The Hill of Dreams - Arthur Machen (that summer book TXT) 📗

the Parish Magazine, in some they snored and read the murders and collected filth of the week; but the only movement of the afternoon was a second procession of children, now bloated and distended with food, again answering the summons of tang, tang, tang. On the main road the trams, laden with impossible people, went humming to and fro, and young men who wore bright blue ties cheerfully haw-hawed and smoked penny cigars. They annoyed the shiny and respectable and verjuice-lipped, not by the frightful stench of the cigars, but because they were cheerful on Sunday. By and by the children, having heard about Moses in the Bulrushes and Daniel in the Lion’s Den, came straggling home in an evil humor. And all the day it was as if on a grey sheet grey shadows flickered, passing by.

And in the rose-garden every flower was a flame! He thought in symbols, using the Persian imagery of a dusky court, surrounded by white cloisters, gilded by gates of bronze. The stars came out, the sky glowed a darker violet, but the cloistered wall, the fantastic trellises in stone, shone whiter. It was like a hedge of may-blossom, like a lily within a cup of lapis-lazuli, like sea-foam tossed on the heaving sea at dawn. Always those white cloisters trembled with the lute music, always the garden sang with the clear fountain, rising and falling in the mysterious dusk. And there was a singing voice stealing through the white lattices and the bronze gates, a soft voice chanting of the Lover and the Beloved, of the Vineyard, of the Gate and the Way. Oh! the language was unknown; but the music of the refrain returned again and again, swelling and trembling through the white nets of the latticed cloisters. And every rose in the dusky air was a flame.

He had seen the life which he expressed by these symbols offered to him, and he had refused it; and he was alone in the grey street, with its lamps just twinkling through the dreary twilight, the blast of a ribald chorus sounding from the main road, a doggerel hymn whining from some parlour, to the accompaniment of the harmonium. He wondered why he had turned away from that woman who knew all secrets, in whose eyes were all the mysteries. He opened the desk of his bureau, and was confronted by the heap and litter of papers, lying in confusion as he had left them. He knew that there was the motive of his refusal; he had been unwilling to abandon all hope of the work. The glory and the torment of his ambition glowed upon him as he looked at the manuscript; it seemed so pitiful that such a single desire should be thwarted. He was aware that if he chose to sit down now before the desk he could, in a manner, write easily enough⁠—he could produce a tale which would be formally well constructed and certain of favorable reception. And it would not be the utterly commonplace, entirely hopeless favorite of the circulating library; it would stand in those ranks where the real thing is skillfully counterfeited, amongst the books which give the reader his orgy of emotions, and yet contrive to be superior, and “art,” in his opinion. Lucian had often observed this species of triumph, and had noted the acclamation that never failed the clever sham. Romola, for example, had made the great host of the serious, the portentous, shout for joy, while the real book, The Cloister and the Hearth, was a comparative failure.

He knew that he could write a Romola; but he thought the art of counterfeiting half-crowns less detestable than this shabby trick of imitating literature. He had refused definitely to enter the atelier of the gentleman who pleased his clients by ingeniously simulating the grain of walnut; and though he had seen the old oaken ambry kicked out contemptuously into the farmyard, serving perhaps the necessities of hens or pigs, he would not apprentice himself to the masters of veneer. He paced up and down the room, glancing now and again at his papers, and wondering if there were not hope for him. A great thing he could never do, but he had longed to do a true thing, to imagine sincere and genuine pages.

He was stirred again to this fury for the work by the event of the evening before, by all that had passed through his mind since the melancholy dawn. The lurid picture of that fiery street, the flaming shops and flaming glances, all its wonders and horrors, lit by the naphtha flares and by the burning souls, had possessed him; and the noises, the shriek and the whisper, the jangling rattle of the piano-organ, the long-continued scream of the butcher as he dabbled in the blood, the lewd litany of the singers, these seemed to be resolved into an infernal overture, loud with the expectation of lust and death. And how the spectacle was set in the cloud of dark night, a phantom play acted on that fiery stage, beneath those hideous brassy lamps, very slowly swinging in a violent blast. As all the medley of outrageous sights and sounds now fused themselves within his brain into one clear impression, it seemed that he had indeed witnessed and acted in a drama, that all the scene had been prepared and vested for him, and that the choric songs he had heard were but preludes to a greater act. For in that woman was the consummation and catastrophe of it all, and the whole stage waited for their meeting. He fancied that after this the voices and the lights died away, that the crowd sank swiftly into the darkness, and that the street was at once denuded of the great lamps and of all its awful scenic apparatus.

Again, he thought, the same mystery would be represented before him; suddenly on some dark and gloomy night, as he wandered