Sylvie and Bruno Part 5

"He shalt have my cake!" Bruno cried, pa.s.sionately struggling out of Sylvie's arms.

"Yes, yes, darling!" Sylvie gently pleaded. "But don't throw it out!

He's gone away, don't you see? Let's go after him." And she led him out of the room, unnoticed by the rest of the party, who were wholly absorbed in watching the old Beggar.

The Conspirators returned to their seats, and continued their conversation in an undertone, so as not to be heard by Uggug, who was still standing at the window.

"By the way, there was something about Bruno succeeding to the Wrardenship," said my Lady. "How does that stand in the new Agreement?"

The Chancellor chuckled. "Just the same, word for word," he said, "with one exception, my Lady. Instead of 'Bruno,' I've taken the liberty to put in--" he dropped his voice to a whisper, "to put in 'Uggug,' you know!"

"Uggug, indeed!" I exclaimed, in a burst of indignation I could no longer control. To bring out even that one word seemed a gigantic effort: but, the cry once uttered, all effort ceased at once: a sudden gust swept away the whole scene, and I found myself sitting up, staring at the young lady in the opposite corner of the carriage, who had now thrown back her veil, and was looking at me with an expression of amused surprise.

CHAPTER 5. A BEGGAR'S PALACE.

That I had said something, in the act of waking, I felt sure: the hoa.r.s.e stifled cry was still ringing in my ears, even if the startled look of my fellow-traveler had not been evidence enough: but what could I possibly say by way of apology?

"I hope I didn't frighten you?" I stammered out at last. "I have no idea what I said. I was dreaming."

"You said 'Uggug indeed!'" the young lady replied, with quivering lips that would curve themselves into a smile, in spite of all her efforts to look grave. "At least--you didn't say it--you shouted it!"

"I'm very sorry," was all I could say, feeling very penitent and helpless. "She has Sylvie's eyes!" I thought to myself, half-doubting whether, even now, I were fairly awake. "And that sweet look of innocent wonder is all Sylvie's too. But Sylvie hasn't got that calm resolute mouth nor that far-away look of dreamy sadness, like one that has had some deep sorrow, very long ago--" And the thick-coming fancies almost prevented my hearing the lady's next words.

"If you had had a 'Shilling Dreadful' in your hand," she proceeded, "something about Ghosts or Dynamite or Midnight Murder--one could understand it: those things aren't worth the shilling, unless they give one a Nightmare. But really--with only a medical treatise, you know--"

and she glanced, with a pretty shrug of contempt, at the book over which I had fallen asleep.

Her friendliness, and utter unreserve, took me aback for a moment; yet there was no touch of forwardness, or boldness, about the child for child, almost, she seemed to be: I guessed her at scarcely over twenty--all was the innocent frankness of some angelic visitant, new to the ways of earth and the conventionalisms or, if you will, the barbarisms--of Society. "Even so," I mused, "will Sylvie look and speak, in another ten years."

"You don't care for Ghosts, then," I ventured to suggest, "unless they are really terrifying?"

"Quite so," the lady a.s.sented. "The regular Railway-Ghosts--I mean the Ghosts of ordinary Railway-literature--are very poor affairs. I feel inclined to say, with Alexander Selkirk, 'Their tameness is shocking to me'! And they never do any Midnight Murders. They couldn't 'welter in gore,' to save their lives!"

"'Weltering in gore' is a very expressive phrase, certainly. Can it be done in any fluid, I wonder?"

"I think not," the lady readily replied--quite as if she had thought it out, long ago. "It has to be something thick. For instance, you might welter in bread-sauce. That, being white, would be more suitable for a Ghost, supposing it wished to welter!"

"You have a real good terrifying Ghost in that book?" I hinted.

"How could you guess?" she exclaimed with the most engaging frankness, and placed the volume in my hands. I opened it eagerly, with a not unpleasant thrill (like what a good ghost-story gives one) at the 'uncanny' coincidence of my having so unexpectedly divined the subject of her studies.

It was a book of Domestic Cookery, open at the article Bread Sauce.'

I returned the book, looking, I suppose, a little blank, as the lady laughed merrily at my discomfiture. "It's far more exciting than some of the modern ghosts, I a.s.sure you! Now there was a Ghost last month--I don't mean a real Ghost in in Supernature--but in a Magazine. It was a perfectly flavourless Ghost. It wouldn't have frightened a mouse! It wasn't a Ghost that one would even offer a chair to!"

"Three score years and ten, baldness, and spectacles, have their advantages after all!", I said to myself. "Instead of a bashful youth and maiden, gasping out monosyllables at awful intervals, here we have an old man and a child, quite at their ease, talking as if they had known each other for years! Then you think," I continued aloud, "that we ought sometimes to ask a Ghost to sit down? But have we any authority for it? In Shakespeare, for instance--there are plenty of ghosts there--does Shakespeare ever give the stage-direction 'hands chair to Ghost'?"

The lady looked puzzled and thoughtful for a moment: then she almost clapped her hands. "Yes, yes, he does!" she cried. "He makes Hamlet say 'Rest, rest, perturbed Spirit!"'

"And that, I suppose, means an easy-chair?"

"An American rocking-chair, I think--"

"Fayfield Junction, my Lady, change for Elveston!" the guard announced, flinging open the door of the carriage: and we soon found ourselves, with all our portable property around us, on the platform.

The accommodation, provided for pa.s.sengers waiting at this Junction, was distinctly inadequate--a single wooden bench, apparently intended for three sitters only: and even this was already partially occupied by a very old man, in a smock frock, who sat, with rounded shoulders and drooping head, and with hands clasped on the top of his stick so as to make a sort of pillow for that wrinkled face with its look of patient weariness.

"Come, you be off!" the Station-master roughly accosted the poor old man. "You be off, and make way for your betters! This way, my Lady!" he added in a perfectly different tone. "If your Ladyship will take a seat, the train will be up in a few minutes." The cringing servility of his manner was due, no doubt, to the address legible on the pile of luggage, which announced their owner to be "Lady Muriel Orme, pa.s.senger to Elveston, via Fayfield Junction."

As I watched the old man slowly rise to his feet, and hobble a few paces down the platform, the lines came to my lips:--

"From sackcloth couch the Monk arose, With toil his stiffen'd limbs he rear'd; A hundred years had flung their snows On his thin locks and floating beard."

{Image...'Come, you be off!'}

But the lady scarcely noticed the little incident. After one glance at the 'banished man,' who stood tremulously leaning on his stick, she turned to me. "This is not an American rocking-chair, by any means!

Yet may I say," slightly changing her place, so as to make room for me beside her, "may I say, in Hamlet's words, 'Rest, rest--'" she broke off with a silvery laugh.

"--perturbed Spirit!"' I finished the sentence for her. "Yes, that describes a railway-traveler exactly! And here is an instance of it," I added, as the tiny local train drew up alongside the platform, and the porters bustled about, opening carriage-doors--one of them helping the poor old man to hoist himself into a third-cla.s.s carriage, while another of them obsequiously conducted the lady and myself into a first-cla.s.s.

She paused, before following him, to watch the progress of the other pa.s.senger. "Poor old man!" she said. "How weak and ill he looks! It was a shame to let him be turned away like that. I'm very sorry--" At this moment it dawned on me that these words were not addressed to me, but that she was unconsciously thinking aloud. I moved away a few steps, and waited to follow her into the carriage, where I resumed the conversation.

"Shakespeare must have traveled by rail, if only in a dream: 'perturbed Spirit' is such a happy phrase."

"'Perturbed' referring, no doubt," she rejoined, "to the sensational booklets peculiar to the Rail. If Steam has done nothing else, it has at least added a whole new Species to English Literature!"

"No doubt of it," I echoed. "The true origin of all our medical books--and all our cookery-books--"

"No, no!" she broke in merrily. "I didn't mean our Literature! We are quite abnormal. But the booklets--the little thrilling romances, where the Murder comes at page fifteen, and the Wedding at page forty--surely they are due to Steam?"

"And when we travel by Electricity if I may venture to develop your theory we shall have leaflets instead of booklets, and the Murder and the Wedding will come on the same page."

"A development worthy of Darwin!", the lady exclaimed enthusiastically.

"Only you reverse his theory. Instead of developing a mouse into an elephant, you would develop an elephant into a mouse!" But here we plunged into a tunnel, and I leaned back and closed my eyes for a moment, trying to recall a few of the incidents of my recent dream.

"I thought I saw--" I murmured sleepily: and then the phrase insisted on conjugating itself, and ran into "you thought you saw--he thought he saw--" and then it suddenly went off into a song:--

"He thought he saw an Elephant, That practised on a fife: He looked again, and found it was A letter from his wife.

'At length I realise,' he said, "The bitterness of Life!'"

And what a wild being it was who sang these wild words! A Gardener he seemed to be yet surely a mad one, by the way he brandished his rake--madder, by the way he broke, ever and anon, into a frantic jig--maddest of all, by the shriek in which he brought out the last words of the stanza!

{Image....The gardener}