Conceptio › Archive › Project Gutenberg
Project Gutenberg public full text Public Domain

The Magician

Maugham, W. Somerset (William Somerset), 1874-1965 · Project Gutenberg
Project Gutenberg · Books · License: Public Domain
Open Source ↗
magicparis-france
Conceptio Open Archive

Analyze & explore related research in Conceptio

Connect this record directly into your research workflow or AI agent. Explore citations across open repositories, query full text, and export structured proof bundles.

Chapter XVI Chapter XVI Arthur would not leave the little village of Venning. Neither Susie nor the doctor could get him to make any decision. None of them spoke of the night which they had spent in the woods of Skene; but it coloured all their thoughts, and they were not free for a single moment from the ghastly memory of it. They seemed still to hear the sound of that passionate weeping. Arthur was moody. When he was with them, he spoke little; he opposed a stubborn resistance to their efforts at diverting his mind. He spent long hours by himself, in the country, and they had no idea what he did. Susie was terribly anxious. He had lost his balance so completely that she was prepared for any rashness. She divined that his hatred of Haddo was no longer within the bounds of reason. The desire for vengeance filled him entirely, so that he was capable of any violence. Several days went by. At last, in concert with Dr Porhoët, she determined to make one more attempt. It was late at night, and they sat with open windows in the sitting-room of the inn. There was a singular oppressiveness in the air which suggested that a thunderstorm was at hand. Susie prayed for it; for she ascribed to the peculiar heat of the last few days much of Arthur’s sullen irritability. “Arthur, you must tell us what you are going to do,” she said. “It is useless to stay here. We are all so ill and nervous that we cannot consider anything rationally. We want you to come away with us tomorrow.” “You can go if you choose,” he said. “I shall remain till that man is dead.” “It is madness to talk like that. You can do nothing. You are only making yourself worse by staying here.” “I have quite made up my mind.” “The law can offer you no help, and what else can you do?” She asked the question, meaning if possible to get from him some hint of his intentions; but the grimness of his answer, though it only confirmed her vague suspicions, startled her. “If I can do nothing else, I shall shoot him like a dog.” She could think of nothing to say, and for a while they remained in silence. Then he got up. “I think I should prefer it if you went,” he said. “You can only hamper me.” “I shall stay here as long as you do.” “Why?” “Because if you do anything, I shall be compromised. I may be arrested. I think the fear of that may restrain you.” He looked at her steadily. She met his eyes with a calmness which showed that she meant exactly what she said, and he turned uneasily away. A silence even greater than before fell upon them. They did not move. It was so still in the room that it might have been empty. The breathlessness of the air increased, so that it was horribly oppressive. Suddenly there was a loud rattle of thunder, and a flash of lightning tore across the heavy clouds. Susie thanked Heaven for the storm which would give presently a welcome freshness. She felt excessively ill at ease, and it was a relief to ascribe her sensation to a state of the atmosphere. Again the thunder rolled. It was so loud that it seemed to be immediately above their heads. And the wind rose suddenly and swept with a long moan through the trees that surrounded the house. It was a sound so human that it might have come from the souls of dead men suffering hopeless torments of regret. The lamp went out, so suddenly that Susie was vaguely frightened. It gave one flicker, and they were in total darkness. It seemed as though someone had leaned over the chimney and blown it out. The night was very black, and they could not see the window which opened on to the country. The darkness was so peculiar that for a moment no one stirred. Then Susie heard Dr Porhoët slip his hand across the table to find matches, but it seemed that they were not there. Again a loud peal of thunder startled them, but the rain would not fall. They panted for fresh air. On a sudden Susie’s heart gave a bound, and she sprang up. “There’s someone in the room.” The words were no sooner out of her mouth than she heard Arthur fling himself upon the intruder. She knew at once, with the certainty of an intuition, that it was Haddo. But how had he come in? What did he want? She tried to cry out, but no sound came from her throat. Dr Porhoët seemed bound to his chair. He did not move. He made no sound. She knew that an awful struggle was proceeding. It was a struggle to the death between two men who hated one another, but the most terrible part of it was that nothing was heard. They were perfectly noiseless. She tried to do something, but she could not stir. And Arthur’s heart exulted, for his enemy was in his grasp, under his hands, and he would not let him go while life was in him. He clenched his teeth and tightened his straining muscles. Susie heard his laboured breathing, but she only heard the breathing of one man. She wondered in abject terror what that could mean. They struggled silently, hand to hand, and Arthur knew that his strength was greater. He had made up his mind what to do and directed all his energy to a definite end. His enemy was extraordinarily powerful, but Arthur appeared to create some strength from the sheer force of his will. It seemed for hours that they struggled. He could not bear him down. Suddenly, he knew that the other was frightened and sought to escape from him. Arthur tightened his grasp; for nothing in the world now would he ever loosen his hold. He took a deep, quick breath, and then put out all his strength in a tremendous effort. They swayed from side to side. Arthur felt as if his muscles were being torn from the bones, he could not continue for more than a moment longer; but the agony that flashed across his mind at the thought of failure braced him to a sudden angry jerk. All at once Haddo collapsed, and they fell heavily to the ground. Arthur was breathing more quickly now. He thought that if he could keep on for one instant longer, he would be safe. He threw all his weight on the form that rolled beneath him, and bore down furiously on the man’s arm. He twisted it sharply, with all his might, and felt it give way. He gave a low cry of triumph; the arm was broken. And now his enemy was seized with panic; he struggled madly, he wanted only to get away from those long hands that were killing him. They seemed to be of iron. Arthur seized the huge bullock throat and dug his fingers into it, and they sunk into the heavy rolls of fat; and he flung the whole weight of his body into them. He exulted, for he knew that his enemy was in his power at last; he was strangling him, strangling the life out of him. He wanted light so that he might see the horror of that vast face, and the deadly fear, and the staring eyes. And still he pressed with those iron hands. And now the movements were strangely convulsive. His victim writhed in the agony of death. His struggles were desperate, but the avenging hands held him as in a vice. And then the movements grew spasmodic, and then they grew weaker. Still the hands pressed upon the gigantic throat, and Arthur forgot everything. He was mad with rage and fury and hate and sorrow. He thought of Margaret’s anguish and of her fiendish torture, and he wished the man had ten lives so that he might take them one by one. And at last all was still, and that vast mass of flesh was motionless, and he knew that his enemy was dead. He loosened his grasp and slipped one hand over the heart. It would never beat again. The man was stone dead. Arthur got up and straightened himself. The darkness was intense still, and he could see nothing. Susie heard him, and at length she was able to speak. “Arthur, what have you done?” “I’ve killed him,” he said hoarsely. “O God, what shall we do?” Arthur began to laugh aloud, hysterically, and in the darkness his hilarity was terrifying. “For God’s sake let us have some light.” “I’ve found the matches,” said Dr Porhoët. He seemed to awake suddenly from his long stupor. He struck one, and it would not light. He struck another, and Susie took off the globe and the chimney as he kindled the wick. Then he held up the lamp, and they saw Arthur looking at them. His face was ghastly. The sweat ran off his forehead in great beads, and his eyes were bloodshot. He trembled in every limb. Then Dr Porhoët advanced with the lamp and held it forward. They looked down on the floor for the man who lay there dead. Susie gave a sudden cry of horror. There was no one there. Arthur stepped back in terrified surprise. There was no one in the room, living or dead, but the three friends. The ground sank under Susie’s feet, she felt horribly ill, and she fainted. When she awoke, seeming difficultly to emerge from an eternal night, Arthur was holding down her head. “Bend down,” he said. “Bend down.” All that had happened came back to her, and she burst into tears. Her self-control deserted her, and, clinging to him for protection, she sobbed as though her heart would break. She was shaking from head to foot. The strangeness of this last horror had overcome her, and she could have shrieked with fright. “It’s all right,” he said. “You need not be afraid.” “Oh, what does it mean?” “You must pluck up courage. We’re going now to Skene.” She sprang to her feet, as though to get away from him; her heart beat wildly. “No, I can’t; I’m frightened.” “We must see what it means. We have no time to lose, or the morning will be upon us before we get back.” Then she sought to prevent him. “Oh, for God’s sake, don’t go, Arthur. Something awful may await you there. Don’t risk your life.” “There is no danger. I tell you the man is dead.” “If anything happened to you …” She stopped, trying to restrain her sobs; she dared not go on. But he seemed to know what was in her mind. “I will take no risks, because of you. I know that whether I live or die is not a—matter of indifference to you.” She looked up and saw that his eyes were fixed upon her gravely. She reddened. A curious feeling came into her heart. “I will go with you wherever you choose,” she said humbly. “Come, then.” They stepped out into the night. And now, without rain, the storm had passed away, and the stars were shining. They walked quickly. Arthur went in front of them. Dr Porhoët and Susie followed him, side by side, and they had to hasten their steps in order not to be left behind. It seemed to them that the horror of the night was passed, and there was a fragrancy in the air which was wonderfully refreshing. The sky was beautiful. And at last they came to Skene. Arthur led them again to the opening in the palisade, and he took Susie’s hand. Presently they stood in the place from which a few days before they had seen the house. As then, it stood in massive blackness against the night and, as then, the attic windows shone out with brilliant lights. Susie started, for she had expected that the whole place would be in darkness. “There is no danger, I promise you,” said Arthur gently. “We are going to find out the meaning of all this mystery.” He began to walk towards the house. “Have you a weapon of some sort?” asked the doctor. Arthur handed him a revolver. “Take this. It will reassure you, but you will have no need of it. I bought it the other day when—I had other plans.” Susie gave a little shudder. They reached the drive and walked to the great portico which adorned the facade of the house. Arthur tried the handle, but it would not open. “Will you wait here?” he said. “I can get through one of the windows, and I will let you in.” He left them. They stood quietly there, with anxious hearts; they could not guess what they would see. They were afraid that something would happen to Arthur, and Susie regretted that she had not insisted on going with him. Suddenly she remembered that awful moment when the light of the lamp had been thrown where all expected to see a body, and there was nothing. “What do you think it meant?” she cried suddenly. “What is the explanation?” “Perhaps we shall see now,” answered the doctor. Arthur still lingered, and she could not imagine what had become of him. All sorts of horrible fancies passed through her mind, and she dreaded she knew not what. At last they heard a footstep inside the house, and the door was opened. “I was convinced that nobody slept here, but I was obliged to make sure. I had some difficulty in getting in.” Susie hesitated to enter. She did not know what horrors awaited her, and the darkness was terrifying. “I cannot see,” she said. “I’ve brought a torch,” said Arthur. He pressed a button, and a narrow ray of bright light was cast upon the floor. Dr Porhoët and Susie went in. Arthur carefully closed the door, and flashed the light of his torch all round them. They stood in a large hall, the floor of which was scattered with the skins of lions that Haddo on his celebrated expedition had killed in Africa. There were perhaps a dozen, and their number gave a wild, barbaric note. A great oak staircase led to the upper floors. “We must go through all the rooms,” said Arthur. He did not expect to find Haddo till they came to the lighted attics, but it seemed needful nevertheless to pass right through the house on their way. A flash of his torch had shown him that the walls of the hall were decorated with all manner of armour, ancient swords of Eastern handiwork, barbaric weapons from central Africa, savage implements of medieval warfare; and an idea came to him. He took down a huge battle-axe and swung it in his hand. “Now come.” Silently, holding their breath as though they feared to wake the dead, they went into the first room. They saw it difficultly with their scant light, since the thin shaft of brilliancy, emphasising acutely the surrounding darkness, revealed it only piece by piece. It was a large room, evidently unused, for the furniture was covered with holland, and there was a mustiness about it which suggested that the windows were seldom opened. As in many old houses, the rooms led not from a passage but into one another, and they walked through many till they came back into the hall. They had all a desolate, uninhabited air. Their sombreness was increased by the oak with which they were panelled. There was panelling in the hall too, and on the stairs that led broadly to the top of the house. As they ascended, Arthur stopped for one moment and passed his hand over the polished wood. “It would burn like tinder,” he said. They went through the rooms on the first floor, and they were as empty and as cheerless. Presently they came to that which had been Margaret’s. In a bowl were dead flowers. Her brushes were still on the toilet table. But it was a gloomy chamber, with its dark oak, and, so comfortless that Susie shuddered. Arthur stood for a time and looked at it, but he said nothing. They found themselves again on the stairs and they went to the second storey. But here they seemed to be at the top of the house. “How does one get up to the attics?” said Arthur, looking about him with surprise. He paused for a while to think. Then he nodded his head. “There must be some steps leading out of one of the rooms.” They went on. And now the ceilings were much lower, with heavy beams, and there was no furniture at all. The emptiness seemed to make everything more terrifying. They felt that they were on the threshold of a great mystery, and Susie’s heart began to beat fast. Arthur conducted his examination with the greatest method; he walked round each room carefully, looking for a door that might lead to a staircase; but there was no sign of one. “What will you do if you can’t find the way up?” asked Susie. “I shall find the way up,” he answered. They came to the staircase once more and had discovered nothing. They looked at one another helplessly. “It’s quite clear there is a way,” said Arthur, with impatience. “There must be something in the nature of a hidden door somewhere or other.” He leaned against the balustrade and meditated. The light of his lantern threw a narrow ray upon the opposite wall. “I feel certain it must be in one of the rooms at the end of the house. That seems the most natural place to put a means of ascent to the attics.” They went back, and again he examined the panelling of a small room that had outside walls on three sides of it. It was the only room that did not lead into another. “It must be here,” he said. Presently he gave a little laugh, for he saw that a small door was concealed by the woodwork. He pressed it where he thought there might be a spring, and it flew open. Their torch showed them a narrow wooden staircase. They walked up and found themselves in front of a door. Arthur tried it, but it was locked. He smiled grimly. “Will you get back a little,” he said. He lifted his axe and swung it down upon the latch. The handle was shattered, but the lock did not yield. He shook his head. As he paused for a moment, an there was a complete silence, Susie distinctly heard a slight noise. She put her hand on Arthur’s arm to call his attention to it, and with strained ears they listened. There was something alive on the other side of the door. They heard its curious sound: it was not that of a human voice, it was not the crying of an animal, it was extraordinary. It was the sort of gibber, hoarse and rapid, and it filled them with an icy terror because it was so weird and so unnatural. “Come away, Arthur,” said Susie. “Come away.” “There’s some living thing in there,” he answered. He did not know why the sound horrified him. The sweat broke out on his forehead. “Something awful will happen to us,” whispered Susie, shaking with uncontrollable fear. “The only thing is to break the door down.” The horrid gibbering was drowned by the noise he made. Quickly, without pausing, he began to hack at the oak door with all his might. In rapid succession his heavy blows rained down, and the sound echoed through the empty house. There was a crash, and the door swung back. They had been so long in almost total darkness that they were blinded for an instant by the dazzling light. And then instinctively they started back, for, as the door opened, a wave of heat came out upon them so that they could hardly breathe. The place was like an oven. They entered. It was lit by enormous lamps, the light of which was increased by reflectors, and warmed by a great furnace. They could not understand why so intense a heat was necessary. The narrow windows were closed. Dr Porhoët caught sight of a thermometer and was astounded at the temperature it indicated. The room was used evidently as a laboratory. On broad tables were test-tubes, basins and baths of white porcelain, measuring-glasses, and utensils of all sorts; but the surprising thing was the great scale upon which everything was. Neither Arthur nor Dr Porhoët had ever seen such gigantic measures nor such large test-tubes. There were rows of bottles, like those in the dispensary of a hospital, each containing great quantities of a different chemical. The three friends stood in silence. The emptiness of the room contrasted so oddly with its appearance of being in immediate use that it was uncanny. Susie felt that he who worked there was in the midst of his labours, and might return at any moment; he could have only gone for an instant into another chamber in order to see the progress of some experiment. It was quite silent. Whatever had made those vague, unearthly noises was hushed by their approach. The door was closed between this room and the next. Arthur opened it, and they found themselves in a long, low attic, ceiled with great rafters, as brilliantly lit and as hot as the first. Here too were broad tables laden with retorts, instruments for heating, huge test-tubes, and all manner of vessels. The furnace that warmed it gave a steady heat. Arthur’s gaze travelled slowly from table to table, and he wondered what Haddo’s experiments had really been. The air was heavy with an extraordinary odour: it was not musty, like that of the closed rooms through which they had passed, but singularly pungent, disagreeable and sickly. He asked himself what it could spring from. Then his eyes fell upon a huge receptacle that stood on the table nearest to the furnace. It was covered with a white cloth. He took it off. The vessel was about four feet high, round, and shaped somewhat like a washing tub, but it was made of glass more than an inch thick. In it a spherical mass, a little larger than a football, of a peculiar, livid colour. The surface was smooth, but rather coarsely grained, and over it ran a dense system of blood-vessels. It reminded the two medical men of those huge tumours which are preserved in spirit in hospital museums. Susie looked at it with an incomprehensible disgust. Suddenly she gave a cry. “Good God, it’s moving!” Arthur put his hand on her arm quickly to quieten her and bent down with irresistible curiosity. They saw that it was a mass of flesh unlike that of any human being; and it pulsated regularly. The movement was quite distinct, up and down, like the delicate heaving of a woman’s breast when she is asleep. Arthur touched the thing with one finger and it shrank slightly. “Its quite warm,” he said. He turned it over, and it remained in the position in which he had placed it, as if there were neither top nor bottom to it. But they could see now, irregularly placed on one side, a few short hairs. They were just like human hairs. “Is it alive?” whispered Susie, struck with horror and amazement. “Yes!” Arthur seemed fascinated. He could not take his eyes off the loathsome thing. He watched it slowly heave with even motion. “What can it mean?” he asked. He looked at Dr Porhoët with pale startled face. A thought was coming to him, but a thought so unnatural, extravagant, and terrible that he pushed it from him with a movement of both hands, as though it were a material thing. Then all three turned around abruptly with a start, for they heard again the wild gibbering which had first shocked their ears. In the wonder of this revolting object they had forgotten all the rest. The sound seemed extraordinarily near, and Susie drew back instinctively, for it appeared to come from her very side. “There’s nothing here,” said Arthur. “It must be in the next room.” “Oh, Arthur, let us go,” cried Susie. “I’m afraid to see what may be in store for us. It is nothing to us; and what we see may poison our sleep for ever.” She looked appealingly at Dr Porhoët. He was white and anxious. The heat of that place had made the sweat break out on his forehead. “I have seen enough. I want to see no more,” he said. “Then you may go, both of you,” answered Arthur. “I do not wish to force you to see anything. But I shall go on. Whatever it is, I wish to find out.” “But Haddo? Supposing he is there, waiting? Perhaps you are only walking into a trap that he has set for you.” “I am convinced that Haddo is dead.” Again that unintelligible jargon, unhuman and shrill, fell upon their ears, and Arthur stepped forward. Susie did not hesitate. She was prepared to follow him anywhere. He opened the door, and there was a sudden quiet. Whatever made those sounds was there. It was a larger room than any on the others and much higher, for it ran along the whole front of the house. The powerful lamps showed every corner of it at once, but, above, the beams of the open ceiling were dark with shadow. And here the nauseous odour, which had struck them before, was so overpowering that for a while they could not go in. It was indescribably foul. Even Arthur thought it would make him sick, and he looked at the windows to see if it was possible to open them; but it seemed they were hermetically closed. The extreme warmth made the air more overpowering. There were four furnaces here, and they were all alight. In order to give out more heat and to burn slowly, the fronts of them were open, and one could see that they were filled with glowing coke. The room was furnished no differently from the others, but to the various instruments for chemical operations on a large scale were added all manner of electrical appliances. Several books were lying about, and one had been left open face downwards on the edge of a table. But what immediately attracted their attention was a row of those large glass vessels like that which they had seen in the adjoining room. Each was covered with a white cloth. They hesitated a moment, for they knew that here they were face to face with the great enigma. At last Arthur pulled away the cloth from one. None of them spoke. They stared with astonished eyes. For here, too, was a strange mass of flesh, almost as large as a new-born child, but there was in it the beginnings of something ghastly human. It was shaped vaguely like an infant, but the legs were joined together so that it looked like a mummy rolled up in its coverings. There were neither feet nor knees. The trunk was formless, but there was a curious thickening on each side; it was as if a modeller had meant to make a figure with the arms loosely bent, but had left the work unfinished so that they were still one with the body. There was something that resembled a human head, covered with long golden hair, but it was horrible; it was an uncouth mass, without eyes or nose or mouth. The colour was a kind of sickly pink, and it was almost transparent. There was a very slight movement in it, rhythmical and slow. It was living too. Then quickly Arthur removed the covering from all the other jars but one; and in a flash of the eyes they saw abominations so awful that Susie had to clench her fists in order not to scream. There was one monstrous thing in which the limbs approached nearly to the human. It was extraordinarily heaped up, with fat tiny arms, little bloated legs, and an absurd squat body, so that it looked like a Chinese mandarin in porcelain. In another the trunk was almost like that of a human child, except that it was patched strangely with red and grey. But the terror of it was that at the neck it branched hideously, and there were two distinct heads, monstrously large, but duly provided with all their features. The features were a caricature of humanity so shameful that one could hardly bear to look. And as the light fell on it, the eyes of each head opened slowly. They had no pigment in them, but were pink, like the eyes of white rabbits; and they stared for a moment with an odd, unseeing glance. Then they were shut again, and what was curiously terrifying was that the movements were not quite simultaneous; the eyelids of one head fell slowly just before those of the other. And in another place was a ghastly monster in which it seemed that two bodies had been dreadfully entangled with one another. It was a creature of nightmare, with four arms and four legs, and this one actually moved. With a peculiar motion it crawled along the bottom of the great receptacle in which it was kept, towards the three persons who looked at it. It seemed to wonder what they did. Susie started back with fright, as it raised itself on its four legs and tried to reach up to them. Susie turned away and hid her face. She could not look at those ghastly counterfeits of humanity. She was terrified and ashamed. “Do you understand what this means?” said Dr Porhoët to Arthur, in an awed voice. “It means that he has discovered the secret of life.” “Was it for these vile monstrosities that Margaret was sacrificed in all her loveliness?” The two men looked at one another with sad, wondering eyes. “Don’t you remember that he talked of the manufacture of human beings? It’s these misshapen things that he’s succeeding in producing,” said the doctor. “There is one more that we haven’t seen,” said Arthur. He pointed to the covering which still hid the largest of the vases. He had a feeling that it contained the most fearful of all these monsters; and it was not without an effort that he drew the cloth away. But no sooner had he done this than something sprang up, so that instinctively he started back, and it began to gibber in piercing tones. These were the unearthly sounds that they had heard. It was not a voice, it was a kind of raucous crying, hoarse yet shrill, uneven like the barking of a dog, and appalling. The sounds came forth in rapid succession, angrily, as though the being that uttered them sought to express itself in furious words. It was mad with passion and beat against the glass walls of its prison with clenched fists. For the hands were human hands, and the body, though much larger, was of the shape of a new-born child. The creature must have stood about four feet high. The head was horribly misshapen. The skull was enormous, smooth and distended like that of a hydrocephalic, and the forehead protruded over the face hideously. The features were almost unformed, preternaturally small under the great, overhanging brow; and they had an expression of fiendish malignity. The tiny, misshapen countenance writhed with convulsive fury, and from the mouth poured out a foaming spume. It raised its voice higher and higher, shrieking senseless gibberish in its rage. Then it began to hurl its whole body madly against the glass walls and to beat its head. It appeared to have a sudden incomprehensible hatred for the three strangers. It was trying to fly at them. The toothless gums moved spasmodically, and it threw its face into horrible grimaces. That nameless, loathsome abortion was the nearest that Oliver Haddo had come to the human form. “Come away,” said Arthur. “We must not look at this.” He quickly flung the covering over the jar. “Yes, for God’s sake let us go,” said Susie. “We haven’t done yet,” answered Arthur. “We haven’t found the author of all this.” He looked at the room in which they were, but there was no door except that by which they had entered. Then he uttered a startled cry, and stepping forward fell on his knee. On the other side of the long tables heaped up with instruments, hidden so that at first they had not seen him, Oliver Haddo lay on the floor, dead. His blue eyes were staring wide, and they seemed larger than they had ever been. They kept still the expression of terror which they had worn in the moment of his agony, and his heavy face was distorted with deadly fear. It was purple and dark, and the eyes were injected with blood. “He died of suffocation,” whispered Dr Porhoët. Arthur pointed to the neck. There could be seen on it distinctly the marks of the avenging fingers that had strangled the life out of him. It was impossible to hesitate. “I told you that I had killed him,” said Arthur. Then he remembered something more. He took hold of the right arm. He was convinced that it had been broken during that desperate struggle in the darkness. He felt it carefully and listened. He heard plainly the two parts of the bone rub against one another. The dead man’s arm was broken just in the place where he had broken it. Arthur stood up. He took one last look at his enemy. That vast mass of flesh lay heaped up on the floor in horrible disorder. “Now that you have seen, will you come away?” said Susie, interrupting him. The words seemed to bring him suddenly to himself. “Yes, we must go quickly.” They turned away and with hurried steps walked through those bright attics till they came to the stairs. “Now go down and wait for me at the door,” said Arthur. “I will follow you immediately.” “What are you going to do?” asked Susie. “Never mind. Do as I tell you. I have not finished here yet.” They went down the great oak staircase and waited in the hall. They wondered what Arthur was about. Presently he came running down. “Be quick!” he cried. “We have no time to lose.” “What have you done, Arthur?” There’s no time to tell you now.” He hurried them out and slammed the door behind him. He took Susie’s hand. “Now we must run. Come.” She did not know what his haste signified, but her heart beat furiously. He dragged her along. Dr Porhoët hurried on behind them. Arthur plunged into the wood. He would not leave them time to breathe. “You must be quick,” he said. At last they came to the opening in the fence, and he helped them to get through. Then he carefully replaced the wooden paling and, taking Susie’s arm began to walk rapidly towards their inn. “I’m frightfully tired,” she said. “I simply can’t go so fast.” “You must. Presently you can rest as long as you like.” They walked very quickly for a while. Now and then Arthur looked back. The night was still quite dark, and the stars shone out in their myriads. At last he slackened their pace. “Now you can go more slowly,” he said. Susie saw the smiling glance that he gave her. His eyes were full of tenderness. He put his arm affectionately round her shoulders to support her. “I’m afraid you’re quite exhausted, poor thing,” he said. “I’m sorry to have had to hustle you so much.” “It doesn’t matter at all.” She leaned against him comfortably. With that protecting arm about her, she felt capable of any fatigue. Dr Porhoët stopped. “You must really let me roll myself a cigarette,” he said. “You may do whatever you like,” answered Arthur. There was a different ring in his voice now, and it was soft with a good-humour that they had not heard in it for many months. He appeared singularly relieved. Susie was ready to forget the terrible past and give herself over to the happiness that seemed at last in store for her. They began to saunter slowly on. And now they could take pleasure in the exquisite night. The air was very suave, odorous with the heather that was all about them, and there was an enchanting peace in that scene which wonderfully soothed their weariness. It was dark still, but they knew the dawn was at hand, and Susie rejoiced in the approaching day. In the east the azure of the night began to thin away into pale amethyst, and the trees seemed gradually to stand out from the darkness in a ghostly beauty. Suddenly birds began to sing all around them in a splendid chorus. From their feet a lark sprang up with a rustle of wings and, mounting proudly upon the air, chanted blithe canticles to greet the morning. They stood upon a little hill. “Let us wait here and see the sun rise,” said Susie. “As you will.” They stood all three of them, and Susie took in deep, joyful breaths of the sweet air of dawn. The whole land, spread at her feet, was clothed in the purple dimness that heralds day, and she exulted in its beauty. But she noticed that Arthur, unlike herself and Dr Porhoët, did not look toward the east. His eyes were fixed steadily upon the place from which they had come. What did he look for in the darkness of the west? She turned round, and a cry broke from her lips, for the shadows there were lurid with a deep red glow. “It looks like a fire,” she said. “It is. Skene is burning like tinder.” And as he spoke it seemed that the roof fell in, for suddenly vast flames sprang up, rising high into the still night air; and they saw that the house they had just left was blazing furiously. It was a magnificent sight from the distant hill on which they stood to watch the fire as it soared and sank, as it shot scarlet tongues along like strange Titanic monsters, as it raged from room to room. Skene was burning. It was beyond the reach of human help. In a little while there would be no trace of all those crimes and all those horrors. Now it was one mass of flame. It looked like some primeval furnace, where the gods might work unheard-of miracles. “Arthur, what have you done?” asked Susie, in a tone that was hardly audible. He did not answer directly. He put his arm about her shoulder again, so that she was obliged to turn round. “Look, the sun is rising.” In the east, a long ray of light climbed up the sky, and the sun, yellow and round, appeared upon the face of the earth. *** END OF THE PROJECT GUTENBERG EBOOK THE MAGICIAN *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG™ LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works 1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate . While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg electronic works Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support. Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org . This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Related documents

Record · ID 37701 · SHA-256 8465e3a18ad5bcae
Retrieved via Conceptio: every document is proof-bundled with source, license, and retrieval metadata.
Bring this data into your agent: Connect via MCP or API · 20 free credits to start · no card required
Read the Docs → · View CLI source on GitHub · Conceptio Open Knowledge Archive