Short Fiction, M. R. James [best classic books of all time TXT] 📗

Then indeed I did sit up in my chair, and run my finger along the lines to make sure that I had read them right. There was no mistake. Nothing more was to be gathered from the rest of the pamphlet. The next paragraph definitely changed the subject: “But I have said enough upon this Topick,” were its opening words. So discreet, too, was the namelessness of the Beneficed Clergyman that he refrained even from initials, and had his letter printed in London.

The riddle was of a kind that might faintly interest anyone: to me, who have dabbled a good deal in works of folklore, it was really exciting. I was set upon solving it⁠—on finding out, I mean, what story lay behind it; and, at least, I felt myself lucky in one point, that, whereas I might have come on the paragraph in some College Library far away, here I was at Betton, on the very scene of action.

The Church clock struck five, and a single stroke on a gong followed. This, I knew, meant tea. I heaved myself out of the deep chair, and obeyed the summons.

My host and I were alone at the Court. He came in soon, wet from a round of landlord’s errands, and with pieces of local news which had to be passed on before I could make an opportunity of asking whether there was a particular place in the parish that was still known as Betton Wood.

“Betton Wood,” he said, “was a short mile away, just on the crest of Betton Hill, and my father stubbed up the last bit of it when it paid better to grow corn than scrub oaks. Why do you want to know about Betton Wood?”

“Because,” I said, “in an old pamphlet I was reading just now, there are two lines of a country song which mention it, and they sound as if there was a story belonging to them. Someone says that someone else knows no more of whatever it may be⁠—

‘Than that which walks in Betton Wood
Knows why it walks or why it cries.’ ”

“Goodness,” said Philipson, “I wonder whether that was why⁠ ⁠… I must ask old Mitchell.” He muttered something else to himself, and took some more tea, thoughtfully.

“Whether that was why⁠—?” I said.

“Yes, I was going to say, whether that was why my father had the Wood stubbed up. I said just now it was to get more plough-land, but I don’t really know if it was. I don’t believe he ever broke it up: it’s rough pasture at this moment. But there’s one old chap at least who’d remember something of it⁠—old Mitchell.” He looked at his watch. “Blest if I don’t go down there and ask him. I don’t think I’ll take you,” he went on, “he’s not so likely to tell anything he thinks is odd if there’s a stranger by.”

“Well, mind you remember every single thing he does tell. As for me, if it clears up, I shall go out, and if it doesn’t, I shall go on with the books.”

It did clear up, sufficiently at least to make me think it worth while to walk up the nearest hill and look over the country. I did not know the lie of the land; it was the first visit I had paid to Philipson, and this was the first day of it. So I went down the garden and through the wet shrubberies with a very open mind, and offered no resistance to the indistinct impulse⁠—was it, however, so very indistinct?⁠—which kept urging me to bear to the left whenever there was a forking of the path. The result was that after ten minutes or more of dark going between dripping rows of box and laurel and privet, I was confronted by a stone arch in the Gothic style set in the stone wall which encircled the whole demesne. The door was fastened by a spring-lock, and I took the precaution of leaving this on the jar as I passed out into the road. That road I crossed, and entered a narrow lane between hedges which led upward; and that lane I pursued at a leisurely pace for as much as half a mile, and went on to the field to which it led. I was now on a good point of vantage for taking in the situation of the Court, the village, and the environment; and I leant upon a gate and gazed westward and downward.

I think we must all know the landscapes⁠—are they by Birket Foster, or somewhat earlier?⁠—which, in the form of woodcuts, decorate the volumes of poetry that lay on the drawing-room tables of our fathers and grandfathers⁠—volumes in “Art Cloth, embossed bindings”; that strikes me as being the right phrase. I confess myself an admirer of them, and especially of those which show the peasant leaning over a gate in a hedge and surveying, at the bottom of a downward slope, the village church spire⁠—embosomed amid venerable trees, and a fertile plain intersected by hedgerows, and bounded by distant hills, behind which the orb of day is sinking (or it may be rising) amid level clouds illumined by his dying (or nascent) ray. The expressions employed here are those which seem appropriate to the pictures I have in mind; and were there opportunity, I would try to work in the Vale, the Grove, the Cot, and the Flood. Anyhow, they are beautiful to me, these landscapes, and it was just such a one that I was now surveying. It might have come straight out of “Gems of Sacred Song, selected by a Lady” and given as a birthday present to Eleanor Philipson in 1852 by her attached friend Millicent Graves. All at once I turned as if I had been stung. There thrilled into my right ear and pierced my head a note of incredible sharpness, like the shriek of a bat, only ten times intensified⁠—the