Delphi Complete Works of Jerome K. Jerome (Illustrated) (Series Four) (217 page)

Next morning, Joe had a couple of bricklayers in, and made them haul out the stove and pull down the chimney, while he stood behind with a potato-sack in which to put the gold.

They knocked down half the wall, and never found so much as a four- penny bit. My brother-in-law did not know what to think.

The next night the old man appeared again, and again led the way into the kitchen. This time, however, instead of going to the fireplace, it stood more in the middle of the room, and sighed there.

“Oh, I see what he means now,” said my brother-in-law to himself; “it’s under the floor. Why did the old idiot go and stand up against the stove, so as to make me think it was up the chimney?”

They spent the next day in taking up the kitchen floor; but the only thing they found was a three-pronged fork, and the handle of that was broken.

On the third night, the ghost reappeared, quite unabashed, and for a third time made for the kitchen. Arrived there, it looked up at the ceiling and vanished.

“Umph! he don’t seem to have learned much sense where he’s been to,” muttered Joe, as he trotted back to bed; “I should have thought he might have done that at first.”

Still, there seemed no doubt now where the treasure lay, and the first thing after breakfast they started pulling down the ceiling. They got every inch of the ceiling down, and they took up the boards of the room above.

They discovered about as much treasure as you would expect to find in an empty quart-pot.

On the fourth night, when the ghost appeared, as usual, my brother- in-law was so wild that he threw his boots at it; and the boots passed through the body, and broke a looking-glass.

On the fifth night, when Joe awoke, as he always did now at twelve, the ghost was standing in a dejected attitude, looking very miserable. There was an appealing look in its large sad eyes that quite touched my brother-in-law.

“After all,” he thought, “perhaps the silly chap’s doing his best. Maybe he has forgotten where he really did put it, and is trying to remember. I’ll give him another chance.”

The ghost appeared grateful and delighted at seeing Joe prepare to follow him, and led the way into the attic, pointed to the ceiling, and vanished.

“Well, he’s hit it this time, I do hope,” said my brother-in-law; and next day they set to work to take the roof off the place.

It took them three days to get the roof thoroughly off, and all they found was a bird’s nest; after securing which they covered up the house with tarpaulins, to keep it dry.

You might have thought that would have cured the poor fellow of looking for treasure. But it didn’t.

He said there must be something in it all, or the ghost would never keep on coming as it did; and that, having gone so far, he would go on to the end, and solve the mystery, cost what it might.

Night after night, he would get out of his bed and follow that spectral old fraud about the house. Each night, the old man would indicate a different place; and, on each following day, my brother- in-law would proceed to break up the mill at the point indicated, and look for the treasure. At the end of three weeks, there was not a room in the mill fit to live in. Every wall had been pulled down, every floor had been taken up, every ceiling had had a hole knocked in it. And then, as suddenly as they had begun, the ghost’s visits ceased; and my brother-in-law was left in peace, to rebuild the place at his leisure.

“What induced the old image to play such a silly trick upon a family man and a ratepayer?” Ah! that’s just what I cannot tell you.

Some said that the ghost of the wicked old man had done it to punish my brother-in-law for not believing in him at first; while others held that the apparition was probably that of some deceased local plumber and glazier, who would naturally take an interest in seeing a house knocked about and spoilt. But nobody knew anything for certain.

INTERLUDE

We had some more punch, and then the curate told us a story.

I could not make head or tail of the curate’s story, so I cannot retail it to you. We none of us could make head or tail of that story. It was a good story enough, so far as material went. There seemed to be an enormous amount of plot, and enough incident to have made a dozen novels. I never before heard a story containing so much incident, nor one dealing with so many varied characters.

I should say that every human being our curate had ever known or met, or heard of, was brought into that story. There were simply hundreds of them. Every five seconds he would introduce into the tale a completely fresh collection of characters accompanied by a brand new set of incidents.

This was the sort of story it was:-

“Well, then, my uncle went into the garden, and got his gun, but, of course, it wasn’t there, and Scroggins said he didn’t believe it.”

“Didn’t believe what? Who’s Scroggins?”

“Scroggins! Oh, why he was the other man, you know — it was wife.”

“WHAT was his wife — what’s SHE got to do with it?”

“Why, that’s what I’m telling you. It was she that found the hat. She’d come up with her cousin to London — her cousin was my sister- in-law, and the other niece had married a man named Evans, and Evans, after it was all over, had taken the box round to Mr. Jacobs’, because Jacobs’ father had seen the man, when he was alive, and when he was dead, Joseph—”

“Now look here, never you mind Evans and the box; what’s become of your uncle and the gun?”

“The gun! What gun?”

“Why, the gun that your uncle used to keep in the garden, and that wasn’t there. What did he do with it? Did he kill any of these people with it — these Jacobses and Evanses and Scrogginses and Josephses? Because, if so, it was a good and useful work, and we should enjoy hearing about it.”

“No — oh no — how could he? — he had been built up alive in the wall, you know, and when Edward IV spoke to the abbot about it, my sister said that in her then state of health she could not and would not, as it was endangering the child’s life. So they christened it Horatio, after her own son, who had been killed at Waterloo before he was born, and Lord Napier himself said—”

“Look here, do you know what you are talking about?” we asked him at this point.

He said “No,” but he knew it was every word of it true, because his aunt had seen it herself. Whereupon we covered him over with the tablecloth, and he went to sleep.

And then Uncle told us a story.

Uncle said his was a real story.

THE GHOST OF THE BLUE CHAMBER

(My Uncle’s Story)

“I don’t want to make you fellows nervous,” began my uncle in a peculiarly impressive, not to say blood-curdling, tone of voice, “and if you would rather that I did not mention it, I won’t; but, as a matter of fact, this very house, in which we are now sitting, is haunted.”

“You don’t say that!” exclaimed Mr. Coombes.

“What’s the use of your saying I don’t say it when I have just said it?” retorted my uncle somewhat pettishly. “You do talk so foolishly. I tell you the house is haunted. Regularly on Christmas Eve the Blue Chamber [they called the room next to the nursery the ‘blue chamber,’ at my uncle’s, most of the toilet service being of that shade] is haunted by the ghost of a sinful man — a man who once killed a Christmas wait with a lump of coal.”

“How did he do it?” asked Mr. Coombes, with eager anxiousness.
“Was it difficult?”

“I do not know how he did it,” replied my uncle; “he did not explain the process. The wait had taken up a position just inside the front gate, and was singing a ballad. It is presumed that, when he opened his mouth for B flat, the lump of coal was thrown by the sinful man from one of the windows, and that it went down the wait’s throat and choked him.”

“You want to be a good shot, but it is certainly worth trying,” murmured Mr. Coombes thoughtfully.

“But that was not his only crime, alas!” added my uncle. “Prior to that he had killed a solo cornet-player.”

“No! Is that really a fact?” exclaimed Mr. Coombes.

“Of course it’s a fact,” answered my uncle testily; “at all events, as much a fact as you can expect to get in a case of this sort.

“How very captious you are this evening. The circumstantial evidence was overwhelming. The poor fellow, the cornet-player, had been in the neighbourhood barely a month. Old Mr. Bishop, who kept the ‘Jolly Sand Boys’ at the time, and from whom I had the story, said he had never known a more hard-working and energetic solo cornet-player. He, the cornet-player, only knew two tunes, but Mr. Bishop said that the man could not have played with more vigour, or for more hours in a day, if he had known forty. The two tunes he did play were “Annie Laurie” and “Home, Sweet Home”; and as regarded his performance of the former melody, Mr. Bishop said that a mere child could have told what it was meant for.

“This musician — this poor, friendless artist used to come regularly and play in this street just opposite for two hours every evening. One evening he was seen, evidently in response to an invitation, going into this very house, BUT WAS NEVER SEEN COMING OUT OF IT!”

“Did the townsfolk try offering any reward for his recovery?” asked
Mr. Coombes.

“Not a ha’penny,” replied my uncle.

“Another summer,” continued my uncle, “a German band visited here, intending — so they announced on their arrival — to stay till the autumn.

“On the second day from their arrival, the whole company, as fine and healthy a body of men as one could wish to see, were invited to dinner by this sinful man, and, after spending the whole of the next twenty-four hours in bed, left the town a broken and dyspeptic crew; the parish doctor, who had attended them, giving it as his opinion that it was doubtful if they would, any of them, be fit to play an air again.”

“You — you don’t know the recipe, do you?” asked Mr. Coombes.

“Unfortunately I do not,” replied my uncle; “but the chief ingredient was said to have been railway refreshment-room pork-pie.

“I forget the man’s other crimes,” my uncle went on; “I used to know them all at one time, but my memory is not what it was. I do not, however, believe I am doing his memory an injustice in believing that he was not entirely unconnected with the death, and subsequent burial, of a gentleman who used to play the harp with his toes; and that neither was he altogether unresponsible for the lonely grave of an unknown stranger who had once visited the neighbourhood, an Italian peasant lad, a performer upon the barrel- organ.

“Every Christmas Eve,” said my uncle, cleaving with low impressive tones the strange awed silence that, like a shadow, seemed to have slowly stolen into and settled down upon the room, “the ghost of this sinful man haunts the Blue Chamber, in this very house. There, from midnight until cock-crow, amid wild muffled shrieks and groans and mocking laughter and the ghostly sound of horrid blows, it does fierce phantom fight with the spirits of the solo cornet- player and the murdered wait, assisted at intervals, by the shades of the German band; while the ghost of the strangled harpist plays mad ghostly melodies with ghostly toes on the ghost of a broken harp.

Uncle said the Blue Chamber was comparatively useless as a sleeping-apartment on Christmas Eve.

“Hark!” said uncle, raising a warning hand towards the ceiling, while we held our breath, and listened; “Hark! I believe they are at it now — in the BLUE CHAMBER!”

THE BLUE CHAMBER

I rose up, and said that I would sleep in the Blue Chamber.

Before I tell you my own story, however — the story of what happened in the Blue Chamber — I would wish to preface it with -

A PERSONAL EXPLANATION

I feel a good deal of hesitation about telling you this story of my own. You see it is not a story like the other stories that I have been telling you, or rather that Teddy Biffles, Mr. Coombes, and my uncle have been telling you: it is a true story. It is not a story told by a person sitting round a fire on Christmas Eve, drinking whisky punch: it is a record of events that actually happened.

Indeed, it is not a ‘story’ at all, in the commonly accepted meaning of the word: it is a report. It is, I feel, almost out of place in a book of this kind. It is more suitable to a biography, or an English history.

There is another thing that makes it difficult for me to tell you this story, and that is, that it is all about myself. In telling you this story, I shall have to keep on talking about myself; and talking about ourselves is what we modern-day authors have a strong objection to doing. If we literary men of the new school have one praiseworthy yearning more ever present to our minds than another it is the yearning never to appear in the slightest degree egotistical.

I myself, so I am told, carry this coyness — this shrinking reticence concerning anything connected with my own personality, almost too far; and people grumble at me because of it. People come to me and say -

“Well, now, why don’t you talk about yourself a bit? That’s what we want to read about. Tell us something about yourself.”

But I have always replied, “No.” It is not that I do not think the subject an interesting one. I cannot myself conceive of any topic more likely to prove fascinating to the world as a whole, or at all events to the cultured portion of it. But I will not do it, on principle. It is inartistic, and it sets a bad example to the younger men. Other writers (a few of them) do it, I know; but I will not — not as a rule.

Under ordinary circumstances, therefore, I should not tell you this story at all. I should say to myself, “No! It is a good story, it is a moral story, it is a strange, weird, enthralling sort of a story; and the public, I know, would like to hear it; and I should like to tell it to them; but it is all about myself — about what I said, and what I saw, and what I did, and I cannot do it. My retiring, anti-egotistical nature will not permit me to talk in this way about myself.”

But the circumstances surrounding this story are not ordinary, and there are reasons prompting me, in spite of my modesty, to rather welcome the opportunity of relating it.