The King in Yellow, Robert W. Chambers [best short novels .TXT] 📗

found the organ-playing at St. Barnabé highly interesting. Learned and scientific it was, too much so for my small knowledge, but expressing a vivid if cold intelligence. Moreover, it possessed the French quality of taste: taste reigned supreme, self-controlled, dignified and reticent.

Today, however, from the first chord I had felt a change for the worse, a sinister change. During vespers it had been chiefly the chancel organ which supported the beautiful choir, but now and again, quite wantonly as it seemed, from the west gallery where the great organ stands, a heavy hand had struck across the church at the serene peace of those clear voices. It was something more than harsh and dissonant, and it betrayed no lack of skill. As it recurred again and again, it set me thinking of what my architect’s books say about the custom in early times to consecrate the choir as soon as it was built, and that the nave, being finished sometimes half a century later, often did not get any blessing at all: I wondered idly if that had been the case at St. Barnabé, and whether something not usually supposed to be at home in a Christian church might have entered undetected and taken possession of the west gallery. I had read of such things happening, too, but not in works on architecture.

Then I remembered that St. Barnabé was not much more than a hundred years old, and smiled at the incongruous association of medieval superstitions with that cheerful little piece of eighteenth-century rococo.

But now vespers were over, and there should have followed a few quiet chords, fit to accompany meditation, while we waited for the sermon. Instead of that, the discord at the lower end of the church broke out with the departure of the clergy, as if now nothing could control it.

I belong to those children of an older and simpler generation who do not love to seek for psychological subtleties in art; and I have ever refused to find in music anything more than melody and harmony, but I felt that in the labyrinth of sounds now issuing from that instrument there was something being hunted. Up and down the pedals chased him, while the manuals blared approval. Poor devil! whoever he was, there seemed small hope of escape!

My nervous annoyance changed to anger. Who was doing this? How dare he play like that in the midst of divine service? I glanced at the people near me: not one appeared to be in the least disturbed. The placid brows of the kneeling nuns, still turned towards the altar, lost none of their devout abstraction under the pale shadow of their white headdress. The fashionable lady beside me was looking expectantly at Monseigneur C⁠⸺. For all her face betrayed, the organ might have been singing an Ave Maria.

But now, at last, the preacher had made the sign of the cross, and commanded silence. I turned to him gladly. Thus far I had not found the rest I had counted on when I entered St. Barnabé that afternoon.

I was worn out by three nights of physical suffering and mental trouble: the last had been the worst, and it was an exhausted body, and a mind benumbed and yet acutely sensitive, which I had brought to my favourite church for healing. For I had been reading The King in Yellow.

“The sun ariseth; they gather themselves together and lay them down in their dens.” Monseigneur C⁠⸺ delivered his text in a calm voice, glancing quietly over the congregation. My eyes turned, I knew not why, toward the lower end of the church. The organist was coming from behind his pipes, and passing along the gallery on his way out, I saw him disappear by a small door that leads to some stairs which descend directly to the street. He was a slender man, and his face was as white as his coat was black. “Good riddance!” I thought, “with your wicked music! I hope your assistant will play the closing voluntary.”

With a feeling of relief⁠—with a deep, calm feeling of relief, I turned back to the mild face in the pulpit and settled myself to listen. Here, at last, was the ease of mind I longed for.

“My children,” said the preacher, “one truth the human soul finds hardest of all to learn: that it has nothing to fear. It can never be made to see that nothing can really harm it.”

“Curious doctrine!” I thought, “for a Catholic priest. Let us see how he will reconcile that with the Fathers.”

“Nothing can really harm the soul,” he went on, in, his coolest, clearest tones, “because⁠—”

But I never heard the rest; my eye left his face, I knew not for what reason, and sought the lower end of the church. The same man was coming out from behind the organ, and was passing along the gallery the same way. But there had not been time for him to return, and if he had returned, I must have seen him. I felt a faint chill, and my heart sank; and yet, his going and coming were no affair of mine. I looked at him: I could not look away from his black figure and his white face. When he was exactly opposite to me, he turned and sent across the church straight into my eyes, a look of hate, intense and deadly: I have never seen any other like it; would to God I might never see it again! Then he disappeared by the same door through which I had watched him depart less than sixty seconds before.

I sat and tried to collect my thoughts. My first sensation was like that of a very young child badly hurt, when it catches its breath before crying out.

To suddenly find myself the object of such hatred was exquisitely painful: and this man was an utter stranger. Why should he hate me so?⁠—me, whom he had never seen before? For the moment all other sensation was merged in this one pang: