc nît; n vri litl t b sìn v eni cnd.

Ɖ lît wz bhnd him, n h cd si hiz ǒn śado clirli cast on ɖ wōl oṗzit. Olso ɖ śado v ɖ birdd man in Numbr 11 on ɖ left, hu pást t n fro in śrtslīvz wns or twîs, n wz sìn frst bruśñ hiz her, n lêtr on in a nîtgǎn. Olso ɖ śado v ɖ okpnt v Numbr 13 on ɖ rît. Ɖs mt b mor inṭrestñ. Numbr 13 wz, lîc himslf, līnñ on hiz elboz on ɖ windosil lcñ ǎt intu ɖ strīt. H sīmd t b a tōl ʈin man—or wz it bî eni ćans a wmn?—at līst, it wz smwn hu cuvrd hiz or hr hed wɖ sm cnd v dreṗri bfr gwñ t bed, n, h ʈt, mst b pzest v a red lampśêd—n ɖ lamp mst b flic̣rñ vri mć. Ɖr wz a dstñt pleyñ p n dǎn v a dul red lît on ɖ oṗzit wōl. H crend ǎt a litl t si f h cd mc eni mor v ɖ figr, bt bynd a fold v sm lît, phps ẃît, mtirịl on ɖ windosil h cd si nʈñ.

Nǎ cem a distnt step in ɖ strīt, n its aproć sīmd t rcōl Numbr 13 t a sns v hiz xpozd pziśn, fr vri swiftli n sudnli h swept asd fṛm ɖ windo, n hiz red lît wnt ǎt. Anḍsn, hu hd bn smocñ a siġrét, leid ɖ end v it on ɖ windosil n wnt t bed.

Nxt mornñ h wz wocn bî ɖ stuepige wɖ hot wōtr, ets. H rǎzd himslf, n aftr ʈncñ ǎt ɖ c’rect Deniś wrdz, sd az dstñtli az h cd:

‘Y mst nt muv mî portmanto. Ẃr z it?’

Az z nt uncomn, ɖ meid laft, n wnt awe wɖt mcñ eni dstñt ansr.

Anḍsn, rɖr iṛtetd, sat p in bed, intndñ t cōl hr bac, bt h rmend sitñ p, stẹrñ stret in frunt v him. Ɖr wz hiz portmanto on its tresl, xacli ẃr h hd sìn ɖ portr pt it ẃn h frst arîvd. Ɖs wz a rūd śoc fr a man hu prîdd himslf on hiz akṛsi v obẓveśn. Hǎ it cd poṣbli hv iscept him ɖ nît bfr h dd nt pritnd t unḍstand; at eni ret, ɖr it wz nǎ.

Ɖ dêlît śoud mor ɖn ɖ portmanto; it let ɖ tru pṛporśnz v ɖ rūm wɖ its ʈri windoz apir, n saṭsfaid its tennt ɖt hiz ćôs aftr ol hd nt bn a bad wn. Ẃn h wz olmst drest h wōct t ɖ midl wn v ɖ ʈri windoz t lc ǎt at ɖ weɖr. Anɖr śoc awêtd him. Strenjli un’bzrvnt h mst hv bn last nît. H cd hv sworn ten tîmz ovr ɖt h hd bn smocñ at ɖ rît-hand windo ɖ last ʈñ bfr h wnt t bed, n hir wz hiz siġrét-end on ɖ sil v ɖ midl windo.

H startd t g dǎn t brecfst. Rɖr lêt, bt Numbr 13 wz lêtr: hir wr hiz būts stl ǎtsd hiz dor—a jntlmn’z būts. So ɖen Numbr 13 wz a man, nt a wmn. Jst ɖen h còt sît v ɖ numbr on ɖ dor. It wz 14. H ʈt h mst hv pást Numbr 13 wɖt noṭsñ it. Ʈri stypid mstecs in twelv aurz wr tù mć fr a mʈodicl, akṛt-mîndd man, so h trnd bac t mc śr. Ɖ nxt numbr t 14 wz numbr 12, hiz ǒn rūm. Ɖr wz no Numbr 13 at ol.

Aftr sm minits dvotd t a cerfl cnsiḍreśn v evrʈñ h hd hd t īt n drinc jrñ ɖ last twenti-for aurz, Anḍsn dsîdd t gv ɖ qsćn p. F hiz îz or hiz bren wr gvñ we h wd hv plenti v oṗtyṇtiz fr aṣtenñ ɖt fact; f nt, ɖen h wz evidntli biyñ trītd t a vri inṭrestñ xpirịns. In îɖr ces ɖ dveḷpmnt v ivnts wd srtnli b wrʈ woćñ.

Jrñ ɖ de h cntinyd hiz xaṃneśn v ɖ ipisc̣pl corispondns ẃć I hv olrdi súṃrîzd. T hiz dis’pôntmnt, it wz incmplit. Onli wn uɖr letr cd b faund ẃć rfŕd t ɖ afer v Mag. Nicolas Francken. It wz fṛm ɖ Biṣ́p Jörgen Friis t Rasmus Nielsen. H sd:

‘Olɖo w r nt in ɖ līst dgri inclînd t asnt t yr jujmnt cnsrnñ ǎr cort, n śl b priperd f nīd b t wɖstand y t ɖ utrmost in ɖt bhaf, yt fr-az-mć az ǎr trusti n wel-ḅluvid Mag. Nicolas Francken, agnst hūm y hv derd t alej srtn fōls n mliśs ćarjz, hʈ bn sudnli rmuvd fṛm amñ s, it z apaṛnt ɖt ɖ qsćn fr ɖs tîm fōlz. Bt fr-az-mć az y frɖr alej ɖt ɖ Aposl n Ivanjlist St Jon in hiz hevnli Apoc̣lips dscrîbz ɖ Holi Romn Ćrć undr ɖ gîz n simbl v ɖ Scarlit Wmn, b it noun t y,’ ets.

Srć az h mt, Anḍsn cd fînd no sīql t ɖs letr nr eni clu t ɖ cōz or manr v ɖ ‘rmuvl’ v ɖ casus belli. H cd onli s’poz ɖt Francken hd daid sudnli; n az ɖr wr onli tū dez btwn ɖ det v Nielsen’z last letr—ẃn Francken wz evidntli stl in biyñ—n ɖt v ɖ Biṣ́p’s letr, ɖ deʈ mst hv bn cmplitli unixpctd.

In ɖ afṭnun h peid a śort vizit t Hald, n tc hiz ti at Baekkelund; nr cd h notis, ɖo h wz in a smẃt nrṿs frem v mînd, ɖt ɖr wz eni indceśn v sć a fełr v î or bren az hiz xpirịnsz v ɖ mornñ hd léd him t fir.

At supr h faund himslf nxt t ɖ landlord.

‘Ẃt,’ h asct him, aftr sm indifṛnt convseśn, ‘z ɖ rīzn ẃ in most v ɖ hotelz wn vizits in ɖs cuntri ɖ numbr ʈrtīn z left ǎt v ɖ list v rūmz? I si y hv nn hir.’

Ɖ landlord sīmd aḿzd.

‘T ʈnc ɖt y śd hv notist a ʈñ lîc ɖt! I’v ʈt abt it wns or twîs mslf, t tel ɖ truʈ. An edycetd man, I’v sd, hz no biznis wɖ ɖz sūṗstiśs nośnz. I wz bròt p mslf hir in ɖ hî scūl v Vîborg, n ǎr old mastr wz olwz a man t set hiz fes agnst enʈñ v ɖt cnd. H’z bn ded nǎ ɖs mni yirz—a fîn upstandñ man h wz, n redi wɖ hiz handz az wel az hiz hed. I rec̣lect s bôz, wn snǒi de—’

Hir h plunjd intu reṃnisns.

‘Ɖen y d’nt ʈnc ɖr z eni ptiklr objx́n t hvñ a Numbr 13?’ sd Anḍsn.

‘Ā! t b śr. Wel, y unḍstand, I wz bròt p t ɖ biznis bî mî pur old faɖr. H cept a hotel in Aarhuus frst, n ɖen, ẃn w wr born, h muvd t Vîborg hir, ẃć wz hiz netiv ples, n hd ɖ Fīnix hir untl h daid. Ɖt wz in 1876. Ɖen I startd biznis in Silkeborg, n onli ɖ yir bfr last I muvd intu ɖs hǎs.’

Ɖen foloud mor dītelz az t ɖ stet v ɖ hǎs n biznis ẃn frst tecn ovr.

‘N ẃn y cem hir, wz ɖr a Numbr 13?’

‘No, no. I wz gwñ t tel y abt ɖt. Y si, in a ples lîc ɖs, ɖ cmrśl clas—ɖ travlrz—r ẃt w hv t pṛvîd fr in jenṛl. N pt ɖm in Numbr 13? Ẃ, ɖ’d az sn slīp in ɖ strīt, or snr. Az far az I’m cnsrnd mslf, it wd’nt mc a peni difṛns t m ẃt ɖ numbr v mî rūm wz, n so I’v ofn sd t ɖm; bt ɖe stic t it ɖt it brñz ɖm bad luc. Qonttiz v storiz ɖe hv amñ ɖm v men ɖt hv slept in a Numbr 13 n nvr bn ɖ sem agn, or lost ɖer bst custmrz, or—wn ʈñ n anɖr,’ sd ɖ landlord, aftr srćñ fr a mor grafic frêz.

‘Ɖen ẃt d y yz yr Numbr 13 fr?’ sd Anḍsn, conśs az h sd ɖ wrdz v a krịs añzayti qt dispṛporśṇt t ɖ importns v ɖ qsćn.

‘Mî Numbr 13? Ẃ, d’nt I tel y ɖt ɖr z’nt sć a ʈñ in ɖ hǎs? I ʈt y mt hv notist ɖt. F ɖr wz it wd b nxt dor t yr ǒn rūm.’

‘Wel, yes; onli I hapnd t ʈnc—ɖt z, I fansid last nît ɖt I hd sìn a dor numbrd ʈrtīn in ɖt pasij; n, riyli, I am olmst srtn I mst hv bn rît, fr I sw it ɖ nît bfr az wel.’

V cors, Herr Kristensen laft ɖs nośn t scorn, az Anḍsn hd xpctd, n emf̣sîzd wɖ mć iṭreśn ɖ fact ɖt no Numbr 13 xistd or hd xistd bfr him in ɖt hotel.

Anḍsn wz in sm wez rlivd bî hiz srtnti, bt stl puzld, n h bgan t ʈnc ɖt ɖ bst we t mc śr ẃɖr h hd indd bn subjict t an iluźn or nt wz t invît ɖ landlord t hiz rūm t smoc a sgar lêtr on in ɖ īvnñ. Sm foṭgrafs v Ñgliś tǎnz ẃć h hd wɖ him formd a sfiśntli gd xks.

Herr Kristensen wz flatrd bî ɖ invteśn, n most wilñli axptd it. At abt ten o’cloc h wz t mc hiz apiṛns, bt bfr ɖt Anḍsn hd sm letrz t rait, n rtîrd fr ɖ prṗs v raitñ ɖm. H olmst bluśt t himslf at cnfesñ it, bt h cd nt dnî ɖt it wz ɖ fact ɖt h wz bcmñ qt nrṿs abt ɖ qsćn v ɖ xistns v Numbr 13; so mć so ɖt h aproćt hiz rūm bî we v Numbr 11, in ordr ɖt h mt nt b oblîjd t pas ɖ dor, or ɖ ples ẃr ɖ dor òt t b. H lct qcli n sspiśsli abt ɖ rūm ẃn h entrd it, bt ɖr wz nʈñ, bynd ɖt indfîṇbl er v biyñ smōlr ɖn yźl, t woṛnt eni msgvñz. Ɖr wz no qsćn v ɖ prezns or absns v hiz portmanto tnît. H hd himslf emtid it v its contents n lojd it undr hiz bed. Wɖ a srtn ef̣t h dsmist ɖ ʈt v Numbr 13 fṛm hiz mînd, n sat dǎn t hiz raitñ.

Hiz nebrz wr qayt inuf. Oceźṇli a dor opnd in ɖ pasij n a per v būts wz ʈroun ǎt, or a bagman wōct past humñ t himslf, n ǎtsd, fṛm tîm t tîm, a cart ʈundrd ovr ɖ atrośs coblstonz, or a qc step hurid alñ ɖ flagz.

Anḍsn finiśt hiz letrz, ordrd in ẃisci n soda, n ɖen wnt t ɖ windo n studid ɖ ded wōl oṗzit n ɖ śadoz upn it.

Az far az h cd rmembr, Numbr 14 hd bn okpaid bî ɖ loyr, a stêd man, hu sd litl at mīlz, biyñ jenṛli ingejd in studiyñ a smōl bundl v peprz bsd hiz plet. Apaṛntli, hvr, h wz in ɖ habit v gvñ vnt t hiz animl spirits ẃn alon. Ẃ els śd h b dansñ? Ɖ śado fṛm ɖ nxt rūm evidntli śoud ɖt h wz. Agn n agn hiz ʈin form crost ɖ windo, hiz armz wevd, n a gōnt leg wz cict p wɖ s’prîzñ ajiḷti. H sīmd t b bér-fŭtd, n ɖ flor mst b wel leid, fr no sǎnd btreid hiz muvmnts. Sagförer Herr Anders Jensen, dansñ at ten o’cloc at nît in a hotel bedrūm, sīmd a fitñ subjict fr a historicl pentñ in ɖ grand stîl; n Anḍsn’z ʈts, lîc ɖoz v Eṃli in ɖ ‘Misṭriz v Ūdolfo’, bgan t ‘arenj ɖmslvz in ɖ folowñ lînz’:

Ẃn I rtrn t mî hotel,

At ten o’cloc p.m.,

Ɖ wêtrz ʈnc I am unwel;

I d nt cer fr ɖm.

Bt ẃn I’v loct mî ćembr dor,

N pt mî būts ǎtsd,

I dans ol nît upn ɖ flor.

N īvn f mî nebrz swòr,

I’d g on dansñ ol ɖ mor,

Fr I’m aqentd wɖ ɖ lw,

N in dspt v ol ɖer jw,

Ɖer protests I d’rîd.

Hd nt ɖ landlord at ɖs momnt noct at ɖ dor, it z probbl ɖt qt a loñ powm mt hv bn leid bfr ɖ rīdr. T juj fṛm hiz lc v s’prîz ẃn h faund himslf in ɖ rūm, Herr Kristensen wz struc, az Anḍsn hd bn, bî smʈñ unyźl in its aspect. Bt h md no rmarc. Anḍsn’z foṭgrafs inṭrestd him mîṭli, n formd ɖ txt v mni ōṭbạgraficl dscorsz. Nr z it qt clir hǎ ɖ convseśn cd hv bn dvrtd intu ɖ dzîrd ćanl v Numbr 13, hd nt ɖ loyr at ɖs momnt bgun t sñ, n t sñ in a manr ẃć cd līv no dǎt in enwn’z mînd ɖt h wz îɖr xidñli drunc or revñ mad. It wz a hî, ʈin vôs ɖt ɖe hŕd, n it sīmd drî, az f fṛm loñ dsys. V wrdz or tyn ɖr wz no qsćn. It wnt sêlñ p t a s’prîzñ hît, n wz carid dǎn wɖ a dsperñ mon az v a wintrwind in a holo ćimni, or an orgn huz wind felz sudnli. It wz a riyli hoṛbl sǎnd, n Anḍsn flt ɖt f h hd bn alon h mst hv fled fr refyj n ssayti t sm nebr bagman’z rūm.

Ɖ landlord sat opn-mǎɖd.

‘I d’nt unḍstand it,’ h sd at last, wîpñ hiz fōrhed. ‘It z dredfl. I hv hŕd it wns bfr, bt I md śr it wz a cat.’

‘Z h mad?’ sd Anḍsn.

‘H mst b; n ẃt a sad ʈñ! Sć a gd custmr, tù, n so s’xesfl in hiz biznis, bî ẃt I hír, n a yuñ faṃli t brñ p.’

Jst ɖen cem an impeśnt noc at ɖ dor, n ɖ nocr entrd, wɖt wêtñ t b asct. It wz ɖ loyr, in déshabillé n vri ruf-herd; n vri angri h lct.

‘I beg pardn, sr,’ h sd, ‘bt I śd b mć oblîjd f y wd cîndli dzist—’

Hir h stopt, fr it wz evidnt ɖt nɖr v ɖ prsnz bfr him wz rsponsbl fr ɖ dstrbns; n aftr a momnt’s lul it sweld fʈ agn mor wîldli ɖn bfr.

‘Bt ẃt in ɖ nem v Hevn dz it mīn?’ brouc ǎt ɖ loyr. ‘Ẃr z it? Hu z it? Am I gwñ ǎt v mî mînd?’

‘Śrli, Herr Jensen, it cmz fṛm yr rūm nxt dor? Z’nt ɖr a cat or smʈñ stuc in ɖ ćimni?’

Ɖs wz ɖ bst ɖt ocŕd t Anḍsn t se n h riylîzd its fytiḷti az h spouc; bt enʈñ wz betr ɖn t stand n lisn t ɖt hoṛbl vôs, n lc at ɖ brōd, ẃît fes v ɖ landlord, ol pspîrñ n qiṿrñ az h clućt ɖ armz v hiz ćer.

‘Imposbl,’ sd ɖ loyr, ‘imposbl. Ɖr z no ćimni. I cem hir bcz I wz cnvinst ɖ nôz wz gwñ on hir. It wz srtnli in ɖ nxt rūm t mîn.’

‘Wz ɖr no dor btwn yrz n mîn?’ sd Anḍsn īgrli.

‘No, sr,’ sd Herr Jensen, rɖr śarpli. ‘At līst, nt ɖs mornñ.’

‘Ā!’ sd Anḍsn. ‘Nr tnît?’

‘I am nt śr,’ sd ɖ loyr wɖ sm hezteśn.

Sudnli ɖ crayñ or sññ vôs in ɖ nxt rūm daid awe, n ɖ sñr wz hŕd sīmñli t laf t himslf in a crūnñ manr. Ɖ ʈri men acć̣li śivrd at ɖ sǎnd. Ɖen ɖr wz a sîḷns.

‘Cm,’ sd ɖ loyr, ‘ẃt hv y t se, Herr Kristensen? Ẃt dz ɖs mīn?’

‘Gd Hevn!’ sd Kristensen. ‘Hǎ śd I tel! I nǒ no mor ɖn y, jntlṃn. I pre I me nvr hír sć a nôz agn.’

‘So d I,’ sd Herr Jensen, n h add smʈñ undr hiz breʈ. Anḍsn ʈt it sǎndd lîc ɖ last wrdz v ɖ Sōltr, ‘omnis spiritus laudet Dominum,’ bt h cd nt b śr.

‘Bt w mst d smʈñ,’ sd Anḍsn—‘ɖ ʈri v s. Śl w g n invstget in ɖ nxt rūm?’

‘Bt ɖt z Herr Jensen’z rūm,’ weild ɖ landlord. ‘It z no ys; h hz cm fṛm ɖr himslf.’

‘I am nt so śr,’ sd Jensen. ‘I ʈnc ɖs jntlmn z rît: w mst g n si.’

Ɖ onli wepnz v dfns ɖt cd b mustrd on ɖ spot wr a stic n umbrela. Ɖ xpdiśn wnt ǎt intu ɖ pasij, nt wɖt qecñz. Ɖr wz a dedli qayt ǎtsd, bt a lît śon fṛm undr ɖ nxt dor. Anḍsn n Jensen aproćt it. Ɖ latr trnd ɖ handl, n gev a sudn vigṛs pś. No ys. Ɖ dor std fast.

‘Herr Kristensen,’ sd Jensen, ‘wl y g n feć ɖ strongist srvnt y hv in ɖ ples? W mst si ɖs ʈru.’

Ɖ landlord nodd, n hurid of, glad t b awe fṛm ɖ sīn v ax́n. Jensen n Anḍsn rmend ǎtsd lcñ at ɖ dor.

‘It z Numbr 13, y si,’ sd ɖ latr.

‘Yes; ɖr z yr dor, n ɖr z mîn,’ sd Jensen.

‘Mî rūm hz ʈri windoz in ɖ dêtîm,’ sd Anḍsn wɖ dificlti, s’presñ a nrṿs laf.

‘Bî Jorj, so hz mîn!’ sd ɖ loyr, trnñ n lcñ at Anḍsn. Hiz bac wz nǎ t ɖ dor. In ɖt momnt ɖ dor opnd, n an arm cem ǎt n clwd at hiz śoldr. It wz clad in ragid, yelǒiś linn, n ɖ bér scin, ẃr it cd b sìn, hd loñ gre her upn it.

Anḍsn wz jst in tîm t pl Jensen ǎt v its rīć wɖ a crî v dsgust n frît, ẃn ɖ dor śut agn, n a lo laf wz hŕd.

Jensen hd sìn nʈñ, bt ẃn Anḍsn huridli tld him ẃt a risc h hd run, h fél intu a gret stet v ajteśn, n sjstd ɖt ɖe śd rtîr fṛm ɖ enṭprîz n loc ɖmslvz p in wn or uɖr v ɖer rūmz.

Hvr, ẃl h wz dveḷpñ ɖs plan, ɖ landlord n tū ebl-bodid men arîvd on ɖ sīn, ol lcñ rɖr sirịs n alarmd. Jensen met ɖm wɖ a toṛnt v dscripśn n xpḷneśn, ẃć dd nt at ol tnd t incurij ɖm fr ɖ fre.

Ɖ men dropt ɖ crobarz ɖe hd bròt, n sd flatli ɖt ɖe wr nt gwñ t risc ɖer ʈrots in ɖt devl’z den. Ɖ landlord wz mizṛbli nrṿs n undisîdd, conśs ɖt f ɖ denjr wr nt fest hiz hotel wz ruind, n vri loʈ t fes it himslf. Luc̣li Anḍsn hit upn a we v raliyñ ɖ dmoṛlîzd fors.

‘Z ɖs,’ h sd, ‘ɖ Deniś curij I hv hŕd so mć v? It z’nt a Jrmn in ɖr, n f it wz, w r fîv t wn.’

Ɖ tū srvnts n Jensen wr stuñ intu ax́n bî ɖs, n md a daś at ɖ dor.

‘Stop!’ sd Anḍsn. ‘D’nt lūz yr hedz. Y ste ǎt hir wɖ ɖ lît, landlord, n wn v y tū men brec in ɖ dor, n d’nt g in ẃn it gvz we.’

Ɖ men nodd, n ɖ yungr stept fwd, rezd hiz crobar, n dlt a tṛmnḍs blo on ɖ upr panl. Ɖ rzult wz nt in ɖ līst ẃt eni v ɖm antiṣpetd. Ɖr wz no cracñ or rendñ v wŭd—onli a dul sǎnd, az f ɖ solid wōl hd bn struc. Ɖ man dropt hiz tūl wɖ a śǎt, n bgan rubñ hiz elbo. Hiz crî drù ɖer îz upn him fr a momnt; ɖen Anḍsn lct at ɖ dor agn. It wz gn; ɖ plastr wōl v ɖ pasij stérd him in ɖ fes, wɖ a cnsidṛbl gaś in it ẃr ɖ crobar hd struc it. Numbr 13 hd pást ǎt v xistns.

Fr a brīf spes ɖe std prf̣cli stl, gezñ at ɖ blanc wōl. An rli coc in ɖ yard bnʈ wz hŕd t cro; n az Anḍsn glanst in ɖ d’rex́n v ɖ sǎnd, h sw ʈru ɖ windo at ɖ end v ɖ loñ pasij ɖt ɖ īstn scî wz pelñ t ɖ dōn.

‘Phps,’ sd ɖ landlord, wɖ hezteśn, ‘y jntlṃn wd lîc anɖr rūm fr tnît—a dubl-bedd wn?’

Nɖr Jensen nr Anḍsn wz avrs t ɖ sjsćn. Ɖe flt inclînd t hunt in cuplz aftr ɖer lêt xpirịns. It wz faund cnvińnt, ẃn ć v ɖm wnt t hiz rūm t c’lect ɖ articlz h wontd fr ɖ nît, ɖt ɖ uɖr śd g wɖ him n hold ɖ candl. Ɖe notist ɖt bʈ Numbr 12 n Numbr 14 hd ʈri windoz.

* * * * *

Nxt mornñ ɖ sem parti ri’smbld in Numbr 12. Ɖ landlord wz naćṛli añśs t avôd ingejñ ǎtsd hlp, n yt it wz impeṛtiv ɖt ɖ misṭri ataćñ t ɖt part v ɖ hǎs śd b clird p. Acordñli ɖ tū srvnts hd bn indyst t tec upn ɖm ɖ fuñśn v carpntrz. Ɖ frnićr wz clird awe, n, at ɖ cost v a gd mni iritriṿbli damijd plancs, ɖt porśn v ɖ flor wz tecn p ẃć le nirist t Numbr 14.

Y wl naćṛli s’poz ɖt a scelitn—se ɖt v Mag. Nicolas Francken—wz dscuvrd. Ɖt wz nt so. Ẃt ɖe dd fînd layñ btwn ɖ bīmz ẃć s’portd ɖ florñ wz a smōl copr box. In it wz a nītli-foldd veḷm dokmnt, wɖ abt twenti lînz v raitñ. Bʈ Anḍsn n Jensen (hu pruvd t b smʈñ v a paliogṛfr) wr mć xîtd bî ɖs dscuṿri, ẃć promist t aford ɖ ci t ɖz xtrordnri fnomina.

* * * * *

I pzes a copi v an astṛlojicl wrc ẃć I hv nvr réd. It hz, bî we v frunṭspìs, a wŭdcut bî Hanz Sebald Beham, reprizntñ a numbr v sejz sītd rnd a tebl. Ɖs dītel me inebl coṇsŕz t îdnṭfî ɖ bc. I canot mslf rec̣lect its tîtl, n it z nt at ɖs momnt wɖn rīć; bt ɖ flîlīvz v it r cuvrd wɖ raitñ, n, jrñ ɖ ten yirz in ẃć I hv ǒnd ɖ volym, I hv nt bn ebl t dtrmin ẃć we p ɖs raitñ òt t b réd, mć les in ẃt lanḡj it z. Nt dsimilr wz ɖ pziśn v Anḍsn n Jensen aftr ɖ pṛtractd xaṃneśn t ẃć ɖe sbmitd ɖ dokmnt in ɖ copr box.

Aftr tū dez’ contmpleśn v it, Jensen, hu wz ɖ boldr spirit v ɖ tū, haẓdd ɖ cnjcćr ɖt ɖ lanḡj wz îɖr Latin or Old Deniś.

Anḍsn vnćrd upn no s’mîzz, n wz vri wilñ t srendr ɖ box n ɖ parćmnt t ɖ Historicl Ssayti v Vîborg t b plest in ɖer ḿziym.

I hd ɖ hol stori fṛm him a fy munʈs lêtr, az w sat in a wŭd nir Upsala, aftr a vizit t ɖ lîbrri ɖr, ẃr w—or, rɖr, I—hd laft ovr ɖ contract bî ẃć Daniel Salthenius (in lêtr lîf Pṛfesr v Hībru at Königsberg) sold himslf t Setn. Anḍsn wz nt riyli aḿzd.

‘Yuñ idịt!’ h sd, mīnñ Salthenius, hu wz onli an unḍgrajụt ẃn h cmitd ɖt indiscreśn, ‘hǎ dd h nǒ ẃt cumṗni h wz cortñ?’

N ẃn I sjstd ɖ yźl cnsiḍreśnz h onli gruntd. Ɖt sem afṭnun h tld m ẃt y hv réd; bt h rfyzd t drw eni infṛnsz fṛm it, n t asnt t eni ɖt I drù fr him.



Clasics in Ñspel: THE ASH TREE by M R James



Evrwn hu hz travld ovr Īstn Ñgḷnd nz ɖ smōlr cuntrihǎzz wɖ ẃć it z studd—ɖ rɖr danc litl bildñz, yẓ́li in ɖ Itałn stîl, srǎndd wɖ parcs v sm eti t a hundṛd ecrz. Fr m ɖe hv olwz hd a vri stroñ atrax́n, wɖ ɖ gre pelñ v split oc, ɖ nobl triz, ɖ mírz wɖ ɖer rìdbedz, n ɖ lîn v distnt wŭdz. Ɖen, I lîc ɖ pilrd portico—phps stuc on t a red-bric Qīn Án hǎs ẃć hz bn fest wɖ stuco t brñ it intu lîn wɖ ɖ ‘Grìśn’ test v ɖ end v ɖ etīnʈ snćri; ɖ hōl insd, gwñ p t ɖ rūf, ẃć hōl òt olwz t b pṛvîdd wɖ a gaḷri n a smōl orgn. I lîc ɖ lîbrri, tù, ẃr y me fînd enʈñ fṛm a Sōltr v ɖ ʈrtīnʈ snćri t a Śecspir qorto. I lîc ɖ picćrz, v cors; n phps most v ol I lîc fansiyñ ẃt lîf in sć a hǎs wz ẃn it wz frst bilt, n in ɖ pîpñ tîmz v landlordz’ pṛspeṛti, n nt līst nǎ, ẃn, f muni z nt so plentifl, test z mor vẹrid n lîf qt az inṭrestñ. I wś t hv wn v ɖz hǎzz, n inuf muni t cīp it tgɖr n entten mî frendz in it moḍstli.

Bt ɖs z a dgreśn. I hv t tel y v a krịs siriz v ivnts ẃć hapnd in sć a hǎs az I hv traid t dscrîb. It z Castrñm Hōl in Suf̣c. I ʈnc a gd dīl hz bn dn t ɖ bildñ sins ɖ pirịd v mî stori, bt ɖ isnśl fīćrz I hv scećt r stl ɖr—Itałn portico, sqer bloc v ẃît hǎs, oldr insd ɖn ǎt, parc wɖ frinj v wŭdz, n mír. Ɖ wn fīćr ɖt marct ǎt ɖ hǎs fṛm a scor v uɖrz z gn. Az y lct at it fṛm ɖ parc, y sw on ɖ rît a gret old aśtrī growñ wɖn haf a duzn yardz v ɖ wōl, n olmst or qt tućñ ɖ bildñ wɖ its branćz. I s’poz it hd std ɖr evr sins Castrñm sīst t b a forṭfaid ples, n sins ɖ mot wz fild in n ɖ Iliẓbīʈn dwelñhǎs bilt. At eni ret, it hd wel-nî atend its fl dmnśnz in ɖ yir 1690.

In ɖt yir ɖ district in ẃć ɖ Hōl z sićuetd wz ɖ sīn v a numbr v wićtrîlz. It wl b loñ, I ʈnc, bfr w arîv at a just esṭmet v ɖ amǎnt v solid rīzn—f ɖr wz eni—ẃć le at ɖ rūt v ɖ yṇvrsl fir v wićz in old tîmz. Ẃɖr ɖ prsnz akzd v ɖs ofns riyli dd imajin ɖt ɖe wr pzest v unyźl pǎr v eni cnd; or ẃɖr ɖe hd ɖ wil at līst, f nt ɖ pǎr, v dwñ misćif t ɖer nebrz; or ẃɖr ol ɖ cnfeśnz, v ẃć ɖr r so mni, wr xtortd bî ɖ cruwlti v ɖ wićfîndrz—ɖz r qsćnz ẃć r nt, I fansi, yt solvd. N ɖ preznt naṛtiv gvz m pōz. I canot oltgɖr swīp it awe az mir invnśn. Ɖ rīdr mst juj fr himslf.

Castrñm cntribytd a victim t ɖ auto-da-fé. Msz Muɖ̇sǒl wz hr nem, n ś difrd fṛm ɖ ordnri run v vilijwićz onli in biyñ rɖr betr of n in a mor influenśl pziśn. Ef̣ts wr md t sev hr bî sevṛl repytbl farmrz v ɖ pariś. Ɖe dd ɖer bst t tsṭfî t hr caṛctr, n śoud cnsidṛbl añzayti az t ɖ vrdict v ɖ jri.

Bt ẃt sīmz t hv bn fetl t ɖ wmn wz ɖ evidns v ɖ ɖen pṛpraytr v Castrñm Hōl—Sr Máʈy Fél. H dpozd t hvñ woćt hr on ʈri difṛnt oceźnz fṛm hiz windo, at ɖ fl v ɖ mūn, gaɖ̇rñ sprigz ‘fṛm ɖ aśtrī nir mî hǎs’. Ś hd clîmd intu ɖ branćz, clad onli in hr śift, n wz cutñ of smōl twigz wɖ a pkłrli crvd nîf, n az ś dd so ś sīmd t b tōcñ t hrslf. On ć oceźn Sr Máʈy hd dn hiz bst t capćr ɖ wmn, bt ś hd olwz tecn alarm at sm axdntl nôz h hd md, n ol h cd si ẃn h got dǎn t ɖ gardn wz a hér runñ acrs ɖ paʈ in ɖ d’rex́n v ɖ vilij.

On ɖ ʈrd nît h hd bn at ɖ penz t folo at hiz bst spīd, n hd gn stret t Msz Muɖ̇sǒl’z hǎs; bt h hd hd t wêt a qortr v an aur baṭrñ at hr dor, n ɖen ś hd cm ǎt vri cros, n apaṛntli vri slīpi, az f jst ǎt v bed; n h hd no gd xpḷneśn t ofr v hiz vizit.

Mnli on ɖs evidns, ɖo ɖr wz mć mor v a les strîcñ n unyźl cnd fṛm uɖr p’riṣ́nrz, Msz Muɖ̇sǒl wz faund gilti n cndemd t dî. Ś wz hañd a wīc aftr ɖ trîl, wɖ fîv or six mor unhapi crīćrz, at Beri St Edṃndz.

Sr Máʈy Fél, ɖen Depytiśerif, wz preznt at ɖ x’kśn. It wz a damp, drizli Marć mornñ ẃn ɖ cart md its we p ɖ ruf grashil ǎtsd Norʈget, ẃr ɖ galoz std. Ɖ uɖr victimz wr aṗʈetic or brocn dǎn wɖ miẓri; bt Msz Muɖ̇sǒl wz, az in lîf so in deʈ, v a vri difṛnt tmpr. Hr ‘pôzṇs Rej’, az a rportr v ɖ tîm pts it, ‘dd so wrc upn ɖ Bîstandrz—ye, īvn upn ɖ Hañmn—ɖt it wz constntli afrmd v ol ɖt sw hr ɖt ś prizntd ɖ livñ Aspect v a mad Divl. Yt ś ofrd no Rzistns t ɖ Ofisrz v ɖ Lw; onli ś lct upn ɖoz ɖt leid Handz upn hr wɖ so dîrfl n veṇṃs an Aspect ɖt—az wn v ɖm aftwdz aśurd m—ɖ mir Ʈt v it préid inẉdli upn hiz Mînd fr six Munʈs aftr.’

Hvr, ol ɖt ś z rportd t hv sd wr ɖ sīmñli mīnñlis wrdz: ‘Ɖr wl b gsts at ɖ Hōl.’ Ẃć ś rpitd mor ɖn wns in an unḍton.

Sr Máʈy Fél wz nt unimprest bî ɖ bẹrñ v ɖ wmn. H hd sm tōc upn ɖ matr wɖ ɖ Vicr v hiz pariś, wɖ hūm h travld hom aftr ɖ asîzbiznis wz ovr. Hiz evidns at ɖ trîl hd nt bn vri wilñli gvn; h wz nt speṣ́li infctd wɖ ɖ wić-fîndñ meńa, bt h dclerd, ɖen n aftwdz, ɖt h cd nt gv eni uɖr acǎnt v ɖ matr ɖn ɖt h hd gvn, n ɖt h cd nt poṣbli hv bn mstecn az t ẃt h sw. Ɖ hol trnzax́n hd bn rpugnnt t him, fr h wz a man hu lîct t b on pleznt trmz wɖ ɖoz abt him; bt h sw a dyti t b dn in ɖs biznis, n h hd dn it. Ɖt sīmz t hv bn ɖ jist v hiz sntimnts, n ɖ Vicr aplōdd it, az eni rīzṇbl man mst hv dn.

A fy wīcs aftr, ẃn ɖ mūn v Me wz at ɖ fl, Vicr n Sqîr met agn in ɖ parc, n wōct t ɖ Hōl tgɖr. Ledi Fél wz wɖ hr muɖr, hu wz denjṛsli il, n Sr Máʈy wz alon at hom; so ɖ Vicr, Mr Crǒm, wz īẓli pswedd t tec a lêt supr at ɖ Hōl.

Sr Máʈy wz nt vri gd cumṗni ɖs īvnñ. Ɖ tōc ran ćīfli on faṃli n pariś matrz, n, az luc wd hv it, Sr Máʈy md a meṃrandm in raitñ v srtn wśz or intnśnz v hiz rgardñ hiz istets, ẃć aftwdz pruvd xidñli ysfl.

Ẃn Mr Crǒm ʈt v startñ fr hom, abt haf past nîn o’cloc, Sr Máʈy n h tc a priliminri trn on ɖ gravld wōc at ɖ bac v ɖ hǎs. Ɖ onli insidnt ɖt struc Mr Crǒm wz ɖs: ɖe wr in sît v ɖ aśtrī ẃć I dscrîbd az growñ nir ɖ windoz v ɖ bildñ, ẃn Sr Máʈy stopt n sd:

‘Ẃt z ɖt ɖt runz p n dǎn ɖ stem v ɖ aś? It z nvr a sqiṛl? Ɖe wl ol b in ɖer nsts bî nǎ.’

Ɖ Vicr lct n sw ɖ muvñ crīćr, bt h cd mc nʈñ v its culr in ɖ mūnlît. Ɖ śarp ǎtlîn, hvr, sìn fr an instnt, wz imprintd on hiz bren, n h cd hv sworn, h sd, ɖo it sǎndd fūliś, ɖt, sqiṛl or nt, it hd mor ɖn for legz.

Stl, nt mć wz t b md v ɖ momntri viźn, n ɖ tū men partd. Ɖe me hv met sins ɖen, bt it wz nt fr a scor v yirz.

Nxt de Sr Máʈy Fél wz nt dǎnsterz at six in ɖ mornñ, az wz hiz custm, nr at sevn, nr yt at et. Hiṛpon ɖ srvnts wnt n noct at hiz ćembrdor. I nīd nt pṛloñ ɖ dscripśn v ɖer añśs liṣnñz n rnyd baṭrñz on ɖ panlz. Ɖ dor wz opnd at last fṛm ɖ ǎtsd, n ɖe faund ɖer mastr ded n blac. So mć y hv gest. Ɖt ɖr wr eni marcs v vayḷns dd nt at ɖ momnt apir; bt ɖ windo wz opn.

Wn v ɖ men wnt t feć ɖ parsn, n ɖen bî hiz d’rex́nz roud on t gv notis t ɖ coṛnr. Mr Crǒm himslf wnt az qc az h mt t ɖ Hōl, n wz śoun t ɖ rūm ẃr ɖ ded man le. H hz left sm nots amñ hiz peprz ẃć śo hǎ jenyin a rspct n soro wz flt fr Sr Máʈy, n ɖr z olso ɖs pasij, ẃć I trnscrîb fr ɖ sec v ɖ lît it ʈroz upn ɖ cors v ivnts, n olso upn ɖ comn b’lifs v ɖ tîm:

‘Ɖr wz nt eni ɖ līst Tres v an Entṛns hvñ bn forst t ɖ Ćembr: bt ɖ Cesmnt std opn, az mî pur Frend wd olwz hv it in ɖs Sīzn. H hd hiz Īvnñdrinc v smōl El in a silvr vesl v abt a pîntmeźr, n tnît hd nt drunc it ǎt. Ɖs Drinc wz xamind bî ɖ Fziśn fṛm Beri, a Mr Hojcinz, hu cd nt, hvr, az h aftwdz declerd upn hiz Oʈ, bfr ɖ Coṛnr’z qst, dscuvr ɖt eni matr v a veṇṃs cnd wz preznt in it. Fr, az wz naćṛl, in ɖ gret Swelñ n Blacnis v ɖ Corps, ɖr wz tōc md amñ ɖ Nebrz v Pôzn. Ɖ Bodi wz vri mć Dsordrd az it leid in ɖ Bed, biyñ twistd aftr so xtrim a sort az gev tù probbl Cnjcćr ɖt mî wrɖi Frend n Petṛn hd expîrd in gret Pen n Aġni. N ẃt z az yt unixplend, n t mslf ɖ Arğmnt v sm Horid n Artfl Dzîn in ɖ Prṗtretrz v ɖs Barbṛs Mrɖr, wz ɖs, ɖt ɖ Wimin ẃć wr intrustd wɖ ɖ leyñ-ǎt v ɖ Corps n wośñ it, biyñ bʈ sad Prsnz n vri wel Rspctd in ɖer Mōrnfl Pṛfeśn, cem t m in a gret Pen n Dstres bʈ v Mînd n Bodi, seyñ, ẃt wz indd cnfrmd upn ɖ frst Vy, ɖt ɖe hd no snr tućt ɖ Brest v ɖ Corps wɖ ɖer necid Handz ɖn ɖe wr snṣbl v a mor ɖn ordnri vayḷnt Smart n Ecñ in ɖer Pāmz, ẃć, wɖ ɖer hol Fōrarmz, in no loñ tîm sweld so imodṛtli, ɖ Pen stl cntinywñ, ɖt, az aftwdz pruvd, jrñ mni wīcs ɖe wr forst t le bî ɖ x’sîz v ɖer Cōlñ; n yt no marc sìn on ɖ Scin.

‘Upn hírñ ɖs, I snt fr ɖ Fziśn, hu wz stl in ɖ Hǎs, n w md az cerfl a Prūf az w wr ebl bî ɖ Hlp v a smōl Magṇfayñ Lénz v Cristl v ɖ cndiśn v ɖ Scin on ɖs Part v ɖ Bodi: bt cd nt dtct wɖ ɖ Instṛmnt w hd eni Matr v Importns bynd a cupl v smōl Puñćrz or Prics, ẃć w ɖen cncludd wr ɖ Spots bî ẃć ɖ Pôzn mt b intṛdyst, rmemḅrñ ɖt Rñ v Pǒp Borgia, wɖ uɖr noun Spesimnz v ɖ Horid Art v ɖ Itałn Pôznrz v ɖ last ej.

‘So mć z t b sd v ɖ Simtmz sìn on ɖ Corps. Az t ẃt I am t ad, it z mirli mî ǒn Xperimnt, n t b left t Psteṛti t juj ẃɖr ɖr b enʈñ v Valy ɖr-in. Ɖr wz on ɖ Tebl bî ɖ Bedsîd a Bîbl v ɖ smōl sîz, in ẃć mî Frend—puñćl az in Matrz v les Momnt, so in ɖs mor weiti wn—yst nîtli, n upn hiz Frst Rîzñ, t rīd a sét Porśn. N I tecñ it p—nt wɖt a Tir dyli peid t him ẃć fṛm ɖ Studi v ɖs purr Admbreśn wz nǎ pást t ɖ contmpleśn v its gret Orijinl—it cem intu mî Ʈts, az at sć momnts v Hlplisnis w r pron t cać at eni ɖ līst Glimr ɖt mcs promis v Lît, t mc trîl v ɖt old n bî mni acǎntd Sūṗstiśs Practis v drw̃ ɖ Sortes; v ẃć a Prinsipl Instns, in ɖ ces v hiz lêt Secrid Maɉsti ɖ Blesid Martr Cñ Ćarlz n mî Lord Fōcḷnd, wz nǎ mć tōct v. I mst nīdz admit ɖt bî mî Trîl nt mć Asistns wz afordd m: yt, az ɖ Cōz n Oṛjin v ɖz Dredfl Ivnts me hiraftr b srćt ǎt, I set dǎn ɖ Rzults, in ɖ ces it me b faund ɖt ɖe pôntd ɖ tru Qortr v ɖ Misćif t a qcr Intelijns ɖn mî ǒn.

‘I md, ɖen, ʈri trîlz, oṗnñ ɖ Bc n plesñ mî Fngr upn srtn Wrdz: ẃć gev in ɖ frst ɖz wrdz, fṛm Lūc xiii. 7, Cut it dǎn; in ɖ secnd, Îzaia xiii. 20, It śl nvr b inhaḅtd; n upn ɖ ʈrd Xperimnt, Job xxxiv. 30, Hr yuñ wnz olso suc p blud.’

Ɖs z ol ɖt nīd b qotd fṛm Mr Crǒm’z peprz. Sr Máʈy Fél wz dyli cofind n leid intu ɖ rʈ, n hiz fynṛl srmn, prīćt bî Mr Crǒm on ɖ folowñ Súnde, hz bn printd undr ɖ tîtl v ‘Ɖ Unsrćbl We; or, Ñgḷnd’z Denjr n ɖ Mliśs Dīlñz v Anticrîst’, it biyñ ɖ Vicr’z vy, az wel az ɖt most comnli hld in ɖ nebrhd, ɖt ɖ Sqîr wz ɖ victim v a rīcrudesns v ɖ Pǒpiś Plot.

Hiz sun, Sr Máʈy ɖ secnd, s’xidd t ɖ tîtl n istets. N so endz ɖ frst act v ɖ Castrñm traɉdi. It z t b mnśnd, ɖo ɖ fact z nt s’prîzñ, ɖt ɖ ny Baṛnét dd nt okpî ɖ rūm in ẃć hiz faɖr hd daid. Nr, indd, wz it slept in bî enwn bt an oceźnl vizitr jrñ ɖ hol v hiz okpeśn. H daid in 1735, n I d nt fînd ɖt enʈñ ptiklr marct hiz rên, sev a krịsli constnt mortaḷti amñ hiz catl n lîvstoc in jenṛl, ẃć śoud a tndnsi t incris slîtli az tîm wnt on.

Ɖoz hu r inṭrestd in ɖ dītelz wl fînd a sttisticl acǎnt in a letr t ɖ Jntlmn’z Maġzīn v 1772, ẃć drwz ɖ facts fṛm ɖ Baṛnét’s ǒn peprz. H pt an end t it at last bî a vri simpl xpīdịnt, ɖt v śutñ p ol hiz bīsts in śedz at nît, n cīpñ no śīp in hiz parc. Fr h hd notist ɖt nʈñ wz evr atact ɖt spent ɖ nît indorz. Aftr ɖt ɖ dsordr cnfînd itslf t wîld brdz, n bīsts v ćes. Bt az w hv no gd acǎnt v ɖ simtmz, n az ol-nît woćñ wz qt unpṛductiv v eni clu, I d nt dwel on ẃt ɖ Suf̣c farmrz cōld ɖ ‘Castrñm sicnis.’

Ɖ secnd Sr Máʈy daid in 1735, az I sd, n wz dyli s’xidd bî hiz sun, Sr Rićd. It wz in hiz tîm ɖt ɖ gret faṃli py wz bilt ǎt on ɖ norʈ sîd v ɖ pariśćrć. So larj wr ɖ Sqîr’z îdīaz ɖt sevṛl v ɖ grevz on ɖt unhaloud sîd v ɖ bildñ hd t b dstrbd t saṭsfî hiz rqîrmnts. Amñ ɖm wz ɖt v Msz Muɖ̇sǒl, ɖ pziśn v ẃć wz akṛtli noun, ʈancs t a not on a plan v ɖ ćrć n yard, bʈ md bî Mr Crǒm.

A srtn amǎnt v inṭrest wz xîtd in ɖ vilij ẃn it wz noun ɖt ɖ feṃs wić, hu wz stl rmembrd bî a fy, wz t b xymd. N ɖ fīlñ v s’prîz, n indd dsqayt, wz vri stroñ ẃn it wz faund ɖt, ɖo hr cofin wz ferli sǎnd n unbrocn, ɖr wz no tres ẃtvr insd it v bodi, bonz, or dust. Indd, it z a krịs fnominn, fr at ɖ tîm v hr beriyñ no sć ʈñz wr dremt v az reẓrex́nmen, n it z dificlt t cnsiv eni raṣ́nl motiv fr stìlñ a bodi uɖ̇wz ɖn fr ɖ ysz v ɖ dsctñrūm.

Ɖ insidnt rvîvd fr a tîm ol ɖ storiz v wićtrîlz n v ɖ xplôts v ɖ wićz, dormnt fr forti yirz, n Sr Rićd’z ordrz ɖt ɖ cofin śd b brnt wr ʈt bî a gd mni t b rɖr fūlhardi, ɖo ɖe wr dyli carid ǎt.

Sr Rićd wz a pstiḷnt iṇvetr, it z srtn. Bfr hiz tîm ɖ Hōl hd bn a fîn bloc v ɖ melǒist red bric; bt Sr Rićd hd travld in Iṭli n bcm infctd wɖ ɖ Itałn test, n, hvñ mor muni ɖn hiz prīdisesrz, h dtrmind t līv an Itałn palis ẃr h hd faund an Ñgliś hǎs. So stuco n aślr masct ɖ bric; sm indifṛnt Romn marblz wr plantd abt in ɖ entṛnshōl n gardnz; a rīpṛdux́n v ɖ Sibl’z tmpl at Tiṿli wz irectd on ɖ oṗzit banc v ɖ mír; n Castrñm tc on an intîrli ny, n, I mst se, a les ingejñ, aspect. Bt it wz mć admîrd, n srvd az a modl t a gd mni v ɖ neḅrñ jntri in afṭyirz.

* * * * *

Wn mornñ (it wz in 1754) Sr Rićd wouc aftr a nît v dscumf̣t. It hd bn windi, n hiz ćimni hd smoct psistntli, n yt it wz so cold ɖt h mst cīp p a fîr. Olso smʈñ hd so ratld abt ɖ windo ɖt no man cd gt a momnt’s pīs. Frɖr, ɖr wz ɖ prospect v sevṛl gsts v pziśn arîvñ in ɖ cors v ɖ de, hu wd xpct sport v sm cnd, n ɖ inrodz v ɖ dstmpr (ẃć cntinyd amñ hiz gem) hd bn lêtli so sirịs ɖt h wz afreid fr hiz repyteśn az a gemprizrvr. Bt ẃt riyli tućt him most nirli wz ɖ uɖr matr v hiz slīplis nît. H cd srtnli nt slīp in ɖt rūm agn.

Ɖt wz ɖ ćīf subjict v hiz medteśnz at brecfst, n aftr it h bgan a sisṭmatic xaṃneśn v ɖ rūmz t si ẃć wd sūt hiz nośnz bst. It wz loñ bfr h faund wn. Ɖs hd a windo wɖ an īstn aspect n ɖt wɖ a norɖn; ɖs dor ɖ srvnts wd b olwz pasñ, n h dd nt lîc ɖ bedsted in ɖt. No, h mst hv a rūm wɖ a wstn lc-ǎt, so ɖt ɖ sún cd nt wec him rli, n it mst b ǎt v ɖ we v ɖ biznis v ɖ hǎs. Ɖ hǎscīpr wz at ɖ end v hr rzorsz.

‘Wel, Sr Rićd,’ ś sd, ‘y nǒ ɖt ɖr z bt ɖ wn rūm lîc ɖt in ɖ hǎs.’

‘Ẃć me ɖt b?’ sd Sr Rićd.

‘N ɖt z Sr Máʈy’z—ɖ Wst Ćembr.’

‘Wel, pt m in ɖr, fr ɖr I’l lî tnît,’ sd hr mastr. ‘Ẃć we z it? Hir, t b śr’; n h hurid of.

‘Ǒ, Sr Rićd, bt nwn hz slept ɖr ɖz forti yirz. Ɖ er hz hardli bn ćenjd sins Sr Máʈy daid ɖr.’

Ɖus ś spouc, n rusld aftr him.

‘Cm, opn ɖ dor, Msz Ćiḍc. I’l si ɖ ćembr, at līst.’

So it wz opnd, n, indd, ɖ smel wz vri clos n rʈi. Sr Rićd crost t ɖ windo, n, impeśntli, az wz hiz wǒnt, ʈrù ɖ śutrz bac, n fluñ opn ɖ cesmnt. Fr ɖs end v ɖ hǎs wz wn ẃć ɖ olṭreśnz hd bérli tućt, groun p az it wz wɖ ɖ gret aśtrī, n biyñ uɖ̇wz cnsild fṛm vy.

‘Er it, Msz Ćiḍc, ol tde, n muv mî bedfrnićr in in ɖ afṭnun. Pt ɖ Biṣ́p v Cilmor in mî old rūm.’

‘Pre, Sr Rićd,’ sd a ny vôs, brecñ in on ɖs spīć, ‘mt I hv ɖ fevr v a momnt’s inṭvy?’

Sr Rićd trnd rnd n sw a man in blac in ɖ dorwe, hu baud.

‘I mst asc yr induljns fr ɖs intruźn, Sr Rićd. Y wl, phps, hardli rmembr m. Mî nem z Wiłm Crǒm, n mî granfaɖr wz Vicr in yr granfaɖr’z tîm.’

‘Wel, sr,’ sd Sr Rićd, ‘ɖ nem v Crǒm z olwz a pasport t Castrñm. I am glad t rny a frendśp v tū jeṇreśnz’ standñ. In ẃt cn I srv y? fr yr aur v cōlñ—n, f I d nt mstec y, yr bẹrñ—śoz y t b in sm hest.’

‘Ɖt z no mor ɖn ɖ truʈ, sr. I am rîdñ fṛm Norij t Beri St Edṃndz wɖ ẃt hest I cn mc, n I hv cōld in on mî we t līv wɖ y sm peprz ẃć w hv bt jst cm upn in lcñ ovr ẃt mî granfaɖr left at hiz deʈ. It z ʈt y me fînd sm matrz v faṃli inṭrest in ɖm.’

‘Y r mîti oblîjñ, Mr Crǒm, n, f y wl b so gd az t folo m t ɖ parlr, n drinc a glas v wîn, w wl tec a frst lc at ɖz sem peprz tgɖr. N y, Msz Ćiḍc, az I sd, b abt e’rñ ɖs ćembr… Yes, it z hir mî granfaɖr daid… Yes, ɖ tri, phps, dz mc ɖ ples a litl dampiś… No; I d nt wś t lisn t eni mor. Mc no dificltiz, I beg. Y hv yr ordrz—g. Wl y folo m, sr?’

Ɖe wnt t ɖ studi. Ɖ pacit ẃć yuñ Mr Crǒm hd bròt—h wz ɖen jst bcm a Felo v Cler Hōl in Cembrij, I me se, n subsiqntli bròt ǎt a rspctbl idiśn v Polieṇs—cntend amñ uɖr ʈñz ɖ nots ẃć ɖ old Vicr hd md upn ɖ oceźn v Sr Máʈy Fél’z deʈ. N fr ɖ frst tîm Sr Rićd wz cnfruntd wɖ ɖ eṇgmaticl Sortes Biblicae ẃć y hv hŕd. Ɖe aḿzd him a gd dīl.

‘Wel,’ h sd, ‘mî granfaɖr’z Bîbl gev wn prūdnt pìs v advîs—Cut it dǎn. F ɖt standz fr ɖ aśtrī, h me rest aśurd I śl nt nglect it. Sć a nst v ctarz n êgz wz nvr sìn.’

Ɖ parlr cntend ɖ faṃli bcs, ẃć, pndñ ɖ arîvl v a c’lex́n ẃć Sr Rićd hd md in Iṭli, n ɖ bildñ v a propr rūm t rsiv ɖm, wr nt mni in numbr.

Sr Rićd lct p fṛm ɖ pepr t ɖ bc̦es.

‘I wundr,’ sz h, ‘ẃɖr ɖ old prófit z ɖr yt? I fansi I si him.’

Crosñ ɖ rūm, h tc ǎt a dumpi Bîbl, ẃć, śr inuf, bòr on ɖ flîlīf ɖ inscripśn: ‘T Máʈy Fél, fṛm hiz Luvñ Godmuɖr, Án Ōlḍs, 2nd Sptmbr 1659.’

‘It wd b no bad plan t tst him agn, Mr Crǒm. I wl wejr w gt a cupl v nemz in ɖ Croniclz. H’m! ẃt hv w hir? “Ɖǎ ślt sīc m in ɖ mornñ, n I śl nt b.” Wel, wel! Yr granfaɖr wd hv md a fîn omn v ɖt, hé? No mor prófits fr m! Ɖe r ol in a têl. N nǎ, Mr Crǒm, I am infiṇtli oblîjd t y fr yr pacit. Y wl, I fir, b impeśnt t gt on. Pre alǎ m—anɖr glas.’

So wɖ ofrz v hosṗtaḷti, ẃć wr jenyinli mnt (fr Sr Rićd ʈt wel v ɖ yuñ man’z adres n manr), ɖe partd.

In ɖ afṭnun cem ɖ gsts—ɖ Biṣ́p v Cilmor, Ledi Mẹri Hrvi, Sr Wiłm Cntfīld, ets. Dinr at fîv, wîn, cardz, supr, n dsprsl t bed.

Nxt mornñ Sr Rićd z disinclînd t tec hiz gun wɖ ɖ rest. H tōcs wɖ ɖ Biṣ́p v Cilmor. Ɖs preḷt, unlîc a gd mni v ɖ Îriś Biṣ́ps v hiz de, hd viẓtd hiz si, n, indd, rzîdd ɖr, fr sm cnsidṛbl tîm. Ɖs mornñ, az ɖ tū wr wōcñ alñ ɖ teris n tōcñ ovr ɖ olṭreśnz n impruvmnts in ɖ hǎs, ɖ Biṣ́p sd, pôntñ t ɖ windo v ɖ Wst Rūm:

‘Y cd nvr gt wn v mî Îriś floc t okpî ɖt rūm, Sr Rićd.’

‘Ẃ z ɖt, mî lord? It z, in fact, mî ǒn.’

‘Wel, ǎr Îriś pezntri wl olwz hv it ɖt it brñz ɖ wrst v luc t slīp nir an aśtrī, n y hv a fîn groʈ v aś nt tū yardz fṛm yr ćembrwindo. Phps,’ ɖ Biṣ́p wnt on, wɖ a smîl, ‘it hz gvn y a tuć v its qoḷti olrdi, fr y d nt sīm, f I me se it, so mć ɖ freśr fr yr nît’s rest az yr frendz wd lîc t si y.’

‘Ɖt, or smʈñ els, it z tru, cost m mî slīp fṛm twelv t for, mî lord. Bt ɖ tri z t cm dǎn tmoro, so I śl nt hír mć mor fṛm it.’

‘I aplōd yr dtrṃneśn. It cn hardli b holsm t hv ɖ er y briɖ strend, az it wr, ʈru ol ɖt līfij.’

‘Yr lordśp z rît ɖr, I ʈnc. Bt I hd nt mî windo opn last nît. It wz rɖr ɖ nôz ɖt wnt on—no dǎt fṛm ɖ twigz swīpñ ɖ glas—ɖt cept m opn-aid.’

‘I ʈnc ɖt cn hardli b, Sr Rićd. Hir—y si it fṛm ɖs pônt. Nn v ɖz nirist branćz īvn cn tuć yr cesmnt unls ɖr wr a gel, n ɖr wz nn v ɖt last nît. Ɖe mis ɖ peinz bî a ft.’

‘No, sr, tru. Ẃt, ɖen, wl it b, I wundr, ɖt scraćt n rusld so—ai, n cuvrd ɖ dust on mî sil wɖ lînz n marcs?’

At last ɖe agrìd ɖt ɖ rats mst hv cm p ʈru ɖ îvi. Ɖt wz ɖ Biṣ́p’s îdīa, n Sr Rićd jumt at it.

So ɖ de pást qaytli, n nît cem, n ɖ parti dsprst t ɖer rūmz, n wśt Sr Rićd a betr nît.

N nǎ w r in hiz bedrūm, wɖ ɖ lît ǎt n ɖ Sqîr in bed. Ɖ rūm z ovr ɖ cićn, n ɖ nît ǎtsd stil n worm, so ɖ windo standz opn.

Ɖr z vri litl lît abt ɖ bedsted, bt ɖr z a strenj muvmnt ɖr; it sīmz az f Sr Rićd wr muvñ hiz hed rapidli t n fro wɖ onli ɖ slîtist poṣbl sǎnd. N nǎ y wd ges, so dsptiv z ɖ haf-darcnis, ɖt h hd sevṛl hedz, rǎnd n brǎniś, ẃć muv bac n fwd, īvn az lo az hiz ćst. It z a hoṛbl iluźn. Z it nʈñ mor? Ɖr! smʈñ drops of ɖ bed wɖ a soft plump, lîc a citn, n z ǎt v ɖ windo in a flaś; anɖr—for—n aftr ɖt ɖr z qayt agn.

Ɖǎ śl sīc m in ɖ mornñ, n I śl nt b.

Az wɖ Sr Máʈy, so wɖ Sr Rićd—ded n blac in hiz bed!

A pel n sîḷnt parti v gsts n srvnts gaɖrd undr ɖ windo ẃn ɖ nyz wz noun. Itałn pôẓnrz, Pǒpiś emiṣriz, infctd er—ol ɖz n mor gesz wr haẓdd, n ɖ Biṣ́p v Cilmor lct at ɖ tri, in ɖ forc v huz lowr bauz a ẃît tomcat wz crǎćñ, lcñ dǎn ɖ holo ẃć yirz hd nwd in ɖ trunc. It wz woćñ smʈñ insd ɖ tri wɖ gret inṭrest.

Sudnli it got p n crend ovr ɖ houl. Ɖen a bit v ɖ éj on ẃć it std gev we, n it wnt sliɖ̇rñ in. Evrwn lct p at ɖ nôz v ɖ fōl.

It z noun t most v s ɖt a cat cn crî; bt fy v s hv hŕd, I hop, sć a yel az cem ǎt v ɖ trunc v ɖ gret aś. Tū or ʈri scrīmz ɖr wr—ɖ witṇsz r nt śr ẃć—n ɖen a slît n mufld nôz v sm cmośn or struġlñ wz ol ɖt cem. Bt Ledi Mẹri Hrvi fentd ǎtrît, n ɖ hǎscīpr stopt hr irz n fled tl ś fél on ɖ teris.

Ɖ Biṣ́p v Cilmor n Sr Wiłm Cntfīld steid. Yt īvn ɖe wr dōntd, ɖo it wz onli at ɖ crî v a cat; n Sr Wiłm swoloud wns or twîs bfr h cd se:

‘Ɖr z smʈñ mor ɖn w nǒ v in ɖt tri, mî lord. I am fr an instnt srć.’

N ɖs wz agrìd upn. A ladr wz bròt, n wn v ɖ gardnrz wnt p, n, lcñ dǎn ɖ holo, cd dtct nʈñ bt a fy dim indceśnz v smʈñ muvñ. Ɖe got a lantn, n let it dǎn bî a rop.

‘W mst gt at ɖ botm v ɖs. Mî lîf upn it, mî lord, bt ɖ sīcrit v ɖz teṛbl deʈs z ɖr.’

P wnt ɖ gardnr agn wɖ ɖ lantn, n let it dǎn ɖ houl cōśsli. Ɖe sw ɖ yelo lît upn hiz fes az h bnt ovr, n sw hiz fes struc wɖ an increjḷs terr n loɖñ bfr h craid ǎt in a dredfl vôs n fél bac fṛm ɖ ladr—ẃr, haṗli, h wz còt bî tū v ɖ men—letñ ɖ lantn fōl insd ɖ tri.

H wz in a ded fent, n it wz sm tîm bfr eni wrd cd b got fṛm him.

Bî ɖen ɖe hd smʈñ els t lc at. Ɖ lantn mst hv brocn at ɖ botm, n ɖ lît in it còt upn drî līvz n rubiś ɖt le ɖr fr in a fy minits a dns smoc bgan t cm p, n ɖen flem; n, t b śort, ɖ tri wz in a blêz.

Ɖ bîstandrz md a rñ at sm yardz’ distns, n Sr Wiłm n ɖ Biṣ́p snt men t gt ẃt wepnz n tūlz ɖe cd; fr, clirli, ẃtvr mt b yzñ ɖ tri az its ler wd b forst ǎt bî ɖ fîr.

So it wz. Frst, at ɖ forc, ɖe sw a rǎnd bodi cuvrd wɖ fîr—ɖ sîz v a man’z hed—apir vri sudnli, ɖen sīm t c’laps n fōl bac. Ɖs, fîv or six tîmz; ɖen a similr bōl lept intu ɖ er n fél on ɖ gras, ẃr aftr a momnt it le stl. Ɖ Biṣ́p wnt az nir az h derd t it, n sw—ẃt bt ɖ rmenz v an inorṃs spîdr, veṇs n sird! N, az ɖ fîr brnd lowr dǎn, mor teṛbl bodiz lîc ɖs bgan t brec ǎt fṛm ɖ trunc, n it wz sìn ɖt ɖz wr cuvrd wɖ grêiś her.

Ol ɖt de ɖ aś brnd, n untl it fél t pìsz ɖ men std abt it, n fṛm tîm t tîm cild ɖ brūts az ɖe dartd ǎt. At last ɖr wz a loñ inṭvl ẃn nn apird, n ɖe cōśsli clozd in n xamind ɖ rūts v ɖ tri.

‘Ɖe faund,’ sz ɖ Biṣ́p v Cilmor, ‘b’lo it a rǎndd holo ples in ɖ rʈ, ẃr-in wr tū or ʈri bodiz v ɖz crīćrz ɖt hd plenli bn smuɖrd bî ɖ smoc; n, ẃt z t m mor krịs, at ɖ sîd v ɖs den, agnst ɖ wōl, wz crǎćñ ɖ anaṭmi or scelitn v a hymn biyñ, wɖ ɖ scin draid upn ɖ bonz, hvñ sm rmenz v blac her, ẃć wz pṛnǎnst bî ɖoz ɖt xamind it t b undǎtidli ɖ bodi v a wmn, n clirli ded fr a pirịd v fifti yirz.’



Clasics in Ñspel: “Oh, whistle and I’ll come to you, my lad,” by M R James



‘I  s’poz y wl b gtñ awe priti sn, nǎ Fl Trm z ovr, Pṛfesr,’ sd a prsn nt in ɖ stori t ɖ Pṛfesr v Ontography, sn aftr ɖe hd sat dǎn nxt t ć uɖr at a fīst in ɖ h’spitbl hōl v St Jemz’z Colij.

Ɖ Pṛfesr wz yuñ, nīt, n prisîs in spīć.

‘Yes,’ h sd; ‘mî frendz hv bn mcñ m tec p golf ɖs trm, n I mīn t g t ɖ Īst Cǒst—in pônt v fact t Brnsto—(I der se y nǒ it) fr a wīc or ten dez, t impruv mî gem. I hop t gt of tmoro.’

‘Ǒ, Parcinz,’ sd hiz nebr on ɖ uɖr sîd, ‘f y r gwñ t Brnsto, I wś y wd lc at ɖ sait v ɖ Tmplrz’ prīsepṭri, n let m nǒ f y ʈnc it wd b eni gd t hv a dig ɖr in ɖ suMr’

It wz, az y mt s’poz, a prsn v anṭqerịn psyts hu sd ɖs, bt, sins h mirli apirz in ɖs prolog, ɖr z no nīd t gv hiz intîtlmnts.

‘Srtnli,’ sd Parcinz, ɖ Pṛfesr: ‘f y wl dscrîb t m ẃr’bts ɖ sait z, I wl d mî bst t gv y an îdīa v ɖ lî v ɖ land ẃn I gt bac; or I cd rait t y abt it, f y wd tel m ẃr y r lîcli t b.’

‘D’nt trubl t d ɖt, ʈancs. It’s onli ɖt I’m ʈncñ v tecñ mî faṃli in ɖt d’rex́n in ɖ Loñ, n it ocŕd t m ɖt, az vri fy v ɖ Ñgliś prīsepṭriz hv evr bn proprli pland, I mt hv an oṗtyṇti v dwñ smʈñ ysfl on of-dez.’

Ɖ Pṛfesr rɖr snift at ɖ îdīa ɖt planñ ǎt a prīsepṭri cd b dscrîbd az ysfl. Hiz nebr cntinyd:

‘Ɖ sait—I dǎt f ɖr z enʈñ śowñ abv grǎnd—mst b dǎn qt clos t ɖ bīć nǎ. Ɖ sì hz incroćt tṛmndsli, az y nǒ, ol alñ ɖt bit v cǒst. I śd ʈnc, fṛm ɖ map, ɖt it mst b abt ʈri-qortrz v a mîl fṛm ɖ Glob Ín, at ɖ norʈ end v ɖ tǎn. Ẃr r y gwñ t ste?’

‘Wel, at ɖ Glob Ín, az a matr v fact,’ sd Parcinz; ‘I hv ingejd a rūm ɖr. I cd’nt gt in enẃr els; most v ɖ lojñhǎzz r śut p in wintr, it sīmz; n, az it z, ɖe tel m ɖt ɖ onli rūm v eni sîz I cn hv z riyli a dubl-bedd wn, n ɖt ɖe hv’nt a cornr in ẃć t stor ɖ uɖr bed, n so on. Bt I mst hv a ferli larj rūm, fr I am tecñ sm bcs dǎn, n mīn t d a bit v wrc; n ɖo I d’nt qt fansi hvñ an emti bed—nt t spīc v tū—in ẃt I me cōl fr ɖ tîm biyñ mî studi, I s’poz I cn manij t ruf it fr ɖ śort tîm I śl b ɖr.’

‘D y cōl hvñ an xtra bed in yr rūm rufñ it, Parcinz?’ sd a bluf prsn oṗzit. ‘Lc hir, I śl cm dǎn n okpî it fr a bit; it’l b cumṗni fr y.’

Ɖ Pṛfesr qivrd, bt manijd t laf in a crtịs manr.

‘Bî ol mīnz, Rojrz; ɖr’z nʈñ I śd lîc betr. Bt I’m afreid y wd fînd it rɖr dul; y d’nt ple golf, d y?’

‘No, ʈanc Hevn!’ sd rūd Mr Rojrz.

‘Wel, y si, ẃn I’m nt raitñ I śl most lîcli b ǎt on ɖ lincs, n ɖt, az I se, wd b rɖr dul fr y, I’m afreid.’

‘Ǒ, I d’nt nǒ! Ɖr’z srtn t b smbdi I nǒ in ɖ ples; bt, v cors, f y d’nt wont m, spīc ɖ wrd, Parcinz; I ś’nt b ofndd. Truʈ, az y olwz tel s, z nvr ofnsiv.’

Parcinz wz, indd, scrūpyḷsli p’lît n stricli truʈfl. It z t b fird ɖt Mr Rojrz smtmz practist upn hiz nolij v ɖz caṛcṭristics. In Parcinz’z brest ɖr wz a conflict nǎ rejñ, ẃć fr a momnt or tū dd nt alǎ him t ansr. Ɖt inṭvl biyñ ovr, h sd:

‘Wel, f y wont ɖ xact truʈ, Rojrz, I wz cnsiḍrñ ẃɖr ɖ rūm I spīc v wd riyli b larj inuf t acoṃdet s bʈ cumftbli; n olso ẃɖr (mînd, I śd’nt hv sd ɖs f y hd’nt prest m) y wd nt consttyt smʈñ in ɖ nećr v a hindṛns t mî wrc.’

Rojrz laft lǎdli.

‘Wel dn, Parcinz!’ h sd. ‘It’s ol rît. I promis nt t inṭrupt yr wrc; d’nt y dstrb yrslf abt ɖt. No, I w’nt cm f y d’nt wont m; bt I ʈt I śd d so nîsli t cīp ɖ gosts of.’ Hir h mt hv bn sìn t wnc n t nuj hiz nxt nebr. Parcinz mt olso hv bn sìn t bcm pnc. ‘I beg pardn, Parcinz,’ Rojrz cntinyd; ‘I òt’nt t hv sd ɖt. I fgot y dd’nt lîc leṿti on ɖz topics.’

‘Wel,’ Parcinz sd, ‘az y hv mnśnd ɖ matr, I frīli ǒn ɖt I d nt lîc cerlis tōc abt ẃt y cōl gosts. A man in mî pziśn,’ h wnt on, rezñ hiz vôs a litl, ‘canot, I fînd, b tù cerfl abt apirñ t sañśn ɖ cuṛnt b’lifs on sć subjicts. Az y nǒ, Rojrz, or az y òt t nǒ; fr I ʈnc I hv nvr cnsild mî vyz—’

‘No, y srtnli hv nt, old man,’ pt in Rojrz sotto voce.

‘—I hold ɖt eni smbḷns, eni apiṛns v cnseśn t ɖ vy ɖt sć ʈñz mt xist z iqivḷnt t a rnunsieśn v ol ɖt I hold most secrid. Bt I’m afreid I hv nt s’xidd in s’krñ yr atnśn.’

‘Yr undivîdd atnśn, wz ẃt Dr. Blimbr acć̣li sd,’ Rojrz inṭruptd, wɖ evri apiṛns v an rnist dzîr fr akṛsi. [Mr Rojrz wz roñ, vide “Dombi & Sun,” Ćaptr XII.] ‘Bt I beg yr pardn, Parcinz: I’m stopñ y.’

‘No, nt at ol,’ sd Parcinz. ‘I d’nt rmembr Blimbr; phps h wz bfr mî tîm. Bt I nīd’nt g on. I’m śr y nǒ ẃt I mīn.’

‘Yes, yes,’ sd Rojrz, rɖr hesṭli—‘jst so. W’l g intu it fŭli at Brnsto, or smẃr.’

In rpitñ ɖ abv daylog I hv traid t gv ɖ impreśn ẃć it md on m, ɖt Parcinz wz smʈñ v an old wmn—rɖr henlîc, phps, in hiz litl wez; toṭli desttyt, alas! v ɖ sns v hymr, bt at ɖ sem tîm dōntlis n snsir in hiz cnvix́nz, n a man dzrvñ v ɖ gretist rspct. Ẃɖr or nt ɖ rīdr hz gaɖrd so mć, ɖt wz ɖ caṛctr ẃć Parcinz hd.

* * * * *

On ɖ folowñ de Parcinz dd, az h hd hopt, s’xid in gtñ awe fṛm hiz colij, n in arîvñ at Brnsto. H wz md welcm at ɖ Glob Ín, wz sefli instōld in ɖ larj dubl-bedd rūm v ẃć w hv hŕd, n wz ebl bfr rtîrñ t rest t arenj hiz mtirịlz fr wrc in apl-pî ordr upn a cmodịs tebl ẃć okpaid ɖ ǎtr end v ɖ rūm, n wz srǎndd on ʈri sîdz bî windoz lcñ ǎt sìẉd; ɖt z t se, ɖ sntṛl windo lct stret ǎt t sì, n ɖoz on ɖ left n rît cmandd prospects alñ ɖ śor t ɖ norʈ n sǎʈ rspctivli. On ɖ sǎʈ y sw ɖ vilij v Brnsto. On ɖ norʈ no hǎzz wr t b sìn, bt onli ɖ bīć n ɖ lo clif bacñ it. Imīɉtli in frunt wz a strip—nt cnsidṛbl—v ruf gras, dotd wɖ old ancrz, capstnz, n so fʈ; ɖen a brōd paʈ; ɖen ɖ bīć. Ẃtvr me hv bn ɖ orijinl distns btwn ɖ Glob Ín n ɖ sì, nt mor ɖn sixti yardz nǎ seṗretd ɖm.

Ɖ rest v ɖ popyleśn v ɖ ín wz, v cors, a golfñ wn, n includd fy elimnts ɖt cōl fr a speśl dscripśn. Ɖ most cnspiks figr wz, phps, ɖt v an ancien militaire, secṛtri v a Lundn club, n pzest v a vôs v increḍbl streñʈ, n v vyz v a pṛnǎnsidli Protistnt tîp. Ɖz wr apt t fînd utṛns aftr hiz atndns upn ɖ miṇstreśnz v ɖ Vicr, an estiṃbl man wɖ incḷneśnz twdz a picćresc rićl, ẃć h gaḷntli cept dǎn az far az h cd ǎt v defṛns t Īst Angłn tṛdiśn.

Pṛfesr Parcinz, wn v huz prinsipl caṛcṭristics wz pluc, spent ɖ gretr part v ɖ de folowñ hiz arîvl at Brnsto in ẃt h hd cōld impruvñ hiz gem, in cumṗni wɖ ɖs Crnl Wilsn: n jrñ ɖ afṭnun—ẃɖr ɖ proses v impruvmnt wr t blem or nt, I am nt śr—ɖ Crnl’z dmīnr asymd a cuḷrñ so lŭrid ɖt īvn Parcinz jibd at ɖ ʈt v wōcñ hom wɖ him fṛm ɖ lincs. H dtrmind, aftr a śort n frtiv lc at ɖt briṣlñ mstaś n ɖoz incarṇdînd fīćrz, ɖt it wd b wîzr t alǎ ɖ inflụnsz v ti n tbaco t d ẃt ɖe cd wɖ ɖ Crnl bfr ɖ dinr aur śd rendr a mītñ inevitbl.

‘I mt wōc hom tnît alñ ɖ bīć,’ h rflectd—‘yes, n tec a lc—ɖr wl b lît inuf fr ɖt—at ɖ ruinz v ẃć Dizni wz tōcñ. I d’nt xacli nǒ ẃr ɖe r, bî ɖ we; bt I xpct I cn hardli hlp stumḅlñ on ɖm.’

Ɖs h acumpliśt, I me se, in ɖ most litṛl sns, fr in picñ hiz we fṛm ɖ lincs t ɖ śnglbīć hiz ft còt, partli in a gorsrūt n partli in a bgiś ston, n ovr h wnt. Ẃn h got p n sveid hiz srǎndñz, h faund himslf in a pać v smẃt brocn grǎnd cuvrd wɖ smōl dpreśnz n mǎndz. Ɖz latr, ẃn h cem t xamin ɖm, pruvd t b simpli masz v flints imbedd in mortr n groun ovr wɖ trf. H mst, h qt rîtli cncludd, b on ɖ sait v ɖ prīsepṭri h hd promist t lc at. It sīmd nt unlîcli t rword ɖ sped v ɖ xplorr; inuf v ɖ fǎndeśnz wz probbli left at no gret depʈ t ʈro a gd dīl v lît on ɖ jenṛl plan. H rmembrd vegli ɖt ɖ Tmplrz, t hūm ɖs sait hd b’loñd, wr in ɖ habit v bildñ rǎnd ćrćz, n h ʈt a ptiklr siriz v ɖ humps or mǎndz nir him dd apir t b arenjd in smʈñ v a srklr form. Fy ppl cn rzist ɖ tmteśn t trî a litl aṃćr rsrć in a dpartmnt qt ǎtsd ɖer ǒn, f onli fr ɖ saṭsfax́n v śowñ hǎ s’xesfl ɖe wd hv bn hd ɖe onli tecn it p sirịsli. Ǎr Pṛfesr, hvr, f h flt smʈñ v ɖs mīn dzîr, wz olso trūli añśs t oblîj Mr Dizni. So h pêst wɖ cer ɖ srklr eria h hd notist, n rout dǎn its ruf dmnśnz in hiz pocit-bc. Ɖen h pṛsidd t xamin an obloñ eminns ẃć le īst v ɖ sntr v ɖ srcl, n sīmd t hiz ʈncñ lîcli t b ɖ bes v a platform or ōltr. At wn end v it, ɖ norɖn, a pać v ɖ trf wz gn—rmuvd bî sm bô or uɖr crīćr ferae naturae. It mt, h ʈt, b az wel t prob ɖ sôl hir fr evidnsz v mesnri, n h tc ǎt hiz nîf n bgan screpñ awe ɖ rʈ. N nǎ foloud anɖr litl dscuṿri: a porśn v sôl fél inwd az h scrept, n dsclozd a smōl caṿti. H lîtd wn mać aftr anɖr t hlp him t si v ẃt nećr ɖ houl wz, bt ɖ wind wz tù stroñ fr ɖm ol. Bî tapñ n scraćñ ɖ sîdz wɖ hiz nîf, hvr, h wz ebl t mc ǎt ɖt it mst b an arṭfiśl houl in mesnri. It wz rectanğlr, n ɖ sîdz, top, n botm, f nt acć̣li plastrd, wr smuɖ n reğlr. V cors it wz emti. No! Az h wɖdru ɖ nîf h hŕd a mtalic clinc, n ẃn h intṛdyst hiz hand it met wɖ a s’lindricl objict layñ on ɖ flor v ɖ houl. Naćṛli inuf, h pict it p, n ẃn h bròt it intu ɖ lît, nǎ fast fedñ, h cd si ɖt it, tù, wz v man’z mcñ—a metl tyb abt for inćz loñ, n evidntli v sm cnsidṛbl ej.

Bî ɖ tîm Parcinz hd md śr ɖt ɖr wz nʈñ els in ɖs od rspticl, it wz tù lêt n tù darc fr him t ʈnc v unḍtecñ eni frɖr srć. Ẃt h hd dn hd pruvd so unixpctidli inṭrestñ ɖt h dtrmind t sacṛfîs a litl mor v ɖ dêlît on ɖ moro t arcioḷji. Ɖ objict ẃć h nǎ hd sef in hiz pocit wz baund t b v sm slît valy at līst, h flt śr.

Blīc n soḷm wz ɖ vy on ẃć h tc a last lc bfr startñ homẉd. A fent yelo lît in ɖ wst śoud ɖ lincs, on ẃć a fy figrz muvñ twdz ɖ clubhǎs wr stl viẓbl, ɖ sqot martelo tǎr, ɖ lîts v Ōldzi vilij, ɖ pel ribn v sandz inṭsctd at inṭvlz bî blac wŭdn grônñz, ɖ dim n mrṃrñ sì. Ɖ wind wz bitr fṛm ɖ norʈ, bt wz at hiz bac ẃn h set ǎt fr ɖ Glob. H qcli ratld n claśt ʈru ɖ śngl n gend ɖ sand, upn ẃć, bt fr ɖ grônñz ẃć hd t b got ovr evri fy yardz, ɖ gwñ wz bʈ gd n qayt. Wn last lc bhnd, t meźr ɖ distns h hd md sins līvñ ɖ ruind Tmplrz’ ćrć, śoud him a prospect v cumṗni on hiz wōc, in ɖ śep v a rɖr indistñt prṣnij, hu sīmd t b mcñ gret ef̣ts t cać p wɖ him, bt md litl, f eni, progres. I mīn ɖt ɖr wz an apiṛns v runñ abt hiz muvmnts, bt ɖt ɖ distns btwn him n Parcinz dd nt sīm mtirịli t lesn. So, at līst, Parcinz ʈt, n dsîdd ɖt h olmst srtnli dd nt nǒ him, n ɖt it wd b absrd t wêt untl h cem p. Fr ol ɖt, cumṗni, h bgan t ʈnc, wd riyli b vri welcm on ɖt lonli śor, f onli y cd ćūz yr cmpańn. In hiz uninlîtnd dez h hd réd v mītñz in sć plesz ẃć īvn nǎ wd hardli ber ʈncñ v. H wnt on ʈncñ v ɖm, hvr, untl h rīćt hom, n ptiklrli v wn ẃć caćz most ppl’z fansi at sm tîm v ɖer ćîldhd. ‘Nǎ I sw in mî drīm ɖt Crisćn hd gn bt a vri litl we ẃn h sw a fǎl fīnd cmñ ovr ɖ fīld t mīt him.’ ‘Ẃt śd I d nǎ,’ h ʈt, ‘f I lct bac n còt sît v a blac figr śarpli dfînd agnst ɖ yelo scî, n sw ɖt it hd hornz n wñz? I wundr ẃɖr I śd stand or run fr it. Luc̣li, ɖ jntlmn bhnd z nt v ɖt cnd, n h sīmz t b abt az far of nǎ az ẃn I sw him frst. Wel, at ɖs ret, h w’nt gt hiz dinr az sn az I śl; n, dir m! it’s wɖn a qortr v an aur v ɖ tîm nǎ. I mst run!’

Parcinz hd, in fact, vri litl tîm fr dresñ. Ẃn h met ɖ Crnl at dinr, Pīs—or az mć v hr az ɖt jntlmn cd manij—rênd wns mor in ɖ militri bŭzm; nr wz ś pt t flît in ɖ aurz v brij ɖt foloud dinr, fr Parcinz wz a mor ɖn rspctbl pleyr. Ẃn, ɖrfr, h rtîrd twdz twelv o’cloc, h flt ɖt h hd spent hiz īvnñ in qt a saṭsfactri we, n ɖt, īvn fr so loñ az a fortnît or ʈri wīcs, lîf at ɖ Glob wd b s’portbl undr similr cndiśnz—’ispeṣ́li,’ ʈt h, ‘f I g on impruvñ mî gem.’

Az h wnt alñ ɖ paṣjz h met ɖ būts v ɖ Glob, hu stopt n sd:

‘Beg yr pardn, sr, bt az I wz abruśñ yr cot jst nǎ ɖr wz smʈñ fél ǎt v ɖ pocit. I pt it on yr ćst v drorz, sr, in yr rūm, sr—a pìs v a pîp or sumʈnc v ɖt, sr. Ʈanc y, sr. Y’l fînd it on yr ćst v drorz, sr—yes, sr. Gd nît, sr.’

Ɖ spīć srvd t rmînd Parcinz v hiz litl dscuṿri v ɖt afṭnun. It wz wɖ sm cnsidṛbl krioṣti ɖt h trnd it ovr bî ɖ lît v hiz candlz. It wz v bronz, h nǎ sw, n wz śept vri mć aftr ɖ manr v ɖ modn dogẃisl; in fact it wz—yes, srtnli it wz—acć̣li no mor nr les ɖn a ẃisl. H pt it t hiz lips, bt it wz qt fl v a fîn, cect-up sand or rʈ, ẃć wd nt yīld t nocñ, bt mst b lūsnd wɖ a nîf. Tîdi az evr in hiz habits, Parcinz clird ǎt ɖ rʈ on t a pìs v pepr, n tc ɖ latr t ɖ windo t emti it ǎt. Ɖ nît wz clir n brît, az h sw ẃn h hd opnd ɖ cesmnt, n h stopt fr an instnt t lc at ɖ sì n not a b’letd wondrr steśnd on ɖ śor in frunt v ɖ ín. Ɖen h śut ɖ windo, a litl s’prîzd at ɖ lêt aurz ppl cept at Brnsto, n tc hiz ẃisl t ɖ lît agn. Ẃ, śrli ɖr wr marcs on it, n nt mirli marcs, bt letrz! A vri litl rubñ rendrd ɖ dīpli-cut inscripśn qt leɉbl, bt ɖ Pṛfesr hd t cnfes, aftr sm rnist ʈt, ɖt ɖ mīnñ v it wz az obskr t him az ɖ raitñ on ɖ wōl t Belśazr. Ɖr wr lejndz bʈ on ɖ frunt n on ɖ bac v ɖ ẃisl. Ɖ wn réd ɖus:




Ɖ uɖr:


‘I òt t b ebl t mc it ǎt,’ h ʈt; ‘bt I s’poz I am a litl rusti in mî Latin. Ẃn I cm t ʈnc v it, I d’nt b’liv I īvn nǒ ɖ wrd fr a ẃisl. Ɖ loñ wn dz sīm simpl inuf. It òt t mīn: “Hu z ɖs hu z cmñ?” Wel, ɖ bst we t fînd ǎt z evidntli t ẃisl fr him.’

H blù tnttivli n stopt sudnli, startld n yt plizd at ɖ not h hd iliṣtd. It hd a qoḷti v infiṇt distns in it, n, soft az it wz, h smhǎ flt it mst b ōḍbl fr mîlz rnd. It wz a sǎnd, tù, ɖt sīmd t hv ɖ pǎr (ẃć mni sénts pzes) v formñ picćrz in ɖ bren. H sw qt clirli fr a momnt a viźn v a wîd, darc xpans at nît, wɖ a freś wind blowñ, n in ɖ mdst a lonli figr—hǎ imploid, h cd nt tel. Phps h wd hv sìn mor hd nt ɖ picćr bn brocn bî ɖ sudn srj v a gust v wind agnst hiz cesmnt, so sudn ɖt it md him lc p, jst in tîm t si ɖ ẃît glint v a sìbrd’z wñ smẃr ǎtsd ɖ darc peinz.

Ɖ sǎnd v ɖ ẃisl hd so faṣnetd him ɖt h cd nt hlp trayñ it wns mor, ɖs tîm mor boldli. Ɖ not wz litl, f at ol, lǎdr ɖn bfr, n reṗtiśn brouc ɖ iluźn—no picćr foloud, az h hd haf hopt it mt. “Bt ẃt z ɖs? Gdnis! ẃt fors ɖ wind cn gt p in a fy minits! Ẃt a tṛmnḍs gust! Ɖr! I ń ɖt windofaṣnñ wz no ys! Ā! I ʈt so—bʈ candlz ǎt. It z inuf t ter ɖ rūm t pìsz.”

Ɖ frst ʈñ wz t gt ɖ windo śut. Ẃl y mt cǎnt twenti, Parcinz wz struġlñ wɖ ɖ smōl cesmnt, n flt olmst az f h wr pśñ bac a strdi brglr, so stroñ wz ɖ preśr. It slacnd ol at wns, n ɖ windo bañd t n laćt itslf. Nǎ t rīlît ɖ candlz n si ẃt damij, f eni, hd bn dn. No, nʈñ sīmd amis; no glas īvn wz brocn in ɖ cesmnt. Bt ɖ nôz hd evidntli rǎzd at līst wn membr v ɖ hǎshold: ɖ Crnl wz t b hŕd stumpñ in hiz stocñd fīt on ɖ flor abv, n grǎlñ. Qcli az it hd rizn, ɖ wind dd nt fōl at wns. On it wnt, monñ n ruśñ past ɖ hǎs, at tîmz rîzñ t a crî so dezḷt ɖt, az Parcinz disinṭrestidli sd, it mt hv md fansifl ppl fīl qt uncumftbl; īvn ɖ unimajiṇtiv, h ʈt aftr a qortr v an aur, mt b hapịr wɖt it.

Ẃɖr it wz ɖ wind, or ɖ xîtmnt v golf, or v ɖ rsrćz in ɖ prīsepṭri ɖt cept Parcinz awec, h wz nt śr. Awec h rmend, in eni ces, loñ inuf t fansi (az I am afreid I ofn d mslf undr sć cndiśnz) ɖt h wz ɖ victim v ol manr v fetl dsordrz: h wd lî cǎntñ ɖ bìts v hiz hart, cnvinst ɖt it wz gwñ t stop wrc evri momnt, n wd entten grev sspiśnz v hiz luñz, bren, livr, ets.—sspiśnz ẃć h wz śr wd b dspeld bî ɖ rtrn v dêlît, bt ẃć untl ɖen rfyzd t b pt asd. H faund a litl vcerịs cumf̣t in ɖ îdīa ɖt smwn els wz in ɖ sem bot. A nir nebr (in ɖ darcnis it wz nt īzi t tel hiz d’rex́n) wz tosñ n ruṣlñ in hiz bed, tù.

Ɖ nxt stej wz ɖt Parcinz śut hiz îz n dtrmind t gv slīp evri ćans. Hir agn oṿixîtmnt asrtd itslf in anɖr form—ɖt v mcñ picćrz. Experto crede, picćrz d cm t ɖ clozd îz v wn trayñ t slīp, n r ofn so litl t hiz test ɖt h mst opn hiz îz n dsprs ɖm.

Parcinz’z xpirịns on ɖs oceźn wz a vri dstresñ wn. H faund ɖt ɖ picćr ẃć prizntd itslf t him wz cntinẏs. Ẃn h opnd hiz îz, v cors, it wnt; bt ẃn h śut ɖm wns mor it fremd itslf afreś, n actd itslf ǎt agn, nɖr qcr nr slowr ɖn bfr. Ẃt h sw wz ɖs:

A loñ streć v śor—śngl éjd bî sand, n inṭsctd at śort inṭvlz wɖ blac grônz runñ dǎn t ɖ wōtr—a sīn, in fact, so lîc ɖt v hiz afṭnun’z wōc ɖt, in ɖ absns v eni landmarc, it cd nt b dstnḡśt ɖr-fṛm. Ɖ lît wz obskr, cnveyñ an impreśn v gaɖ̇rñ storm, lêt wintr īvnñ, n slît cold ren. On ɖs blīc stej at frst no actr wz viẓbl. Ɖen, in ɖ distns, a bobñ blac objict apird; a momnt mor, n it wz a man runñ, jumpñ, clamḅrñ ovr ɖ grônz, n evri fy secndz lcñ īgrli bac. Ɖ nirr h cem ɖ mor obvịs it wz ɖt h wz nt onli añśs, bt īvn teṛbli frîtnd, ɖo hiz fes wz nt t b dstnḡśt. H wz, morovr, olmst at ɖ end v hiz streñʈ. On h cem; ć s’xesiv obsṭcl sīmd t cōz him mor dificlti ɖn ɖ last. ‘Wl h gt ovr ɖs nxt wn?’ ʈt Parcinz; ‘it sīmz a litl hayr ɖn ɖ uɖrz.’ Yes; haf clîmñ, haf ʈrowñ himslf, h dd gt ovr, n fél ol in a hīp on ɖ uɖr sîd (ɖ sîd nirist t ɖ spectetr). Ɖr, az f riyli unebl t gt p agn, h rmend crǎćñ undr ɖ grôn, lcñ p in an attyd v penfl añzayti.

So far no cōz ẃtvr fr ɖ fir v ɖ runr hd bn śoun; bt nǎ ɖr bgan t b sìn, far p ɖ śor, a litl flicr v smʈñ lît-culrd muvñ t n fro wɖ gret swiftnis n ireğlaṛti. Rapidli growñ larjr, it, tù, dclerd itslf az a figr in pel, fluṭrñ dreṗriz, il-dfînd. Ɖr wz smʈñ abt its mośn ẃć md Parcinz vri unwilñ t si it at clos qortrz. It wd stop, rêz armz, bǎ itslf twdz ɖ sand, ɖen run stūpñ acrs ɖ bīć t ɖ wōtr éj n bac agn; n ɖen, rîzñ uprît, wns mor cntiny its cors fwd at a spīd ɖt wz starṭlñ n teṛfayñ. Ɖ momnt cem ẃn ɖ psywr wz hoṿrñ abt fṛm left t rît onli a fy yardz bynd ɖ grôn ẃr ɖ runr le in hîdñ. Aftr tū or ʈri inifcćl castñz hiɖr n ɖiɖr it cem t a stop, std uprît, wɖ armz rezd hî, n ɖen dartd stret fwd twdz ɖ grôn.

It wz at ɖs pônt ɖt Parcinz olwz feld in hiz reẓluśn t cīp hiz îz śut. Wɖ mni msgvñz az t insipịnt fełr v îsît, oṿwrct bren, xesiv smocñ, n so on, h fîṇli rzînd himslf t lît hiz candl, gt ǎt a bc, n pas ɖ nît wecñ, rɖr ɖn b tormntd bî ɖs psistnt paṇrama, ẃć h sw clirli inuf cd onli b a morbid rflex́n v hiz wōc n hiz ʈts on ɖt vri de.

Ɖ screpñ v mać on box n ɖ gler v lît mst hv startld sm crīćrz v ɖ nît—rats or ẃt nt—ẃć h hŕd scuri acrs ɖ flor fṛm ɖ sîd v hiz bed wɖ mć ruṣlñ. Dir, dir! ɖ mać z ǎt! Fūl ɖt it z! Bt ɖ secnd wn brnt betr, n a candl n bc wr dyli pṛkrd, ovr ẃć Parcinz pord tl slīp v a holsm cnd cem upn him, n ɖt in no loñ spes. Fr abt ɖ frst tîm in hiz ordrli n prūdnt lîf h fgot t blo ǎt ɖ candl, n ẃn h wz cōld nxt mornñ at et ɖr wz stl a flicr in ɖ socit n a sad mes v gutrd grīs on ɖ top v ɖ litl tebl.

Aftr brecfst h wz in hiz rūm, ptñ ɖ fiṇśñtućz t hiz golfñcostym—fortyn hd agn alotd ɖ Crnl t him fr a partnr—ẃn wn v ɖ meidz cem in.

‘Ǒ, f y plīz,’ ś sd, ‘wd y lîc eni xtra blancits on yr bed, sr?’

‘Ā! ʈanc y,’ sd Parcinz. ‘Yes, I ʈnc I śd lîc wn. It sīmz lîcli t trn rɖr coldr.’

In a vri śort tîm ɖ meid wz bac wɖ ɖ blancit.

‘Ẃć bed śd I pt it on, sr?’ ś asct.

‘Ẃt? Ẃ, ɖt wn—ɖ wn I slept in last nît,’ h sd, pôntñ t it.

‘Ǒ yes! I beg yr pardn, sr, bt y sīmd t hv traid bʈ v ’m; lìstwez, w hd t mc ’m bʈ p ɖs mornñ.’

‘Riyli? Hǎ vri absrd!’ sd Parcinz. ‘I srtnli nvr tućt ɖ uɖr, xpt t le sm ʈñz on it. Dd it acć̣li sīm t hv bn slept in?’

‘Ǒ yes, sr!’ sd ɖ meid. ‘Ẃ, ol ɖ ʈñz wz crumpld n ʈroud abt ol wez, f y’l xkz m, sr—qt az f enwn ’adn’t pást bt a vri pur nît, sr.’

‘Dir m,’ sd Parcinz. ‘Wel, I me hv dsordrd it mor ɖn I ʈt ẃn I unpáct mî ʈñz. I’m vri sori t hv gvn y ɖ xtra trubl, I’m śr. I xpct a frend v mîn sn, bî ɖ we—a jntlmn fṛm Cembrij—t cm n okpî it fr a nît or tū. Ɖt wl b ol rît, I s’poz, w’nt it?’

‘Ǒ yes, t b śr, sr. Ʈanc y, sr. It’s no trubl, I’m śr,’ sd ɖ meid, n dpartd t gigl wɖ hr colīgz.

Parcinz set fʈ, wɖ a strn dtrṃneśn t impruv hiz gem.

I am glad t b ebl t rport ɖt h s’xidd so far in ɖs enṭprîz ɖt ɖ Crnl, hu hd bn rɖr rpînñ at ɖ prospect v a secnd de’z ple in hiz cumṗni, bcem qt ćati az ɖ mornñ advanst; n hiz vôs būmd ǎt ovr ɖ flats, az srtn olso v ǎr ǒn mînr powts hv sd, ‘lîc sm gret bordn in a minstrtǎr’.

‘Xtrordnri wind, ɖt, w hd last nît,’ h sd. ‘In mî old hom w śd hv sd smwn hd bn ẃiṣlñ fr it.’

‘Śd y, indd!’ sd Parcinz. ‘Z ɖr a sūṗstiśn v ɖt cnd stl cuṛnt in yr part v ɖ cuntri?’

‘I d’nt nǒ abt sūṗstiśn,’ sd ɖ Crnl. ‘Ɖe b’liv in it ol ovr Denmarc n Norwe, az wel az on ɖ Yorx́r cǒst; n mî xpirịns z, mînd y, ɖt ɖr’z jenṛli smʈñ at ɖ botm v ẃt ɖz cuntrifoc hold t, n hv hld t fr jeṇreśnz. Bt it’s yr drîv’ (or ẃtvr it mt hv bn: ɖ golfñrīdr wl hv t imajin aproprịt dgreśnz at ɖ propr inṭvlz).

Ẃn convseśn wz rzymd, Parcinz sd, wɖ a slît heztnsi:

‘A propos v ẃt y wr seyñ jst nǎ, Crnl, I ʈnc I òt t tel y ɖt mî ǒn vyz on sć subjicts r vri stroñ. I am, in fact, a cnvinst disḅlivr in ẃt z cōld ɖ “sūṗnaćṛl”.’

‘Ẃt!’ sd ɖ Crnl, ‘d y mīn t tel m y d’nt b’liv in secnd-sît, or gosts, or enʈñ v ɖt cnd?’

‘In nʈñ ẃtvr v ɖt cnd,’ rtrnd Parcinz frmli.

‘Wel,’ sd ɖ Crnl, ‘bt it apirz t m at ɖt ret, sr, ɖt y mst b litl betr ɖn a Sadysi.’

Parcinz wz on ɖ pônt v anṣrñ ɖt, in hiz opińn, ɖ Sadysiz wr ɖ most snṣbl prsnz h hd evr réd v in ɖ Old Tsṭmnt; bt fīlñ sm dǎt az t ẃɖr mć mnśn v ɖm wz t b faund in ɖt wrc, h prifŕd t laf ɖ akześn of.

‘Phps I am,’ h sd; ‘bt—Hir, gv m mî clīc, bô!—Xkz m wn momnt, Crnl.’ A śort inṭvl. ‘Nǎ, az t ẃiṣlñ fr ɖ wind, let m gv y mî ʈiyri abt it. Ɖ lwz ẃć guvn windz r riyli nt at ol prf̣cli noun—t fiśrfoc n sć, v cors, nt noun at ol. A man or wmn v xntric habits, phps, or a strenjr, z sìn rpitidli on ɖ bīć at sm unyźl aur, n z hŕd ẃiṣlñ. Sn aftwdz a vayḷnt wind rîzz; a man hu cd rīd ɖ scî prf̣cli or hu pzest a b’romitr cd hv fōrtold ɖt it wd. Ɖ simpl ppl v a fiśñvilij hv no b’romitrz, n onli a fy ruf rūlz fr prof̣sayñ weɖr. Ẃt mor naćṛl ɖn ɖt ɖ xntric prṣnij I posć̣letd śd b rgardd az hvñ rezd ɖ wind, or ɖt h or ś śd cluć īgrli at ɖ repyteśn v biyñ ebl t d so? Nǎ, tec last nît’s wind: az it hapnz, I mslf wz ẃiṣlñ. I blù a ẃisl twîs, n ɖ wind sīmd t cm abṣlutli in ansr t mî cōl. F enwn hd sìn m—’

Ɖ ōdịns hd bn a litl restiv undr ɖs hrañ, n Parcinz hd, I fir, fōḷn smẃt intu ɖ ton v a lecćrr; bt at ɖ last sntns ɖ Crnl stopt.

‘Ẃiṣlñ, wr y?’ h sd. ‘N ẃt sort v ẃisl dd y yz?

Ple ɖs stroc frst.’ Inṭvl.

‘Abt ɖt ẃisl y wr ascñ, Crnl. It’s rɖr a krịs wn. I hv it in mî—No; I si I’v left it in mî rūm. Az a matr v fact, I faund it yesṭde.’

N ɖen Parcinz nretd ɖ manr v hiz dscuṿri v ɖ ẃisl, upn hírñ ẃć ɖ Crnl gruntd, n opînd ɖt, in Parcinz’z ples, h śd himslf b cerfl abt yzñ a ʈñ ɖt hd b’loñd t a set v Pepists, v hūm, spīcñ jenṛli, it mt b afrmd ɖt y nvr ń ẃt ɖe mt nt hv bn p t. Fṛm ɖs topic h dvrjd t ɖ inorṃtiz v ɖ Vicr, hu hd gvn notis on ɖ prīvịs Súnde ɖt Frîde wd b ɖ Fīst v St Toṃs ɖ Aposl, n ɖt ɖr wd b srvis at ilevn o’cloc in ɖ ćrć. Ɖs n uɖr similr pṛsidñz consttytd in ɖ Crnl’z vy a stroñ prizumśn ɖt ɖ Vicr wz a cnsild Pepist, f nt a Jeźuit; n Parcinz, hu cd nt vri reḍli folo ɖ Crnl in ɖs rījn, dd nt dis’gri wɖ him. In fact, ɖe got on so wel tgɖr in ɖ mornñ ɖt ɖr wz nt tōc on îɖr sîd v ɖer seṗretñ aftr lunć.

Bʈ cntinyd t ple wel jrñ ɖ afṭnun, or at līst, wel inuf t mc ɖm fget evrʈñ els untl ɖ lît bgan t fel ɖm. Nt untl ɖen dd Parcinz rmembr ɖt h hd mnt t d sm mor invstgetñ at ɖ prīsepṭri; bt it wz v no gret importns, h rflectd. Wn de wz az gd az anɖr; h mt az wel g hom wɖ ɖ Crnl.

Az ɖe trnd ɖ cornr v ɖ hǎs, ɖ Crnl wz olmst noct dǎn bî a bô hu ruśt intu him at ɖ vri top v hiz spīd, n ɖen, instd v runñ awe, rmend haññ on t him n pantñ. Ɖ frst wrdz v ɖ worịr wr naćṛli ɖoz v rprūf n obɉgeśn, bt h vri qcli dsrnd ɖt ɖ bô wz olmst spīćlis wɖ frît. Inqîriz wr yslis at frst. Ẃn ɖ bô got hiz breʈ h bgan t hǎl, n stl cluñ t ɖ Crnl’z legz. H wz at last dtaćt, bt cntinyd t hǎl.

‘Ẃt in ɖ wrld z ɖ matr wɖ y? Ẃt hv y bn p t? Ẃt hv y sìn?’ sd ɖ tū men.

‘Ǎ, I sìn it wîv at m ǎt v ɖ winda,’ weild ɖ bô, ‘n I d’nt lîc it.’

‘Ẃt windo?’ sd ɖ iṛtetd Crnl. ‘Cm pl yrslf tgɖr, mî bô.’

‘Ɖ frunt winda it wz, at ɖ ’otel,’ sd ɖ bô.

At ɖs pônt Parcinz wz in fevr v sndñ ɖ bô hom, bt ɖ Crnl rfyzd; h wontd t gt t ɖ botm v it, h sd; it wz most denjṛs t gv a bô sć a frît az ɖs wn hd hd, n f it trnd ǎt ɖt ppl hd bn pleyñ jocs, ɖe śd sufr fr it in sm we. N bî a siriz v qsćnz h md ǎt ɖs stori: Ɖ bô hd bn pleyñ abt on ɖ gras in frunt v ɖ Glob wɖ sm uɖrz; ɖen ɖe hd gn hom t ɖer tiz, n h wz jst gwñ, ẃn h hapnd t lc p at ɖ frunt winda n si it awîvñ at him. It sīmd t b a figr v sm sort, in ẃît az far az h ń—cd’nt si its fes; bt it wîvd at him, n it wor’nt a rît ʈñ—nt t se nt a rît prsn. Wz ɖr a lît in ɖ rūm? No, h dd’nt ʈnc t lc f ɖr wz a lît. Ẃć wz ɖ windo? Wz it ɖ top wn or ɖ secnd wn? Ɖ secind wn it wz—ɖ big winda ẃt got tū litl ’nz at ɖ sîdz.

‘Vri wel, mî bô,’ sd ɖ Crnl, aftr a fy mor qsćnz. ‘Y run awe hom nǎ. I xpct it wz sm prsn trayñ t gv y a start. Anɖr tîm, lîc a brev Ñgliś bô, y jst ʈro a ston—wel, no, nt ɖt xacli, bt y g n spīc t ɖ wêtr, or t Mr Simpsn, ɖ landlord, n—yes—n se ɖt I advîzd y t d so.’

Ɖ bô’z fes xprest sm v ɖ dǎt h flt az t ɖ lîclihd v Mr Simpsn’z lendñ a fevṛbl ir t hiz cmplent, bt ɖ Crnl dd nt apir t psiv ɖs, n wnt on:

‘N hir’z a sixpns—no, I si it’s a śilñ—n y b of hom, n d’nt ʈnc eni mor abt it.’

Ɖ yʈ hurid of wɖ ajtetd ʈancs, n ɖ Crnl n Parcinz wnt rnd t ɖ frunt v ɖ Glob n rec̣nôtrd. Ɖr wz onli wn windo anṣrñ t ɖ dscripśn ɖe hd bn hírñ.

‘Wel, ɖt’s krịs,’ sd Parcinz; ‘it’s evidntli mî windo ɖ lad wz tōcñ abt. Wl y cm p fr a momnt, Crnl Wilsn? W òt t b ebl t si f enwn hz bn tecñ liḅtiz in mî rūm.’

Ɖe wr sn in ɖ pasij, n Parcinz md az f t opn ɖ dor.

Ɖen h stopt n flt in hiz pocits.

‘Ɖs z mor sirịs ɖn I ʈt,’ wz hiz nxt rmarc. ‘I rmembr nǎ ɖt bfr I startd ɖs mornñ I loct ɖ dor. It z loct nǎ, n, ẃt z mor, hir z ɖ ci.’ N h hld it p. ‘Nǎ,’ h wnt on, ‘f ɖ srvnts r in ɖ habit v gwñ intu wn’z rūm jrñ ɖ de ẃn wn z awe, I cn onli se ɖt—wel, ɖt I d’nt apruv v it at ol.’ Conśs v a smẃt wìc clîmax, h bizid himslf in oṗnñ ɖ dor (ẃć wz indd loct) n in lîtñ candlz. ‘No,’ h sd, ‘nʈñ sīmz dstrbd.’

‘Xpt yr bed,’ pt in ɖ Crnl.

‘Xkz m, ɖt z’nt mî bed,’ sd Parcinz. ‘I d’nt yz ɖt wn. Bt it dz lc az f smwn hd bn pleyñ trics wɖ it.’

It srtnli dd: ɖ cloɖz wr bundld p n twistd tgɖr in a most torćs cnfyźn. Parcinz pondrd.

‘Ɖt mst b it,’ h sd at last. ‘I dsordrd ɖ cloɖz last nît in unpacñ, n ɖe hv’nt md it sins. Phps ɖe cem in t mc it, n ɖt bô sw ɖm ʈru ɖ windo; n ɖen ɖe wr cōld awe n loct ɖ dor aftr ɖm. Yes, I ʈnc ɖt mst b it.’

‘Wel, rñ n asc,’ sd ɖ Crnl, n ɖs apild t Parcinz az practicl.

Ɖ meid apird, n, t mc a loñ stori śort, dpozd ɖt ś hd md ɖ bed in ɖ mornñ ẃn ɖ jntlmn wz in ɖ rūm, n hd’nt bn ɖr sins. No, ś hd’nt no uɖr ci. Mr Simpsn, h cep’ ɖ ciz; h’d b ebl t tel ɖ jntlmn f enwn hd bn p.

Ɖs wz a puzl. Invstgeśn śoud ɖt nʈñ v valy hd bn tecn, n Parcinz rmembrd ɖ dispziśn v ɖ smōl objicts on teblz n so fʈ wel inuf t b priti śr ɖt no prancs hd bn pleid wɖ ɖm. Mr n Msz Simpsn frɖrmr agrìd ɖt nɖr v ɖm hd gvn ɖ dyplic̣t ci v ɖ rūm t eni prsn ẃtvr jrñ ɖ de. Nr cd Parcinz, fer-mîndd man az h wz, dtct enʈñ in ɖ dmīnr v mastr, mistris, or meid ɖt indcetd gilt. H wz mć mor inclînd t ʈnc ɖt ɖ bô hd bn impozñ on ɖ Crnl.

Ɖ latr wz unwontidli sîḷnt n pnsiv at dinr n ʈrt ɖ īvnñ. Ẃn h bád gdnît t Parcinz, h mrmrd in a gruf unḍton:

‘Y nǒ ẃr I am f y wont m jrñ ɖ nît.’

‘Ẃ, yes, ʈanc y, Crnl Wilsn, I ʈnc I d; bt ɖr z’nt mć prospect v mî dstrbñ y, I hop. Bî ɖ we,’ h add, ‘dd I śo y ɖt old ẃisl I spouc v? I ʈnc nt. Wel, hir it z.’

Ɖ Crnl trnd it ovr jinjrli in ɖ lît v ɖ candl.

‘Cn y mc enʈñ v ɖ inscripśn?’ asct Parcinz, az h tc it bac.

‘No, nt in ɖs lît. Ẃt d y mīn t d wɖ it?’

‘Ǒ, wel, ẃn I gt bac t Cembrij I śl sbmit it t sm v ɖ arcioḷjists ɖr, n si ẃt ɖe ʈnc v it; n vri lîcli, f ɖe cnsidr it wrʈ hvñ, I me priznt it t wn v ɖ ḿziymz.’

‘’m!’ sd ɖ Crnl. ‘Wel, y me b rît. Ol I nǒ z ɖt, f it wr mîn, I śd ćuc it stret intu ɖ sì. It’s no ys tōcñ, I’m wel awer, bt I xpct ɖt wɖ y it’s a ces v liv n lrn. I hop so, I’m śr, n I wś y a gd nît.’

H trnd awe, līvñ Parcinz in act t spīc at ɖ botm v ɖ ster, n sn ć wz in hiz ǒn bedrūm.

Bî sm unforćṇt axidnt, ɖr wr nɖr blîndz nr crtnz t ɖ windoz v ɖ Pṛfesr’z rūm. Ɖ prīvịs nît h hd ʈt litl v ɖs, bt tnît ɖr sīmd evri prospect v a brît mūn rîzñ t śîn d’recli on hiz bed, n probbli wec him lêtr on. Ẃn h notist ɖs h wz a gd dīl anoid, bt, wɖ an inɉnywti ẃć I cn onli envi, h s’xidd in rigñ p, wɖ ɖ hlp v a relwe rug, sm seftipinz, n a stic n umbrela, a scrīn ẃć, f it onli hld tgɖr, wd cmplitli cīp ɖ mūnlît of hiz bed. N śortli aftwdz h wz cumftbli in ɖt bed. Ẃn h hd réd a smẃt solid wrc loñ inuf t pṛdys a dsîdd wś t slīp, h cast a drǎzi glans rnd ɖ rūm, blù ǎt ɖ candl, n fél bac upn ɖ pilo.

H mst hv slept sǎndli fr an aur or mor, ẃn a sudn clatr śc him p in a most unwelcm manr. In a momnt h riylîzd ẃt hd hapnd: hiz cerf̣li-cnstructd scrīn hd gvn we, n a vri brît frosti mūn wz śînñ d’recli on hiz fes. Ɖs wz hîli anoyñ. Cd h poṣbli gt p n rīcnstruct ɖ scrīn? or cd h manij t slīp f h dd nt?

Fr sm minits h le n pondrd ovr ol ɖ posbiḷtiz; ɖen h trnd ovr śarpli, n wɖ hiz îz opn le breʈlisli liṣnñ. Ɖr hd bn a muvmnt, h wz śr, in ɖ emti bed on ɖ oṗzit sîd v ɖ rūm. Tmoro h wd hv it muvd, fr ɖr mst b rats or smʈñ pleyñ abt in it. It wz qayt nǎ. No! ɖ cmośn bgan agn. Ɖr wz a ruṣlñ n śecñ: śrli mor ɖn eni rat cd cōz.

I cn figr t mslf smʈñ v ɖ Pṛfesr’z bwildrmnt n horr, fr I hv in a drīm ʈrti yirz bac sìn ɖ sem ʈñ hapn; bt ɖ rīdr wl hardli, phps, imajin hǎ dredfl it wz t him t si a figr sudnli sit p in ẃt h hd noun wz an emti bed. H wz ǎt v hiz ǒn bed in wn bǎnd, n md a daś twdz ɖ windo, ẃr le hiz onli wepn, ɖ stic wɖ ẃć h hd propt hiz scrīn. Ɖs wz, az it trnd ǎt, ɖ wrst ʈñ h cd hv dn, bcz ɖ prṣnij in ɖ emti bed, wɖ a sudn smuɖ mośn, slipt fṛm ɖ bed n tc p a pziśn, wɖ ǎtspred armz, btwn ɖ tū bedz, n in frunt v ɖ dor. Parcinz woćt it in a horid pplex̣ti. Smhǎ, ɖ îdīa v gtñ past it n iscepñ ʈru ɖ dor wz intolṛbl t him; h cd nt hv bòrn—h dd’nt nǒ ẃ—t tuć it; n az fr its tućñ him, h wd snr daś himslf ʈru ɖ windo ɖn hv ɖt hapn. It std fr ɖ momnt in a band v darc śado, n h hd nt sìn ẃt its fes wz lîc. Nǎ it bgan t muv, in a stūpñ posćr, n ol at wns ɖ spectetr riylîzd, wɖ sm horr n sm rlif, ɖt it mst b blînd, fr it sīmd t fīl abt it wɖ its mufld armz in a gropñ n randm faśn. Trnñ haf awe fṛm him, it bcem sudnli conśs v ɖ bed h hd jst left, n dartd twdz it, n bnt n flt ovr ɖ piloz in a we ẃć md Parcinz śudr az h hd nvr in hiz lîf ʈt it poṣbl. In a vri fy momnts it sīmd t nǒ ɖt ɖ bed wz emti, n ɖen, muvñ fwd intu ɖ eria v lît n fesñ ɖ windo, it śoud fr ɖ frst tîm ẃt manr v ʈñ it wz.

Parcinz, hu vri mć dslîcs biyñ qsćnd abt it, dd wns dscrîb smʈñ v it in mî hírñ, n I gaɖrd ɖt ẃt h ćīfli rmembrz abt it z a hoṛbl, an intnsli hoṛbl, fes v crumpld linn. Ẃt xpreśn h réd upn it h cd nt or wd nt tel, bt ɖt ɖ fir v it wnt nî t maḍnñ him z srtn.

Bt h wz nt at leźr t woć it fr loñ. Wɖ formiḍbl qcnis it muvd intu ɖ midl v ɖ rūm, n, az it gropt n wevd, wn cornr v its dreṗriz swept acrs Parcinz’z fes. H cd nt, ɖo h ń hǎ periḷs a sǎnd wz—h cd nt cīp bac a crî v dsgust, n ɖs gev ɖ srćr an instnt clu. It lept twdz him upn ɖ instnt, n ɖ nxt momnt h wz hafwe ʈru ɖ windo bcwdz, uṭrñ crî upn crî at ɖ utmost pić v hiz vôs, n ɖ linn fes wz ʈrust clos intu hiz ǒn. At ɖs, olmst ɖ last poṣbl secnd, dlivṛns cem, az y wl hv gest: ɖ Crnl brst ɖ dor opn, n wz jst in tîm t si ɖ dredfl grūp at ɖ windo. Ẃn h rīćt ɖ figrz onli wn wz left. Parcinz sanc fwd intu ɖ rūm in a fent, n bfr him on ɖ flor le a tumbld hīp v bedcloɖz.

Crnl Wilsn asct no qsćnz, bt bizid himslf in cīpñ evrwn els ǎt v ɖ rūm n in gtñ Parcinz bac t hiz bed; n himslf, rápt in a rug, okpaid ɖ uɖr bed, fr ɖ rest v ɖ nît. Rli on ɖ nxt de Rojrz arîvd, mor welcm ɖn h wd hv bn a de bfr, n ɖ ʈri v ɖm hld a vri loñ conslteśn in ɖ Pṛfesr’z rūm. At ɖ end v it ɖ Crnl left ɖ hoteldor cariyñ a smōl objict btwn hiz fngr n ʈum, ẃć h cast az far intu ɖ sì az a vri brōni arm cd snd it. Lêtr on ɖ smoc v a brnñ asndd fṛm ɖ bac preṃsz v ɖ Glob.

Xacli ẃt xpḷneśn wz paćt p fr ɖ staf n vizitrz at ɖ hotel I mst cnfes I d nt rec̣lect. Ɖ Pṛfesr wz smhǎ clird v ɖ redi sspiśn v delirium tremens, n ɖ hotel v ɖ repyteśn v a trubld hǎs.

Ɖr z nt mć qsćn az t ẃt wd hv hapnd t Parcinz f ɖ Crnl hd nt inṭvind ẃn h dd. H wd îɖr hv fōḷn ǎt v ɖ windo or els lost hiz wits. Bt it z nt so evidnt ẃt mor ɖ crīćr ɖt cem in ansr t ɖ ẃisl cd hv dn ɖn frîtn. Ɖr sīmd t b abṣlutli nʈñ mtirịl abt it sev ɖ bedcloɖz v ẃć it hd md itslf a bodi. Ɖ Crnl, hu rmembrd a nt vri dsimilr ocuṛns in India, wz v ɖ opińn ɖt f Parcinz hd clozd wɖ it it cd riyli hv dn vri litl, n ɖt its wn pǎr wz ɖt v frîṭnñ. Ɖ hol ʈñ, h sd, srvd t cnfrm hiz opińn v ɖ Ćrć v Rom.

Ɖr z riyli nʈñ mor t tel, bt, az y me imajin, ɖ Pṛfesr’z vyz on srtn pônts r les clir cut ɖn ɖe yst t b. Hiz nrvz, tù, hv sufrd: h canot īvn nǎ si a srplis haññ on a dor qt unmuvd, n ɖ specṭcl v a scercro in a fīld lêt on a wintr afṭnun hz cost him mor ɖn wn slīplis nît.