The M.R. James Megapack (12 page)

Past the churchyard the path to the village goes, and not more than three or four minutes bring you to the inn door.

On the first day of his stay at Råbäck Mr Wraxall found the church door open, and made these notes of the interior which I have epitomized. Into the mausoleum, however, he could not make his way. He could by looking through the keyhole just descry that there were fine marble effigies and sarcophagi of copper, and a wealth of armorial ornament, which made him very anxious to spend some time in investigation.

The papers he had come to examine at the manor-house proved to be of just the kind he wanted for his book. There were family correspondence, journals, and account-books of the earliest owners of the estate, very carefully kept and clearly written, full of amusing and picturesque detail. The first De la Gardie appeared in them as a strong and capable man. Shortly after the building of the mansion there had been a period of distress in the district, and the peasants had risen and attacked several châteaux and done some damage. The owner of Råbäck took a leading part in supressing trouble, and there was reference to executions of ring-leaders and severe punishments inflicted with no sparing hand.

The portrait of this Magnus de la Gardie was one of the best in the house, and Mr Wraxall studied it with no little interest after his day’s work. He gives no detailed description of it, but I gather that the face impressed him rather by its power than by its beauty or goodness; in fact, he writes that Count Magnus was an almost phenomenally ugly man.

On this day Mr Wraxall took his supper with the family, and walked back in the late but still bright evening.

“I must remember,” he writes, “to ask the sexton if he can let me into the mausoleum at the church. He evidently has access to it himself, for I saw him tonight standing on the steps, and, as I thought, locking or unlocking the door.”

I find that early on the following day Mr Wraxall had some conversation with his landlord. His setting it down at such length as he does surprised me at first; but I soon realized that the papers I was reading were, at least in their beginning, the materials for the book he was meditating, and that it was to have been one of those quasi-journalistic productions which admit of the introduction of an admixture of conversational matter.

His object, he says, was to find out whether any traditions of Count Magnus de la Gardie lingered on in the scenes of that gentleman’s activity, and whether the popular estimate of him were favourable or not. He found that the Count was decidedly not a favourite. If his tenants came late to their work on the days which they owed to him as Lord of the Manor, they were set on the wooden horse, or flogged and branded in the manor-house yard. One or two cases there were of men who had occupied lands which encroached on the lord’s domain, and whose houses had been mysteriously burnt on a winter’s night, with the whole family inside. But what seemed to dwell on the innkeeper’s mind most—for he returned to the subject more than once—was that the Count had been on the Black Pilgrimage, and had brought something or someone back with him.

You will naturally inquire, as Mr Wraxall did, what the Black Pilgrimage may have been. But your curiosity on the point must remain unsatisfied for the time being, just as his did. The landlord was evidently unwilling to give a full answer, or indeed any answer, on the point, and, being called out for a moment, trotted out with obvious alacrity, only putting his head in at the door a few minutes afterwards to say that he was called away to Skara, and should not be back till evening.

So Mr Wraxall had to go unsatisfied to his day’s work at the manor-house. The papers on which he was just then engaged soon put his thoughts into another channel, for he had to occupy himself with glancing over the correspondence between Sophia Albertina in Stockholm and her married cousin Ulrica Leonora at Råbäck in the years 1705-10. The letters were of exceptional interest from the light they threw upon the culture of that period in Sweden, as anyone can testify who has read the full edition of them in the publications of the Swedish Historical Manuscripts Commission.

In the afternoon he had done with these, and after returning the boxes in which they were kept to their places on the shelf, he proceeded, very naturally, to take down some of the volumes nearest to them, in order to determine which of them had best be his principal subject of investigation next day. The shelf he had hit upon was occupied mostly by a collection of account-books in the writing of the first Count Magnus. But one among them was not an account-book, but a book of alchemical and other tracts in another sixteenth-century hand. Not being very familiar with alchemical literature, Mr Wraxall spends much space which he might have spared in setting out the names and beginnings of the various treatises: The book of the Phoenix, book of the Thirty Words, book of the Toad, book of Miriam, Turba philosophorum, and so forth; and then he announces with a good deal of circumstance his delight at finding, on a leaf originally left blank near the middle of the book, some writing of Count Magnus himself headed “Liber nigrae peregrinationis”. It is true that only a few lines were written, but there was quite enough to show that the landlord had that morning been referring to a belief at least as old as the time of Count Magnus, and probably shared by him. This is the English of what was written:

“If any man desires to obtain a long life, if he would obtain a faithful messenger and see the blood of his enemies, it is necessary that he should first go into the city of Chorazin, and there salute the prince….” Here there was an erasure of one word, not very thoroughly done, so that Mr Wraxall felt pretty sure that he was right in reading it as
aeris
(“of the air”). But there was no more of the text copied, only a line in Latin:
Quaere reliqua hujus materiei inter secretiora
. (See the rest of this matter among the more private things.)

It could not be denied that this threw a rather lurid light upon the tastes and beliefs of the Count; but to Mr Wraxall, separated from him by nearly three centuries, the thought that he might have added to his general forcefulness alchemy, and to alchemy something like magic, only made him a more picturesque figure, and when, after a rather prolonged contemplation of his picture in the hall, Mr Wraxall set out on his homeward way, his mind was full of the thought of Count Magnus. He had no eyes for his surroundings, no perception of the evening scents of the woods or the evening light on the lake; and when all of a sudden he pulled up short, he was astonished to find himself already at the gate of the churchyard, and within a few minutes of his dinner. His eyes fell on the mausoleum.

“Ah,” he said, “Count Magnus, there you are. I should dearly like to see you.”

“Like many solitary men,” he writes, “I have a habit of talking to myself aloud; and, unlike some of the Greek and Latin particles, I do not expect an answer. Certainly, and perhaps fortunately in this case, there was neither voice nor any that regarded: only the woman who, I suppose, was cleaning up the church, dropped some metallic object on the floor, whose clang startled me. Count Magnus, I think, sleeps sound enough.”

That same evening the landlord of the inn, who had heard Mr Wraxall say that he wished to see the clerk or deacon (as he would be called in Sweden) of the parish, introduced him to that official in the inn parlour. A visit to the De la Gardie tomb-house was soon arranged for the next day, and a little general conversation ensued.

Mr Wraxall, remembering that one function of Scandinavian deacons is to teach candidates for Confirmation, thought he would refresh his own memory on a Biblical point.

“Can you tell me,” he said, “anything about Chorazin?”

The deacon seemed startled, but readily reminded him how that village had once been denounced.

“To be sure,” said Mr Wraxall; “it is, I suppose, quite a ruin now?”

“So I expect,” replied the deacon. “I have heard some of our old priests say that Antichrist is to be born there; and there are tales—”

“Ah! what tales are those?” Mr Wraxall put in.

“Tales, I was going to say, which I have forgotten,” said the deacon; and soon after that he said good night.

The landlord was now alone, and at Mr Wraxall’s mercy; and that inquirer was not inclined to spare him.

“Herr Nielsen,” he said, “I have found out something about the Black Pilgrimage. You may as well tell me what you know. What did the Count bring back with him?”

Swedes are habitually slow, perhaps, in answering, or perhaps the landlord was an exception. I am not sure; but Mr Wraxall notes that the landlord spent at least one minute in looking at him before he said anything at all. Then he came close up to his guest, and with a good deal of effort he spoke:

“Mr Wraxall, I can tell you this one little tale, and no more—not any more. You must not ask anything when I have done. In my grandfather’s time—that is, ninety-two years ago—there were two men who said: ‘The Count is dead; we do not care for him. We will go tonight and have a free hunt in his wood’—the long wood on the hill that you have seen behind Råbäck. Well, those that heard them say this, they said: “No, do not go; we are sure you will meet with persons walking who should not be walking. They should be resting, not walking.” These men laughed. There were no forestmen to keep the wood, because no one wished to live there. The family were not here at the house. These men could do what they wished.

“Very well, they go to the wood that night. My grandfather was sitting here in this room. It was the summer, and a light night. With the window open, he could see out to the wood, and hear.

“So he sat there, and two or three men with him, and they listened. At first they hear nothing at all; then they hear someone—you know how far away it is—they hear someone scream, just as if the most inside part of his soul was twisted out of him. All of them in the room caught hold of each other, and they sat so for three-quarters of an hour. Then they hear someone else, only about three hundred ells off. They hear him laugh out loud: it was not one of those two men that laughed, and, indeed, they have all of them said that it was not any man at all. After that they hear a great door shut.

“Then, when it was just light with the sun, they all went to the priest. They said to him:

“‘Father, put on your gown and your ruff, and come to bury these men, Anders Bjornsen and Hans Thorbjorn.’

“You understand that they were sure these men were dead. So they went to the wood—my grandfather never forgot this. He said they were all like so many dead men themselves. The priest, too, he was in a white fear. He said when they came to him:

“‘I heard one cry in the night, and I heard one laugh afterwards. If I cannot forget that, I shall not be able to sleep again.’

“So they went to the wood, and they found these men on the edge of the wood. Hans Thorbjorn was standing with his back against a tree, and all the time he was pushing with his hands—pushing something away from him which was not there. So he was not dead. And they led him away, and took him to the house at Nykjoping, and he died before the winter; but he went on pushing with his hands. Also Anders Bjornsen was there; but he was dead. And I tell you this about Anders Bjornsen, that he was once a beautiful man, but now his face was not there, because the flesh of it was sucked away off the bones. You understand that? My grandfather did not forget that. And they laid him on the bier which they brought, and they put a cloth over his head, and the priest walked before; and they began to sing the psalm for the dead as well as they could. So, as they were singing the end of the first verse, one fell down, who was carrying the head of the bier, and the others looked back, and they saw that the cloth had fallen off, and the eyes of Anders Bjornsen were looking up, because there was nothing to close over them. And this they could not bear. Therefore the priest laid the cloth upon him, and sent for a spade, and they buried him in that place.”

The next day Mr Wraxall records that the deacon called for him soon after his breakfast, and took him to the church and mausoleum. He noticed that the key of the latter was hung on a nail just by the pulpit, and it occurred to him that, as the church door seemed to be left unlocked as a rule, it would not be difficult for him to pay a second and more private visit to the monuments if there proved to be more of interest among them than could be digested at first. The building, when he entered it, he found not unimposing. The monuments, mostly large erections of the seventeenth and eighteenth centuries, were dignified if luxuriant, and the epitaphs and heraldry were copious. The central space of the domed room was occupied by three copper sarcophagi, covered with finely-engraved ornament. Two of them had, as is commonly the case in Denmark and Sweden, a large metal crucifix on the lid. The third, that of Count Magnus, as it appeared, had, instead of that, a full-length effigy engraved upon it, and round the edge were several bands of similar ornament representing various scenes. One was a battle, with cannon belching out smoke, and walled towns, and troops of pikemen. Another showed an execution. In a third, among trees, was a man running at full speed, with flying hair and outstretched hands. After him followed a strange form; it would be hard to say whether the artist had intended it for a man, and was unable to give the requisite similitude, or whether it was intentionally made as monstrous as it looked. In view of the skill with which the rest of the drawing was done, Mr Wraxall felt inclined to adopt the latter idea. The figure was unduly short, and was for the most part muffled in a hooded garment which swept the ground. The only part of the form which projected from that shelter was not shaped like any hand or arm. Mr Wraxall compares it to the tentacle of a devil-fish, and continues: “On seeing this, I said to myself, ‘This, then, which is evidently an allegorical representation of some kind—a fiend pursuing a hunted soul—may be the origin of the story of Count Magnus and his mysterious companion. Let us see how the huntsman is pictured: doubtless it will be a demon blowing his horn.’” But, as it turned out, there was no such sensational figure, only the semblance of a cloaked man on a hillock, who stood leaning on a stick, and watching the hunt with an interest which the engraver had tried to express in his attitude.