THE SUPERNATURAL OMNIBUS (49 page)

And, with that far-off look in her light eyes, she relapsed into silence.

"Have you ever read any of Lovelock's poetry?" she asked me suddenly the next day.

"Lovelock?" I answered, for I had forgotten the name. "Lovelock, who"-- But I stopped, remembering the prejudices of my host, who was seated next to me at table.

"Lovelock who was killed by Mr. Oke's and my ancestors."

And she looked full at her husband, as if in perverse enjoyment of the evident annoyance which it caused him.

"Alice," he entreated in a low voice, his whole face crimson, "for mercy's sake, don't talk about such things before the servants."

Mrs. Oke burst into a high, light, rather hysterical laugh, the laugh of a naughty child.

"The servants! Gracious heavens! do you suppose they haven't heard the story? Why, it's as well known as Okehurst itself in the neighbourhood. Don't they believe that Lovelock has been seen about the house? Haven't they all heard his footsteps in the big corridor? Haven't they, my dear Willie, noticed a thousand times that you never will stay a minute alone in the yellow drawing-room--that you run out of it, like a child, if I happen to leave you there for a minute?"

True! How was it I had not noticed that? or rather, that I only now remembered having noticed it? The yellow drawing-room was one of the most charming rooms in the house: a large, bright room, hung with yellow damask and panelled with carvings, that opened straight out on to the lawn, far superior to the room in which we habitually sat, which was comparatively gloomy. This time Mr. Oke struck me as really too childish. I felt an intense desire to badger him.

"The yellow drawing-room!" I exclaimed. "Does this interesting literary character haunt the yellow drawing-room? Do tell me about it. What happened there?"

Mr. Oke made a painful effort to laugh.

"Nothing ever happened there, so far as I know," he said, and rose from the table.

"Really?" I asked incredulously.

"Nothing did happen there," answered Mrs. Oke slowly, playing mechanically with a fork, and picking out the pattern of the tablecloth. "That is just the extraordinary circumstance, that, so far as any one knows, nothing ever did happen there; and yet that room has an evil reputation. No member of our family, they say, can bear to sit there alone for more than a minute. You see, William evidently cannot."

"Have you ever seen or heard anything strange there?" I asked of my host.

He shook his head. "Nothing," he answered curtly, and lit his cigar.

"I presume you have not," I asked, half laughing, of Mrs. Oke, "since you don't mind sitting in that room for hours alone? How do you explain this uncanny reputation, since nothing ever happened there?"

"Perhaps something is destined to happen there in the future," she answered, in her absent voice. And then she suddenly added, "Suppose you paint my portrait in that room?"

Mr. Oke suddenly turned round. He was very white, and looked as if he were going to say something, but desisted.

"Why do you worry Mr. Oke like that?" I asked, when he had gone into his smoking-room with his usual bundle of papers. "It is very cruel of you, Mrs. Oke. You ought to have more consideration for people who believe in such things, although you may not be able to put yourself in their frame of mind."

"Who tells you that I don't believe in such things, as you call them?" she answered abruptly.

"Come," she said, after a minute, "I want to show you why I believe in Christopher Lovelock. Come with me into the yellow room."

5

What Mrs. Oke showed me in the yellow room was a large bundle of papers, some printed and some manuscript, but all of them brown with age, which she took out of an old Italian ebony inlaid cabinet. It took her some time to get them, as a complicated arrangement of double locks and false drawers had to be put in play; and while she was doing so, I looked round the room, in which I had been only three or four times before. It was certainly the most beautiful room in this beautiful house, and, as it seemed to me now, the most strange. It was long and low, with something that made you think of the cabin of a ship, with a great mullioned window that let in, as it were, a perspective of the brownish green park-land, dotted with oaks, and sloping upwards to the distant line of bluish firs against the horizon. The walls were hung with flowered damask, whose yellow, faded to brown, united with the reddish colour of the carved wainscoting and the carved oaken beams. For the rest, it reminded me more of an Italian room than an English one. The furniture was Tuscan of the early seventeenth century, inlaid and carved; there were a couple of faded allegorical pictures, by some Bolognese master, on the walls; and in a corner, among a stack of dwarf orange-trees, a little Italian harp- sichord of exquisite curve and slenderness, with flowers and landscapes painted upon its cover. In a recess was a shelf of old books, mainly English and Italian poets of the Elizabethan time; and close by it, placed upon a carved wedding-chest, a large and beautiful melon-shaped lute. The panes of the mullioned window were open, and yet the air seemed heavy, with an indescribable heady perfume, not that of any growing flower, but like that of old stuff that should have lain for years among spices.

"It is a beautiful room!" I exclaimed. "I should awfully like to paint you in it;" but I had scarcely spoken the words when I felt I had done wrong. This woman's husband could not bear the room, and it seemed to me vaguely as if he were right in detesting it.

Mrs. Oke took no notice of my exclamation, but beckoned me to the table where she was standing sorting the papers.

"Look!" she said, "these are all poems by Christopher Lovelock;" and touching the yellow papers with delicate and reverent fingers, she commenced reading some of them out loud in a slow, half-audible voice. They were songs in the style of those of Herrick, Waller, and Drayton, complaining for the most part of the cruelty of a lady called Dryope, in whose name was evidently concealed a reference to that of the mistress of Okehurst. The songs were graceful, and not with- out a certain faded passion; but I was thinking not of them, but of the woman who was reading them to me.

Mrs. Oke was standing with the brownish yellow wall as a background to her white brocade dress, which, in its stiff seventeenth-century make, seemed but to bring out more clearly the slightness, the exquisite suppleness, of her tall figure. She held the papers in one hand, and leaned the other, as if for support, on the inlaid cabinet by her side. Her voice, which was delicate, shadowy, like her person, had a curious throbbing cadence, as if she were reading the words of a melody, and restraining herself with difficulty from singing it; and as she read, her long slender throat throbbed slightly, and a faint redness came into her thin face. She evidently knew the verses by heart, and her eyes were mostly fixed with that distant smile in them, with which harmonised a constant tremulous little smile in her lips.

"That is how I would wish to paint her!" I exclaimed within myself; and scarcely noticed, what struck me on thinking over the scene, that this strange being read these verses as one might fancy a woman would read love-verses addressed to herself.

"Those are all written for Alice Oke--Alice the daughter of Virgil Pomfret," she said slowly, folding up the papers. "I found them at the bottom of this cabinet. Can you doubt of the reality of Christopher Lovelock now?"

The question was an illogical one, for to doubt of the existence of Christopher Lovelock was one thing, and to doubt of the mode of his death was another; but somehow I did feel convinced.

"Look!" she said, when she had replaced the poems, "I will show you something else." Among the flowers that stood on the upper storey of her writing-table--for I found that Mrs. Oke had a writing-table in the yellow room--stood, as on an altar, a small black carved frame, with a silk curtain drawn over it: the sort of thing behind which you would have expected to find a head of Christ or of the Virgin Mary. She drew the curtain and displayed a large-sized miniature, representing a young man, with auburn curls and a peaked auburn beard, dressed in black, but with lace about his neck, and large pear-shaped pearls in his ears: a wistful, melancholy face. Mrs. Oke took the miniature religiously off its stand, and showed me, written in faded characters upon the back, the name "Christopher Lovelock," and the date 1626.

"I found this in the secret drawer of that cabinet, together with the heap of poems," she said, taking the miniature out of my hand.

I was silent for a minute.

"Does--does Mr. Oke know that you have got it here?" I asked; and then wondered what in the world had impelled me to put such a question.

Mrs. Oke smiled that smile of contemptuous indifference. "I have never hidden it from any one. If my husband disliked my having it, he might have taken it away, I suppose. It belongs to him, since it was found in his house."

I did not answer, but walked mechanically towards the door. There was something heady and oppressive in this beautiful room; something, I thought, almost repulsive in this exquisite woman. She seemed to me, suddenly, perverse and dangerous.

I scarcely know why, but I neglected Mrs. Oke that afternoon. I went to Mr. Oke's study, and sat opposite to him smoking while he was engrossed in his accounts, his reports, and electioneering papers. On the table, above the heap of paper-bound volumes and pigeon-holed documents, was, as sole ornament of his den, a little photograph of his wife, done some years before. I don't know why, but as I sat and watched him, with his florid, honest, manly beauty, working away conscientiously, with that little perplexed frown of his, I felt intensely sorry for this man.

But this feeling did not last. There was no help for it: Oke was not as interesting as Mrs. Oke; and it required too great an effort to pump up sympathy for this normal, excellent, exemplary young squire, in the presence of so wonderful a creature as his wife. So I let myself go to the habit of allowing Mrs. Oke daily to talk over her strange craze, or rather of drawing her out about it. I confess that I derived a morbid and exquisite pleasure in doing so: it was so characteristic in her, so appropriate to the house! It completed her personality so perfectly, and made it so much easier to conceive a way of painting her. I made up my mind little by little, while working at William Oke's portrait (he proved a less easy subject than I had anticipated, and, despite his conscientious efforts, was a nervous, uncomfortable sitter, silent and brooding)--I made up my mind that I would paint Mrs. Oke standing by the cabinet in the yellow room, in the white Vandyck dress copied from the portrait of her ancestress. Mr. Oke might resent it, Mrs. Oke even might resent it; they might refuse to take the picture, to pay for it, to allow me to exhibit; they might force me to run my umbrella through the picture. No matter. That picture should be painted, if merely for the sake of having painted it; for I felt it was the only thing I could do, and that it would be far away my best work. I told neither of my resolution, but prepared sketch after sketch of Mrs. Oke, while continuing to paint her husband.

Mrs. Oke was a silent person, more silent even than her husband, for she did not feel bound, as he did, to attempt to entertain a guest or to show any interest in him. She seemed to spend her life--a curious, inactive, half-invalidish life, broken by sudden fits of childish cheerfulness--in an eternal day-dream, strolling about the house and grounds, arranging the quantities of flowers that always filled all the rooms, beginning to read and then throwing aside novels and books of poetry, of which she always had a large number; and, I believe, lying for hours, doing nothing, on a couch in that yellow drawing-room, which, with her sole exception, no member of the Oke family had ever been known to stay in alone. Little by little I began to suspect and to verify another eccentricity of this eccentric being, and to understand why there were stringent orders never to disturb her in that yellow room.

It had been a habit at Okehurst, as at one or two other English manor-houses, to keep a certain amount of the clothes of each generation, more particularly wedding-dresses. A certain carved oaken press, of which Mr. Oke once displayed the contents to me, was a perfect museum of costumes, male and female, from the early years of the seventeenth to the end of the eighteenth century--a thing to take away the breath of a bric-a-brac collector, an antiquary, or a genre painter. Mr. Oke was none of these, and therefore took but little interest in the collection, save in so far as it interested his family feeling. Still he seemed well acquainted with the contents of that press.

He was turning over the clothes for my benefit, when suddenly I noticed that he frowned. I know not what impelled me to say, "By the way, have you any dresses of that Mrs. Oke whom your wife resembles so much? Have you got that particular white dress she was painted in, perhaps?"

Oke of Okehurst flushed very red.

"We have it," he answered hesitatingly, "but--it isn't here at present--I can't find it. I suppose," he blurted out with an effort, "that Alice has got it. Mrs. Oke sometimes has the fancy of having some of these old things down. I suppose she takes ideas from them."

A sudden light dawned in my mind. The white dress in which I had seen Mrs. Oke in the yellow room, the day that she showed me Lovelock's verses, was not, as I had thought, a modern copy; it was the original dress of Alice Oke, the daughter of Virgil Pomfret--the dress in which, perhaps, Christopher Lovelock had seen her in that very room.

The idea gave me a delightful picturesque shudder. I said nothing. But I pictured to myself Mrs. Oke sitting in that yellow room--that room which no Oke of Okehurst save herself ventured to remain in alone, in the dress of her ancestress, confronting, as it were, that vague, haunting something that seemed to fill the place--that vague presence, it seemed to me, of the murdered cavalier poet.

Mrs. Oke, as I have said, was extremely silent, as a result of being extremely indifferent. She really did not care in the least about anything except her own ideas and day-dreams, except when, every now and then, she was seized with a sudden desire to shock the prejudices or superstitions of her husband. Very soon she got into the way of never talking to me at all, save about Alice and Nicholas Oke and Christopher Lovelock; and then, when the fit seized her, she would go on by the hour, never asking herself whether I was or was not equally interested in the strange craze that fascinated her. It so happened that I was. I loved to listen to her, going on discussing by the hour the merits of Lovelock's poems, and analysing her feelings and those of her two ancestors. It was quite wonderful to watch the exquisite, exotic creature in one of these moods, with the distant look in her grey eyes and the absent-looking smile in her thin cheeks, talking as if she had intimately known these people of the seventeenth century, discussing every minute mood of theirs, detailing every scene between them and their victim, talking of Alice, and Nicholas, and Lovelock as she might of her most intimate friends. Of Alice particularly, and of Lovelock. She seemed to know every word that Alice had spoken, every idea that had crossed her mind. It sometimes struck me as if she were telling me, speaking of herself in the third person, of her own feelings--as if I were listening to a woman's confidences, the recital of her doubts, scruples, and agonies about a living lover. For Mrs. Oke, who seemed the most self-absorbed of creatures in all other matters, and utterly incapable of understanding or sympathising with the feelings of other persons, entered completely and passionately into the feelings of this woman, this Alice, who, at some moments, seemed to be not another woman, but herself.