The Ultimate Weird Tales Collection - 133 stories - Clark Ashton Smith (Trilogus Classics) (24 page)

There were other changes, too. He seemed to have lost his usual bitterness. Often I caught him frowning intently, and surprised the lurking of some equivocal shadow in his frank eyes

There was a moodiness, a morbidity, which, as far as our five years' friendship enabled me to observe, was a new aspect of his temperament. Perhaps, if I had not been so preoccupied with my own difficulties, I might have wondered more as to the causatiom of his gloom, which I attributed readily enough at first to some technical dilemma that was baffling him. He was less and less the Amberville that I knew; and on the fourth day, when he came back at twilight, I perceived an actual surliness that was quite foreign to his nature.

'What's wrong?' I ventured to inquire. 'Have you struck a snag? Or is old Chapman's meadow getting on your nerves with its ghostly influences?'

He seemed, for once, to make an effort to throw off his gloom, his taciturnity and ill humour.

'It's the infernal mystery of the thing,' he declared, 'I've simply got to solve it, in one way or another. The place has an entity of its own — an indwelling personality. It's there, like the soul in a human body, but I can't pin it down or touch it. You know that I'm not superstitious — but, on the other hand, I'm not a bigoted materialist, either; and I've run across some odd phenomena in my time. That meadow, perhaps, is inhabited by what the ancients called a Genius Loci. More than once, before this, I have suspected that such things might exist — might reside, inherent, in some particular spot. But this is the first time that I've had reason to suspect anything of an actively malignant or inimical nature. The other influences, whose presence I have felt, were benign in some large, vague, impersonal way — or were else wholly indifferent to human welfare — perhaps oblivious of human existence. This thing, however, is hatefully aware and watchful: I feel that the meadow itself — or the force embodied in the meadow - is scrutinizing me all the time. The place has the air of a thirsty vanpire, waiting to drink me in somehow, if it can. It is a cul-de-sac of everything evil, in which an unwary soul might well be caught and absorbed. But I tell you, Murray, I can't keep away from it.'

'It looks as if the place were getting you,'. I said, thoroughly astonished by his extraordinary declaration, and by the air of fearful and morbid conviction with which he uttered it.

Apparently he had not heard me, for he made no reply to my observation. 'There's another angle,' he went on, with a feverish intensity in his voice. 'You remember my impression of an old man lurking in the background and watching me, on my first visit. Well, I have seen him again, many times, out of the corner of my eye; and during the last two days, he has appeared more directly, though in a queer, partial way. Sometimes, when I am studying the dead willow very intently, I see his scowling filthy-bearded face as a part of the hole. Then, again, it will float among the leafless twigs, as if it had been caught there. Sometimes a knotty hand, a tattered coat-sleeve, will emerge through the mantling in the pool, as if a drowned body were rising to the surface. Then, a moment later — or simultaneously — there will be some- thing of him among the alders or the cat-tails. These apparitions are always brief, and when I try to scrutinize them closely, they melt like films of vapour into the surrounding scene. But the old scoundrel, whoever or whatever he may be, is a sort of fixture. He is no less vile than everything else about the place, though I feel that he isn't the main element of the vileness.'

'Good Lord!' I exclaimed. 'You certainly have been seeing things. If you don't mind, I'll come down and join you for a while, tomorrow afternoon. The mystery begins to inveigle me.'

'Of course I don't mind, Come ahead.' His manner, all at once, for no tangible reason, had resumed the unnatural taciturnity of the past four days. He gave me a furtive look that was sullen and almost unfriendly. It was as if an obscure barrier, temporarily laid aside, had again risen between us. The shadows of his strange mood returned upon him visibly; and my efforts to continue the conversation were rewarded only by half-surly, half- absent monosyllables. Feeling an aroused concern, rather than any offence, I began to note, for the first time, the unwonted pallor of his face, and the bright, febrile lustre of his eyes, He looked vaguely unwell, I thought, as if something of his exuberant vitality had gone out of him, and had left in its place an alien energy of doubtful and less healthy nature. Tacitly, I gave up any attempt to bring him back from the secretive twilight into which he had withdrawn. For the rest of the evening, I pretended to read a novel, while Amberville maintained his singular abstraction. Somewhat inconclusively, I puzzled over the matter till bedtime. I made up my mind, however, that I would visit Chapman's meadow. I did not believe in the supernatural, but it seemed apparent that the place was exerting a deleterious influence upon Amberville.

The next morning, when I arose, my Chinese servant informed me that the painter had already breakfasted and had gone out with his easel and colours. This further proof of his obsession troubled me; but I applied myself rigorously to a forenoon of writing.

Immediately after luncheon, I drove down the highway, followed the narrow dirt road that branched off towards Bear River, and left my car on the pine-thick hill above the old Chapman place. Though I had never visited the meadow, I had a pretty clear idea of its location. Disregarding the grassy, half-obliterated road into the upper portion of the property, I struck down through the woods into the little blind valley, seeing more than once, on the opposite slope, the dying orchard of pear and apple trees, and the tumbledown shanty that had belonged to the Chapmans.

It was a warm October day; and the serene solitude of the forest, the autumnal softness of light and air, made the idea of anything malign or sinister seem impossible. When I came to the meadow-bottom, I was ready to laugh at Amberville's notions; and the place itself, at first sight, merely impressed me as being rather dreary and dismal. The features of the scene were those that he had described so clearly, but I could not find the open evil that had leered from the pool, the willow, the alders and the cat-tails in his drawings.

Amberville, with his back towards me, was seated on a folding stool before his easel, which he had placed among the plots of dark green wire-grass in the open ground above the pool. He did not seem to be working, however, but was staring intently at the scene beyond him, while a loaded brush drooped idly in his fingers. The sedges deadened my footfalls, and he did not hear me as I drew near.

With much curiosity, I peered over his shoulder at the large canvas on which he had been engaged. As far as I could tell, the picture had already been carried to a consummate degree of technical perfection. It was an almost photographic rendering of the scummy water, the whitish skeleton of the leaning willow, the unhealthy, half-disrooted alders, and the cluster of nodding mace-reeds. But in it I found the macabre and demoniac spirit of the sketches: the meadow seemed to wait and watch like an evilly distorted face. It was a deadfall of malignity and despair, lying from the autumn world around it; a plague-spot of nature, forever accursed and alone.

Again I looked at the landscape itself — and saw that the spot was indeed as Amberville had depicted it. It wore the grimace of a mad vampire, hateful and alert! At the same time, I became disagreeably conscious of the unnatural silence. There were no birds, no insects, as the painter had said; and it seemed that only spent and dying winds could ever enter that depressed valley- bottom. The thin stream that lost itself in the boggy ground was like a soul that went down to perdition. It was part of the mystery, too; for I could not remember any stream on the lower side of the barring hill that would indicate a subterranean outlet.

Amberville's intentness, and the very posture of his head and shoulders, were like those of a man who has been mesmerized. I was about to make my presence known to him; but at that instant there came to me the apperception that we were not alone in the meadow. Just beyond the focus of my vision, a figure seemed to stand in a furtive attitude, as if watching us both. I whirled about and there was no one. Then I heard a startled cry from Amberville and turned to find him staring at me. His features wore a look of terror and surprise, which had not wholly erased a hypnotic absorption.

'My God!' he said, 'I thought you were the old man!'

I can not be sure whether anything more was said by either of us. I have, however, the impression of a blank silence. After his single exclamation of surprise, Amberville seemed to retreat into an impenetrable abstraction, as if he were no longer conscious of my presence; as if, having identified me, he had forgotten me at once. On my part, I felt a weird and overpowering constraint. That infamous, eerie scene depressed me beyond measure. It seemed that the boggy bottom was trying to drag me down in some intangible way. The boughs of the sick alders beckoned. The pool, over which the bony willow presided like an arboreal death, was wooing me foully with its stagnant waters.

Moreover, apart from the ominous atmosphere of the scene itself, I was painfully aware of a further change in Amberville — a change that was an actual alienation, His recent mood, whatever it was, had strengthened upon him enormously: he had gone deeper into its morbid twilight, and was lost to the blithe and sanguine personality I had known. It was as if an incipient madness had seized him; and the possibility of this terrified me.

In a slow, somnambulistic manner, without giving me a second glance, he began to work at his painting, and I watched him for a while, hardly knowing what to do or say. For long intervals he would stay and peer with dreamy intentness at some feature of the landscape. I conceived the bizarre idea of a growing kinship, a mysterious rapport between Amberville and the meadow. In some intangible way, it seemed as if the place had taken some- thing from his very soul — and had given something of itself in exchange. He wore the air of one who participates in some unholy secret, who has become the acolyte of an unhuman knowledge. In a flash of horrible definitude, I saw the place as an actual vampire, and Amberville as its willing victim.

How long I remained there, I can not say. Finally I stepped over to him and shook him roughly by the shoulder.

'You're working too hard,' I said. 'Take my advice, and lay off for a day or two.'

He turned to me with the dazed look of one who is lost in some narcotic dream. This, very slowly, gave place to a sullen, evil anger.

'Oh, go to hell!' he snarled. 'Can't you see that I'm busy?'

I left him then, for there seemed nothing else to do under the circumstances. The mad and spectral nature of the whole affair was enough to make me doubt my own reason. My impressions of the meadow — and of Amberville — were tainted with an insidious horror such as I had ever before felt in any moment of waking life and normal consciousness.

At the bottom of the slope of yellow pine, I turned back with repugnant curiosity for a parting glance. The painter had not moved, he was still confronting the malignant scene like a charmed bird that faces a lethal serpent. Whether or not the impression was a double optic image, I have never been sure: but at that instant I seemed to discern a faint, unholy aura, neither light nor mist, that flowed and wavered about the meadow, preserving the outlines of the willow, the alders, the weeds, the pool Stealthily it appeared to lengthen, reaching towards Amberville like ghostly arms. The whole image was extremely tenuous, and may well have been an illusion; but it sent me shuddering into the shelter of the tall, benignant pines.

The remainder of that day, and, the evening that followed, were tinged with the shadowy horror I had found in Chapman's meadow. I believe that I spent most of the time in arguing vainly with myself, in trying to convince the rational part of my mind that all I had seen and felt was utterly preposterous. I could arrive at no conclusion, other than a conviction that Amberville's mental health was endangered by the damnable thing, whatever it was, that inhered in the meadow. The malign personality of the place, the impalpable terror, mystery and lure, were like webs that had been woven upon my brain, and which I could not dissipate by any amount of conscious effort.

I made two resolves, however: one was, that I should write immediately to Amberville's fiancé, Miss Avis Olcott, and invite her to visit me as a fellow-guest of the artist during the remainder of his stay at Bowman. Her influence, I thought, might help to counteract whatever was affecting him so perniciously. Since I knew her fairly well, the invitation would not seem out of the way. I decided to say nothing about it to Amberville: the element of surprise, I hoped, would be especially beneficial.

My second resolve was, that I should not again visit the meadow myself, if I could avoid it. Indirectly — for I knew the folly of trying to combat a mental obsession openly — I should also try to discourage the painter's interest in the place, and divert his attention to other themes, Trips and entertainments, too, could be devised, at the minor cost of delaying my own work.

The smoky autumn twilight overtook me in such meditations as these; but Amberville did not return. Horrible premonitions, without coherent shape or name, began to torment me as I waited for him. The night darkened; and dinner grew cold on the table. At last, about nine o'clock, when I was nerving myself to go out and hunt for him, he came in hurriedly. He was pale, dishevelled, out of breath; and his eyes held a painful glare, as if everything had frightened him beyond endurance.