출처: http://lifidea.tistory.com/entry/Talent-is-Overrated-%EC%9E%AC%EB%8A%A5%EC%9D%80-%EC%96%B4%EB%96%BB%EA%B2%8C-%EB%8B%A8%EB%A0%A8%EB%90%98%EB%8A%94%EA%B0%80-deliberate-practice



월드 클래스의 비밀: 단순 반복이 아닌 주도면밀한 연습(deliberate practice)


Review : 2011/03/08 19:50   By LiFiDeA
 Deliberate Practice, 자기개발
일만 시간의 법칙이라는 말을 들어보셨을 겁니다. 어떤 분야건 정상에 오르기 위해서는 10,000 시간(혹은 10년) 정도의 노력을 기울여야 한다는 연구결과에서 비롯된 말입니다. 하지만, 10년의 노력을 기울이고도 정상에 오르지 못하는 대부분의 사람들에게는 과연 어떤 문제가 있을까요? 얼마전에 읽은 'Talent is Overrated'라는 책 (번역서 : 재능은 어떻게 단련되는가?) 의 저자 제프 콜빈은 정상에 오른 사람들이 '주도면밀한 연습(deliberate practice)'을 한다는 면에서 일반인들과 구별된다고 주장합니다.

Deliberate Practice

이 책의 핵심 개념은 주도면밀한 연습(deliberate practice)입니다. 저자는 보통 연습과 주도면밀한 연습의 차이를 1) 적절한 난이도를 가진다 2) 취약한 부분에 집중된다 3) 견디기 힘들 정도까지 반복된다 4) 객관적인 피드백을 받는다 등으로 설명합니다. 즉, 다음 글에서 묘사하듯이 자신이 약한 부분을 찾고, 이를 적절한 피드백을 받으면서 힘겨울 정도까지 반복하며 보완해나가는 과정이 주도면밀한 연습입니다.
"For the superior performer the goal isn't just repeating the same thing again and again but achieving higher levels of control over every aspect of their performance. That's why they don't find practice boring. Each practice session they are working on doing something better than they did the last time."
누구나 본능적으로 자신에게 편안한 일을 익숙한 방식으로 하려는 경향이 있는 것을 고려하면, 이처럼 자신이 취약한 부분을 한계치까지 계속 반복하는 것은 쉬운 일이 아닙니다. 저자는 특히 피드백의 중요성을 강조하는데, 제대로 된 피드백이 없는 연습은 '무릎까지 오는 커튼을 쳐놓고 볼링을 치는 것과 같다'고 말합니다. 장기간의 연습 끝에 찾아오기 마련인 타성도 극복해야 할 대상입니다. 이에 대한 저자의 설명을 들어봅시다.
Great performers never allow themselves to reach the automatic, arrested development stage in their chosen field. The essence of practice, which is constantly trying to do the things one cannot do comfortably, makes automatic behavior impossible.
주도면밀한 연습은 이처럼 Comfort Zone에 머무르려는 인간의 본성에 반하며, 의지만으로 가능한 일도 아닙니다. (예컨데 즉각적이고 효과적인 피드백은 전문가를 항상 곁에 둘수있는 극히 제한된 사람에게만 허락되는 기회입니다.) 이렇게 보면 어느 분야건 정상에 도달하는 사람들의 수가 극히 적은 것도 이해가 갑니다.

 
Why Does It Work?

저자는 장기간에 걸처 주도면밀한 연습을 반복할 경우, 상황의 미묘한 차이를 분간해내는 지각 능력이 생기고, 해당 분야의 전문 지식이 쌓이면서 새로운 지식을 흡수하고 기억하는 능력도 향상된다고 주장합니다. 이런 과정을 통해 해당 분야에 대한 '살아있는 지식'이 쌓이는 과정을 저자는 다음과 같이 묘사합니다.

Constantly trying to extend one's abilities requires amassing additional knowledge, and staying at it for years develops the critical connections that organize all that knowledge and make it useful.

즉, 끊임없이 능력을 개발하면서 지식을 쌓아가는 과정에서 정상급 성과를 내는데 필수적인 지적 능력을 갖추게 된다는 것입니다. 

Deliberate Practice & Knowledge Worker

위에서 설명하는 주도면밀한 연습의 개념을 들으며 운동선수나 음악가 등의 훈련을 떠올리는 분이 많으실 겁니다. 하지만, 저는 얼핏 정확한 계량화가 어려워 보이는 일반 업무에도 이런 개념을 적용할 수 있다고 믿습니다. 즉, 1) 자신의 핵심 업무를 그 구성요소로 나누고, 2) 각 구성요소별 평가 및 연습방법을 고안하고, 3) 취약점을 중심으로 꾸준히 연습하고, 4) 적절한 피드백을 받으며 이를 계속한다면, 주도적인 연습을 하는 것입니다. 대학원생인 저의 주된 업무라고 할 '연구'를 예로 들어봅시다. 연구의 구성요소는 다음 몇가지 프로세스로 나눌 수 있습니다.

1.흥미있있고 해결가능한(tractable) 문제를 찾고
2.관련 분야의 지식을 습득하여
3.기존에 제시되지 않은 새로운 해결책을 고안하고
4.이를 실험을 통해 증명한 후
5.출판 / 발표 등의 형태로 커뮤니케이션한다
위에서 소개한 각각의 요소에 실력을 갖추는 것을 목표로 삼고, 그 중 2) '지식 습득' 이라는 측면이 스스로 취약하다고 가정해 봅시다. 학문적 지식 습득의 대표적인 형태는 논문을 읽는 것인데, 논문을 읽는다는 행위에 대한 '주도면밀한 연습'을 다음과 같이 설계할 수 있습니다.
■스스로에게 벅찬 양을 정해놓고 꾸준히 읽는다.
■논문당 시간을 정해놓고 읽는다.
■여러 기준으로 논문을 평가해보고, 주변 사람들과 비교해본다.
■리뷰를 작성하고, 이에 대한 피드백을 받는다.
위와같이, '논문읽기'라는 단순한 행위에도 주도면밀한 연습의 개념을 도입하면, 상당히 도전적인 과제로 만들 수 있습니다. 논문 하나도 이런 식으로 읽다보면, 힘은 들어도 시간에 따라 발전해가는 자신을 발견할 수 있을 것입니다.

Epilog

이 책의 저자는 '주도면밀한 연습'이라는 개념을 많은 일화와 연구결과를 바탕으로 설명하고 있지만, 우리 고전에도 나태함을 경계하고 주변의 가르침에 귀를 기울이며 스스로를 연마해가는 절차탁마의 자세가 자주 등장하는 것을 보면, 진리는 하나로 통하는가 봅니다. 10년이라면 길게 느껴지지만, 20세에 시작하면 30대에는 정상급 전문가가 될 수 있을테니 해볼만한 일이 아닐까요? 주도면밀한 노력의 단순한 개념에 비해 그 적용은 쉽지 않으니, 다음 논문과 글을 참고하시기 바랍니다.

`You can't think how glad I am to see you again, you dear old thing!' said the Duchess, as she tucked her arm affectionately into Alice's, and they walked off together.

Alice was very glad to find her in such a pleasant temper, and thought to herself that perhaps it was only the pepper that had made her so savage when they met in the kitchen.

`When I'M a Duchess,' she said to herself, (not in a very hopeful tone though), `I won't have any pepper in my kitchen AT ALL. Soup does very well without--Maybe it's always pepper that makes people hot-tempered,' she went on, very much pleased at having found out a new kind of rule, `and vinegar that makes them sour--and camomile that makes them bitter--and--and barley-sugar and such things that make children sweet-tempered. I only wish people knew that: then they wouldn't be so stingy about it, you know--'

She had quite forgotten the Duchess by this time, and was a little startled when she heard her voice close to her ear. `You're thinking about something, my dear, and that makes you forget to talk. I can't tell you just now what the moral of that is, but I shall remember it in a bit.'

`Perhaps it hasn't one,' Alice ventured to remark.

`Tut, tut, child!' said the Duchess. `Everything's got a moral, if only you can find it.' And she squeezed herself up closer to Alice's side as she spoke.

Alice did not much like keeping so close to her: first, because the Duchess was VERY ugly; and secondly, because she was exactly the right height to rest her chin upon Alice's shoulder, and it was an uncomfortably sharp chin. However, she did not like to be rude, so she bore it as well as she could.

`The game's going on rather better now,' she said, by way of keeping up the conversation a little.

`'Tis so,' said the Duchess: `and the moral of that is--"Oh, 'tis love, 'tis love, that makes the world go round!"'

`Somebody said,' Alice whispered, `that it's done by everybody minding their own business!'

`Ah, well! It means much the same thing,' said the Duchess, digging her sharp little chin into Alice's shoulder as she added, `and the moral of THAT is--"Take care of the sense, and the sounds will take care of themselves."'

`How fond she is of finding morals in things!' Alice thought to herself.

`I dare say you're wondering why I don't put my arm round your waist,' the Duchess said after a pause: `the reason is, that I'm doubtful about the temper of your flamingo. Shall I try the experiment?'

`HE might bite,' Alice cautiously replied, not feeling at all anxious to have the experiment tried.

`Very true,' said the Duchess: `flamingoes and mustard both bite. And the moral of that is--"Birds of a feather flock together."'

`Only mustard isn't a bird,' Alice remarked.

`Right, as usual,' said the Duchess: `what a clear way you have of putting things!'

`It's a mineral, I THINK,' said Alice.

`Of course it is,' said the Duchess, who seemed ready to agree to everything that Alice said; `there's a large mustard-mine near here. And the moral of that is--"The more there is of mine, the less there is of yours."'

`Oh, I know!' exclaimed Alice, who had not attended to this last remark, `it's a vegetable. It doesn't look like one, but it is.'

`I quite agree with you,' said the Duchess; `and the moral of that is--"Be what you would seem to be"--or if you'd like it put more simply--"Never imagine yourself not to be otherwise than what it might appear to others that what you were or might have been was not otherwise than what you had been would have appeared to them to be otherwise."'

`I think I should understand that better,' Alice said very politely, `if I had it written down: but I can't quite follow it as you say it.'

`That's nothing to what I could say if I chose,' the Duchess replied, in a pleased tone.

`Pray don't trouble yourself to say it any longer than that,' said Alice.

`Oh, don't talk about trouble!' said the Duchess. `I make you a present of everything I've said as yet.'

`A cheap sort of present!' thought Alice. `I'm glad they don't give birthday presents like that!' But she did not venture to say it out loud.

`Thinking again?' the Duchess asked, with another dig of her sharp little chin.

`I've a right to think,' said Alice sharply, for she was beginning to feel a little worried.

`Just about as much right,' said the Duchess, `as pigs have to fly; and the m--'

But here, to Alice's great surprise, the Duchess's voice died away, even in the middle of her favourite word `moral,' and the arm that was linked into hers began to tremble. Alice looked up, and there stood the Queen in front of them, with her arms folded, frowning like a thunderstorm.

`A fine day, your Majesty!' the Duchess began in a low, weak voice.

`Now, I give you fair warning,' shouted the Queen, stamping on the ground as she spoke; `either you or your head must be off, and that in about half no time! Take your choice!'

The Duchess took her choice, and was gone in a moment.

`Let's go on with the game,' the Queen said to Alice; and Alice was too much frightened to say a word, but slowly followed her back to the croquet-ground.

The other guests had taken advantage of the Queen's absence, and were resting in the shade: however, the moment they saw her, they hurried back to the game, the Queen merely remarking that a moment's delay would cost them their lives.

All the time they were playing the Queen never left off quarrelling with the other players, and shouting `Off with his head!' or `Off with her head!' Those whom she sentenced were taken into custody by the soldiers, who of course had to leave off being arches to do this, so that by the end of half an hour or so there were no arches left, and all the players, except the King, the Queen, and Alice, were in custody and under sentence of execution.

Then the Queen left off, quite out of breath, and said to Alice, `Have you seen the Mock Turtle yet?'

`No,' said Alice. `I don't even know what a Mock Turtle is.'

`It's the thing Mock Turtle Soup is made from,' said the Queen.

`I never saw one, or heard of one,' said Alice.

`Come on, then,' said the Queen, `and he shall tell you his history,'

As they walked off together, Alice heard the King say in a low voice, to the company generally, `You are all pardoned.' `Come, THAT'S a good thing!' she said to herself, for she had felt quite unhappy at the number of executions the Queen had ordered.

They very soon came upon a Gryphon, lying fast asleep in the sun. (IF you don't know what a Gryphon is, look at the picture.) `Up, lazy thing!' said the Queen, `and take this young lady to see the Mock Turtle, and to hear his history. I must go back and see after some executions I have ordered'; and she walked off, leaving Alice alone with the Gryphon. Alice did not quite like the look of the creature, but on the whole she thought it would be quite as safe to stay with it as to go after that savage Queen: so she waited.

The Gryphon sat up and rubbed its eyes: then it watched the Queen till she was out of sight: then it chuckled. `What fun!' said the Gryphon, half to itself, half to Alice.

`What IS the fun?' said Alice.

`Why, SHE,' said the Gryphon. `It's all her fancy, that: they never executes nobody, you know. Come on!'

`Everybody says "come on!" here,' thought Alice, as she went slowly after it: `I never was so ordered about in all my life, never!'

They had not gone far before they saw the Mock Turtle in the distance, sitting sad and lonely on a little ledge of rock, and, as they came nearer, Alice could hear him sighing as if his heart would break. She pitied him deeply. `What is his sorrow?' she asked the Gryphon, and the Gryphon answered, very nearly in the same words as before, `It's all his fancy, that: he hasn't got no sorrow, you know. Come on!'

So they went up to the Mock Turtle, who looked at them with large eyes full of tears, but said nothing.

`This here young lady,' said the Gryphon, `she wants for to know your history, she do.'

`I'll tell it her,' said the Mock Turtle in a deep, hollow tone: `sit down, both of you, and don't speak a word till I've finished.'

So they sat down, and nobody spoke for some minutes. Alice thought to herself, `I don't see how he can EVEN finish, if he doesn't begin.' But she waited patiently.

`Once,' said the Mock Turtle at last, with a deep sigh, `I was a real Turtle.'

These words were followed by a very long silence, broken only by an occasional exclamation of `Hjckrrh!' from the Gryphon, and the constant heavy sobbing of the Mock Turtle. Alice was very nearly getting up and saying, `Thank you, sir, for your interesting story,' but she could not help thinking there MUST be more to come, so she sat still and said nothing.

`When we were little,' the Mock Turtle went on at last, more calmly, though still sobbing a little now and then, `we went to school in the sea. The master was an old Turtle--we used to call him Tortoise--'

`Why did you call him Tortoise, if he wasn't one?' Alice asked.

`We called him Tortoise because he taught us,' said the Mock Turtle angrily: `really you are very dull!'

`You ought to be ashamed of yourself for asking such a simple question,' added the Gryphon; and then they both sat silent and looked at poor Alice, who felt ready to sink into the earth. At last the Gryphon said to the Mock Turtle, `Drive on, old fellow! Don't be all day about it!' and he went on in these words:

`Yes, we went to school in the sea, though you mayn't believe it--'

`I never said I didn't!' interrupted Alice.

`You did,' said the Mock Turtle.

`Hold your tongue!' added the Gryphon, before Alice could speak again. The Mock Turtle went on.

`We had the best of educations--in fact, we went to school every day--'

`I'VE been to a day-school, too,' said Alice; `you needn't be so proud as all that.'

`With extras?' asked the Mock Turtle a little anxiously.

`Yes,' said Alice, `we learned French and music.'

`And washing?' said the Mock Turtle.

`Certainly not!' said Alice indignantly.

`Ah! then yours wasn't a really good school,' said the Mock Turtle in a tone of great relief. `Now at OURS they had at the end of the bill, "French, music, AND WASHING--extra."'

`You couldn't have wanted it much,' said Alice; `living at the bottom of the sea.'

`I couldn't afford to learn it.' said the Mock Turtle with a sigh. `I only took the regular course.'

`What was that?' inquired Alice.

`Reeling and Writhing, of course, to begin with,' the Mock Turtle replied; `and then the different branches of Arithmetic-- Ambition, Distraction, Uglification, and Derision.'

`I never heard of "Uglification,"' Alice ventured to say. `What is it?'

The Gryphon lifted up both its paws in surprise. `What! Never heard of uglifying!' it exclaimed. `You know what to beautify is, I suppose?'

`Yes,' said Alice doubtfully: `it means--to--make--anything-- prettier.'

`Well, then,' the Gryphon went on, `if you don't know what to uglify is, you ARE a simpleton.'

Alice did not feel encouraged to ask any more questions about it, so she turned to the Mock Turtle, and said `What else had you to learn?'

`Well, there was Mystery,' the Mock Turtle replied, counting off the subjects on his flappers, `--Mystery, ancient and modern, with Seaography: then Drawling--the Drawling-master was an old conger-eel, that used to come once a week: HE taught us Drawling, Stretching, and Fainting in Coils.'

`What was THAT like?' said Alice.

`Well, I can't show it you myself,' the Mock Turtle said: `I'm too stiff. And the Gryphon never learnt it.'

`Hadn't time,' said the Gryphon: `I went to the Classics master, though. He was an old crab, HE was.'

`I never went to him,' the Mock Turtle said with a sigh: `he taught Laughing and Grief, they used to say.'

`So he did, so he did,' said the Gryphon, sighing in his turn; and both creatures hid their faces in their paws.

`And how many hours a day did you do lessons?' said Alice, in a hurry to change the subject.

`Ten hours the first day,' said the Mock Turtle: `nine the next, and so on.'

`What a curious plan!' exclaimed Alice.

`That's the reason they're called lessons,' the Gryphon remarked: `because they lessen from day to day.'

This was quite a new idea to Alice, and she thought it over a little before she made her next remark. `Then the eleventh day must have been a holiday?'

`Of course it was,' said the Mock Turtle.

`And how did you manage on the twelfth?' Alice went on eagerly.

`That's enough about lessons,' the Gryphon interrupted in a very decided tone: `tell her something about the games now.'

The Mock Turtle sighed deeply, and drew the back of one flapper across his eyes. He looked at Alice, and tried to speak, but for a minute or two sobs choked his voice. `Same as if he had a bone in his throat,' said the Gryphon: and it set to work shaking him and punching him in the back. At last the Mock Turtle recovered his voice, and, with tears running down his cheeks, he went on again:--

`You may not have lived much under the sea--' (`I haven't,' said Alice)--`and perhaps you were never even introduced to a lobster--' (Alice began to say `I once tasted--' but checked herself hastily, and said `No, never') `--so you can have no idea what a delightful thing a Lobster Quadrille is!'

`No, indeed,' said Alice. `What sort of a dance is it?'

`Why,' said the Gryphon, `you first form into a line along the sea-shore--'

`Two lines!' cried the Mock Turtle. `Seals, turtles, salmon, and so on; then, when you've cleared all the jelly-fish out of the way--'

`THAT generally takes some time,' interrupted the Gryphon.

`--you advance twice--'

`Each with a lobster as a partner!' cried the Gryphon.

`Of course,' the Mock Turtle said: `advance twice, set to partners--'

`--change lobsters, and retire in same order,' continued the Gryphon.

`Then, you know,' the Mock Turtle went on, `you throw the--'

`The lobsters!' shouted the Gryphon, with a bound into the air.

`--as far out to sea as you can--'

`Swim after them!' screamed the Gryphon.

`Turn a somersault in the sea!' cried the Mock Turtle, capering wildly about.

`Back to land again, and that's all the first figure,' said the Mock Turtle, suddenly dropping his voice; and the two creatures, who had been jumping about like mad things all this time, sat down again very sadly and quietly, and looked at Alice.

`It must be a very pretty dance,' said Alice timidly.

`Would you like to see a little of it?' said the Mock Turtle.

`Very much indeed,' said Alice.

`Come, let's try the first figure!' said the Mock Turtle to the Gryphon. `We can do without lobsters, you know. Which shall sing?'

`Oh, YOU sing,' said the Gryphon. `I've forgotten the words.'

So they began solemnly dancing round and round Alice, every now and then treading on her toes when they passed too close, and waving their forepaws to mark the time, while the Mock Turtle sang this, very slowly and sadly:--

`"Will you walk a little faster?" said a whiting to a snail. "There's a porpoise close behind us, and he's treading on my tail. See how eagerly the lobsters and the turtles all advance! They are waiting on the shingle--will you come and join the dance?

Will you, won't you, will you, won't you, will you join the dance? Will you, won't you, will you, won't you, won't you join the dance?

"You can really have no notion how delightful it will be When they take us up and throw us, with the lobsters, out to sea!" But the snail replied "Too far, too far!" and gave a look askance-- Said he thanked the whiting kindly, but he would not join the dance. Would not, could not, would not, could not, would not join the dance. Would not, could not, would not, could not, could not join the dance.

`"What matters it how far we go?" his scaly friend replied. "There is another shore, you know, upon the other side. The further off from England the nearer is to France-- Then turn not pale, beloved snail, but come and join the dance.

Will you, won't you, will you, won't you, will you join the dance? Will you, won't you, will you, won't you, won't you join the dance?"'

`Thank you, it's a very interesting dance to watch,' said Alice, feeling very glad that it was over at last: `and I do so like that curious song about the whiting!'

`Oh, as to the whiting,' said the Mock Turtle, `they--you've seen them, of course?'

`Yes,' said Alice, `I've often seen them at dinn--' she checked herself hastily.

`I don't know where Dinn may be,' said the Mock Turtle, `but if you've seen them so often, of course you know what they're like.'

`I believe so,' Alice replied thoughtfully. `They have their tails in their mouths--and they're all over crumbs.'

`You're wrong about the crumbs,' said the Mock Turtle: `crumbs would all wash off in the sea. But they HAVE their tails in their mouths; and the reason is--' here the Mock Turtle yawned and shut his eyes.--`Tell her about the reason and all that,' he said to the Gryphon.

`The reason is,' said the Gryphon, `that they WOULD go with the lobsters to the dance. So they got thrown out to sea. So they had to fall a long way. So they got their tails fast in their mouths. So they couldn't get them out again. That's all.'

`Thank you,' said Alice, `it's very interesting. I never knew so much about a whiting before.'

`I can tell you more than that, if you like,' said the Gryphon. `Do you know why it's called a whiting?'

`I never thought about it,' said Alice. `Why?'

`IT DOES THE BOOTS AND SHOES.' the Gryphon replied very solemnly.

Alice was thoroughly puzzled. `Does the boots and shoes!' she repeated in a wondering tone.

`Why, what are YOUR shoes done with?' said the Gryphon. `I mean, what makes them so shiny?'

Alice looked down at them, and considered a little before she gave her answer. `They're done with blacking, I believe.'

`Boots and shoes under the sea,' the Gryphon went on in a deep voice, `are done with a whiting. Now you know.'

`And what are they made of?' Alice asked in a tone of great curiosity.

`Soles and eels, of course,' the Gryphon replied rather impatiently: `any shrimp could have told you that.'

`If I'd been the whiting,' said Alice, whose thoughts were still running on the song, `I'd have said to the porpoise, "Keep back, please: we don't want YOU with us!"'

`They were obliged to have him with them,' the Mock Turtle said: `no wise fish would go anywhere without a porpoise.'

`Wouldn't it really?' said Alice in a tone of great surprise.

`Of course not,' said the Mock Turtle: `why, if a fish came to ME, and told me he was going a journey, I should say "With what porpoise?"'

`Don't you mean "purpose"?' said Alice.

`I mean what I say,' the Mock Turtle replied in an offended tone. And the Gryphon added `Come, let's hear some of YOUR adventures.'

`I could tell you my adventures--beginning from this morning,' said Alice a little timidly: `but it's no use going back to yesterday, because I was a different person then.'

`Explain all that,' said the Mock Turtle.

`No, no! The adventures first,' said the Gryphon in an impatient tone: `explanations take such a dreadful time.'

So Alice began telling them her adventures from the time when she first saw the White Rabbit. She was a little nervous about it just at first, the two creatures got so close to her, one on each side, and opened their eyes and mouths so VERY wide, but she gained courage as she went on. Her listeners were perfectly quiet till she got to the part about her repeating `YOU ARE OLD, FATHER WILLIAM,' to the Caterpillar, and the words all coming different, and then the Mock Turtle drew a long breath, and said `That's very curious.'

`It's all about as curious as it can be,' said the Gryphon.

`It all came different!' the Mock Turtle repeated thoughtfully. `I should like to hear her try and repeat something now. Tell her to begin.' He looked at the Gryphon as if he thought it had some kind of authority over Alice.

`Stand up and repeat "'TIS THE VOICE OF THE SLUGGARD,"' said the Gryphon.

`How the creatures order one about, and make one repeat lessons!' thought Alice; `I might as well be at school at once.' However, she got up, and began to repeat it, but her head was so full of the Lobster Quadrille, that she hardly knew what she was saying, and the words came very queer indeed:--

`'Tis the voice of the Lobster; I heard him declare, "You have baked me too brown, I must sugar my hair." As a duck with its eyelids, so he with his nose Trims his belt and his buttons, and turns out his toes.'

[later editions continued as follows When the sands are all dry, he is gay as a lark, And will talk in contemptuous tones of the Shark, But, when the tide rises and sharks are around, His voice has a timid and tremulous sound.]

`That's different from what I used to say when I was a child,' said the Gryphon.

`Well, I never heard it before,' said the Mock Turtle; `but it sounds uncommon nonsense.'

Alice said nothing; she had sat down with her face in her hands, wondering if anything would EVER happen in a natural way again.

`I should like to have it explained,' said the Mock Turtle.

`She can't explain it,' said the Gryphon hastily. `Go on with the next verse.'

`But about his toes?' the Mock Turtle persisted. `How COULD he turn them out with his nose, you know?'

`It's the first position in dancing.' Alice said; but was dreadfully puzzled by the whole thing, and longed to change the subject.

`Go on with the next verse,' the Gryphon repeated impatiently: `it begins "I passed by his garden."'

Alice did not dare to disobey, though she felt sure it would all come wrong, and she went on in a trembling voice:--

`I passed by his garden, and marked, with one eye, How the Owl and the Panther were sharing a pie--'

[later editions continued as follows The Panther took pie-crust, and gravy, and meat, While the Owl had the dish as its share of the treat. When the pie was all finished, the Owl, as a boon, Was kindly permitted to pocket the spoon: While the Panther received knife and fork with a growl, And concluded the banquet--]

`What IS the use of repeating all that stuff,' the Mock Turtle interrupted, `if you don't explain it as you go on? It's by far the most confusing thing I ever heard!'

`Yes, I think you'd better leave off,' said the Gryphon: and Alice was only too glad to do so.

`Shall we try another figure of the Lobster Quadrille?' the Gryphon went on. `Or would you like the Mock Turtle to sing you a song?'

`Oh, a song, please, if the Mock Turtle would be so kind,' Alice replied, so eagerly that the Gryphon said, in a rather offended tone, `Hm! No accounting for tastes! Sing her "Turtle Soup," will you, old fellow?'

The Mock Turtle sighed deeply, and began, in a voice sometimes choked with sobs, to sing this:--

`Beautiful Soup, so rich and green, Waiting in a hot tureen! Who for such dainties would not stoop? Soup of the evening, beautiful Soup! Soup of the evening, beautiful Soup! Beau--ootiful Soo--oop! Beau--ootiful Soo--oop! Soo--oop of the e--e--evening, Beautiful, beautiful Soup!

`Beautiful Soup! Who cares for fish, Game, or any other dish? Who would not give all else for two p ennyworth only of beautiful Soup? Pennyworth only of beautiful Soup? Beau--ootiful Soo--oop! Beau--ootiful Soo--oop! Soo--oop of the e--e--evening, Beautiful, beauti--FUL SOUP!'

`Chorus again!' cried the Gryphon, and the Mock Turtle had just begun to repeat it, when a cry of `The trial's beginning!' was heard in the distance.

`Come on!' cried the Gryphon, and, taking Alice by the hand, it hurried off, without waiting for the end of the song.

`What trial is it?' Alice panted as she ran; but the Gryphon only answered `Come on!' and ran the faster, while more and more faintly came, carried on the breeze that followed them, the melancholy words:--

`Soo--oop of the e--e--evening, Beautiful, beautiful Soup!'

The King and Queen of Hearts were seated on their throne when they arrived, with a great crowd assembled about them--all sorts of little birds and beasts, as well as the whole pack of cards: the Knave was standing before them, in chains, with a soldier on each side to guard him; and near the King was the White Rabbit, with a trumpet in one hand, and a scroll of parchment in the other. In the very middle of the court was a table, with a large dish of tarts upon it: they looked so good, that it made Alice quite hungry to look at them--`I wish they'd get the trial done,' she thought, `and hand round the refreshments!' But there seemed to be no chance of this, so she began looking at everything about her, to pass away the time.

Alice had never been in a court of justice before, but she had read about them in books, and she was quite pleased to find that she knew the name of nearly everything there. `That's the judge,' she said to herself, `because of his great wig.'

The judge, by the way, was the King; and as he wore his crown over the wig, (look at the frontispiece if you want to see how he did it,) he did not look at all comfortable, and it was certainly not becoming.

`And that's the jury-box,' thought Alice, `and those twelve creatures,' (she was obliged to say `creatures,' you see, because some of them were animals, and some were birds,) `I suppose they are the jurors.' She said this last word two or three times over to herself, being rather proud of it: for she thought, and rightly too, that very few little girls of her age knew the meaning of it at all. However, `jury-men' would have done just as well.

The twelve jurors were all writing very busily on slates. `What are they doing?' Alice whispered to the Gryphon. `They can't have anything to put down yet, before the trial's begun.'

`They're putting down their names,' the Gryphon whispered in reply, `for fear they should forget them before the end of the trial.'

`Stupid things!' Alice began in a loud, indignant voice, but she stopped hastily, for the White Rabbit cried out, `Silence in the court!' and the King put on his spectacles and looked anxiously round, to make out who was talking.

Alice could see, as well as if she were looking over their shoulders, that all the jurors were writing down `stupid things!' on their slates, and she could even make out that one of them didn't know how to spell `stupid,' and that he had to ask his neighbour to tell him. `A nice muddle their slates'll be in before the trial's over!' thought Alice.

One of the jurors had a pencil that squeaked. This of course, Alice could not stand, and she went round the court and got behind him, and very soon found an opportunity of taking it away. She did it so quickly that the poor little juror (it was Bill, the Lizard) could not make out at all what had become of it; so, after hunting all about for it, he was obliged to write with one finger for the rest of the day; and this was of very little use, as it left no mark on the slate.

`Herald, read the accusation!' said the King.

On this the White Rabbit blew three blasts on the trumpet, and then unrolled the parchment scroll, and read as follows:--

`The Queen of Hearts, she made some tarts, All on a summer day: The Knave of Hearts, he stole those tarts, And took them quite away!'

`Consider your verdict,' the King said to the jury.

`Not yet, not yet!' the Rabbit hastily interrupted. `There's a great deal to come before that!'

`Call the first witness,' said the King; and the White Rabbit blew three blasts on the trumpet, and called out, `First witness!'

The first witness was the Hatter. He came in with a teacup in one hand and a piece of bread-and-butter in the other. `I beg pardon, your Majesty,' he began, `for bringing these in: but I hadn't quite finished my tea when I was sent for.'

`You ought to have finished,' said the King. `When did you begin?'

The Hatter looked at the March Hare, who had followed him into the court, arm-in-arm with the Dormouse. `Fourteenth of March, I think it was,' he said.

`Fifteenth,' said the March Hare.

`Sixteenth,' added the Dormouse.

`Write that down,' the King said to the jury, and the jury eagerly wrote down all three dates on their slates, and then added them up, and reduced the answer to shillings and pence.

`Take off your hat,' the King said to the Hatter.

`It isn't mine,' said the Hatter.

`Stolen!' the King exclaimed, turning to the jury, who instantly made a memorandum of the fact.

`I keep them to sell,' the Hatter added as an explanation; `I've none of my own. I'm a hatter.'

Here the Queen put on her spectacles, and began staring at the Hatter, who turned pale and fidgeted.

`Give your evidence,' said the King; `and don't be nervous, or I'll have you executed on the spot.'

This did not seem to encourage the witness at all: he kept shifting from one foot to the other, looking uneasily at the Queen, and in his confusion he bit a large piece out of his teacup instead of the bread-and-butter.

Just at this moment Alice felt a very curious sensation, which puzzled her a good deal until she made out what it was: she was beginning to grow larger again, and she thought at first she would get up and leave the court; but on second thoughts she decided to remain where she was as long as there was room for her.

`I wish you wouldn't squeeze so.' said the Dormouse, who was sitting next to her. `I can hardly breathe.'

`I can't help it,' said Alice very meekly: `I'm growing.'

`You've no right to grow here,' said the Dormouse.

`Don't talk nonsense,' said Alice more boldly: `you know you're growing too.'

`Yes, but I grow at a reasonable pace,' said the Dormouse: `not in that ridiculous fashion.' And he got up very sulkily and crossed over to the other side of the court.

All this time the Queen had never left off staring at the Hatter, and, just as the Dormouse crossed the court, she said to one of the officers of the court, `Bring me the list of the singers in the last concert!' on which the wretched Hatter trembled so, that he shook both his shoes off.

`Give your evidence,' the King repeated angrily, `or I'll have you executed, whether you're nervous or not.'

`I'm a poor man, your Majesty,' the Hatter began, in a trembling voice, `--and I hadn't begun my tea--not above a week or so--and what with the bread-and-butter getting so thin--and the twinkling of the tea--'

`The twinkling of the what?' said the King.

`It began with the tea,' the Hatter replied.

`Of course twinkling begins with a T!' said the King sharply. `Do you take me for a dunce? Go on!'

`I'm a poor man,' the Hatter went on, `and most things twinkled after that--only the March Hare said--'

`I didn't!' the March Hare interrupted in a great hurry.

`You did!' said the Hatter.

`I deny it!' said the March Hare.

`He denies it,' said the King: `leave out that part.'

`Well, at any rate, the Dormouse said--' the Hatter went on, looking anxiously round to see if he would deny it too: but the Dormouse denied nothing, being fast asleep.

`After that,' continued the Hatter, `I cut some more bread- and-butter--'

`But what did the Dormouse say?' one of the jury asked.

`That I can't remember,' said the Hatter.

`You MUST remember,' remarked the King, `or I'll have you executed.'

The miserable Hatter dropped his teacup and bread-and-butter, and went down on one knee. `I'm a poor man, your Majesty,' he began.

`You're a very poor speaker,' said the King.

Here one of the guinea-pigs cheered, and was immediately suppressed by the officers of the court. (As that is rather a hard word, I will just explain to you how it was done. They had a large canvas bag, which tied up at the mouth with strings: into this they slipped the guinea-pig, head first, and then sat upon it.)

`I'm glad I've seen that done,' thought Alice. `I've so often read in the newspapers, at the end of trials, "There was some attempts at applause, which was immediately suppressed by the officers of the court," and I never understood what it meant till now.'

`If that's all you know about it, you may stand down,' continued the King.

`I can't go no lower,' said the Hatter: `I'm on the floor, as it is.'

`Then you may SIT down,' the King replied.

Here the other guinea-pig cheered, and was suppressed.

`Come, that finished the guinea-pigs!' thought Alice. `Now we shall get on better.'

`I'd rather finish my tea,' said the Hatter, with an anxious look at the Queen, who was reading the list of singers.

`You may go,' said the King, and the Hatter hurriedly left the court, without even waiting to put his shoes on.

`--and just take his head off outside,' the Queen added to one of the officers: but the Hatter was out of sight before the officer could get to the door.

`Call the next witness!' said the King.

The next witness was the Duchess's cook. She carried the pepper-box in her hand, and Alice guessed who it was, even before she got into the court, by the way the people near the door began sneezing all at once.

`Give your evidence,' said the King.

`Shan't,' said the cook.

The King looked anxiously at the White Rabbit, who said in a low voice, `Your Majesty must cross-examine THIS witness.'

`Well, if I must, I must,' the King said, with a melancholy air, and, after folding his arms and frowning at the cook till his eyes were nearly out of sight, he said in a deep voice, `What are tarts made of?'

`Pepper, mostly,' said the cook.

`Treacle,' said a sleepy voice behind her.

`Collar that Dormouse,' the Queen shrieked out. `Behead that Dormouse! Turn that Dormouse out of court! Suppress him! Pinch him! Off with his whiskers!'

For some minutes the whole court was in confusion, getting the Dormouse turned out, and, by the time they had settled down again, the cook had disappeared.

`Never mind!' said the King, with an air of great relief. `Call the next witness.' And he added in an undertone to the Queen, `Really, my dear, YOU must cross-examine the next witness. It quite makes my forehead ache!'

Alice watched the White Rabbit as he fumbled over the list, feeling very curious to see what the next witness would be like, `--for they haven't got much evidence YET,' she said to herself. Imagine her surprise, when the White Rabbit read out, at the top of his shrill little voice, the name `Alice!'

`Here!' cried Alice, quite forgetting in the flurry of the moment how large she had grown in the last few minutes, and she jumped up in such a hurry that she tipped over the jury-box with the edge of her skirt, upsetting all the jurymen on to the heads of the crowd below, and there they lay sprawling about, reminding her very much of a globe of goldfish she had accidentally upset the week before.

`Oh, I BEG your pardon!' she exclaimed in a tone of great dismay, and began picking them up again as quickly as she could, for the accident of the goldfish kept running in her head, and she had a vague sort of idea that they must be collected at once and put back into the jury-box, or they would die.

`The trial cannot proceed,' said the King in a very grave voice, `until all the jurymen are back in their proper places-- ALL,' he repeated with great emphasis, looking hard at Alice as he said do.

Alice looked at the jury-box, and saw that, in her haste, she had put the Lizard in head downwards, and the poor little thing was waving its tail about in a melancholy way, being quite unable to move. She soon got it out again, and put it right; `not that it signifies much,' she said to herself; `I should think it would be QUITE as much use in the trial one way up as the other.'

As soon as the jury had a little recovered from the shock of being upset, and their slates and pencils had been found and handed back to them, they set to work very diligently to write out a history of the accident, all except the Lizard, who seemed too much overcome to do anything but sit with its mouth open, gazing up into the roof of the court.

`What do you know about this business?' the King said to Alice.

`Nothing,' said Alice.

`Nothing WHATEVER?' persisted the King.

`Nothing whatever,' said Alice.

`That's very important,' the King said, turning to the jury. They were just beginning to write this down on their slates, when the White Rabbit interrupted: `UNimportant, your Majesty means, of course,' he said in a very respectful tone, but frowning and making faces at him as he spoke.

`UNimportant, of course, I meant,' the King hastily said, and went on to himself in an undertone, `important--unimportant-- unimportant--important--' as if he were trying which word sounded best.

Some of the jury wrote it down `important,' and some `unimportant.' Alice could see this, as she was near enough to look over their slates; `but it doesn't matter a bit,' she thought to herself.

At this moment the King, who had been for some time busily writing in his note-book, cackled out `Silence!' and read out from his book, `Rule Forty-two. ALL PERSONS MORE THAN A MILE HIGH TO LEAVE THE COURT.'

Everybody looked at Alice.

`I'M not a mile high,' said Alice.

`You are,' said the King.

`Nearly two miles high,' added the Queen.

`Well, I shan't go, at any rate,' said Alice: `besides, that's not a regular rule: you invented it just now.'

`It's the oldest rule in the book,' said the King.

`Then it ought to be Number One,' said Alice.

The King turned pale, and shut his note-book hastily. `Consider your verdict,' he said to the jury, in a low, trembling voice.

`There's more evidence to come yet, please your Majesty,' said the White Rabbit, jumping up in a great hurry; `this paper has just been picked up.'

`What's in it?' said the Queen.

`I haven't opened it yet,' said the White Rabbit, `but it seems to be a letter, written by the prisoner to--to somebody.'

`It must have been that,' said the King, `unless it was written to nobody, which isn't usual, you know.'

`Who is it directed to?' said one of the jurymen.

`It isn't directed at all,' said the White Rabbit; `in fact, there's nothing written on the OUTSIDE.' He unfolded the paper as he spoke, and added `It isn't a letter, after all: it's a set of verses.'

`Are they in the prisoner's handwriting?' asked another of they jurymen.

`No, they're not,' said the White Rabbit, `and that's the queerest thing about it.' (The jury all looked puzzled.)

`He must have imitated somebody else's hand,' said the King. (The jury all brightened up again.)

`Please your Majesty,' said the Knave, `I didn't write it, and they can't prove I did: there's no name signed at the end.'

`If you didn't sign it,' said the King, `that only makes the matter worse. You MUST have meant some mischief, or else you'd have signed your name like an honest man.'

There was a general clapping of hands at this: it was the first really clever thing the King had said that day.

`That PROVES his guilt,' said the Queen.

`It proves nothing of the sort!' said Alice. `Why, you don't even know what they're about!'

`Read them,' said the King.

The White Rabbit put on his spectacles. `Where shall I begin, please your Majesty?' he asked.

`Begin at the beginning,' the King said gravely, `and go on till you come to the end: then stop.'

These were the verses the White Rabbit read:--

`That's the most important piece of evidence we've heard yet,' said the King, rubbing his hands; `so now let the jury--'

`If any one of them can explain it,' said Alice, (she had grown so large in the last few minutes that she wasn't a bit afraid of interrupting him,) `I'll give him sixpence. _I_ don't believe there's an atom of meaning in it.'

The jury all wrote down on their slates, `She doesn't believe there's an atom of meaning in it,' but none of them attempted to explain the paper.

`If there's no meaning in it,' said the King, `that saves a world of trouble, you know, as we needn't try to find any. And yet I don't know,' he went on, spreading out the verses on his knee, and looking at them with one eye; `I seem to see some meaning in them, after all. "--said i could not swim--" you can't swim, can you?' he added, turning to the Knave.

The Knave shook his head sadly. `Do I look like it?' he said. (Which he certainly did not, being made entirely of cardboard.)

`All right, so far,' said the King, and he went on muttering over the verses to himself: `"We know it to be true--" that's the jury, of course-- "I gave her one, they gave him two--" why, that must be what he did with the tarts, you know--'

`But, it goes on "They all returned from him to you,"' said Alice.

`Why, there they are!' said the King triumphantly, pointing to the tarts on the table. `Nothing can be clearer than that. Then again--"Before she had this fit--" you never had fits, my dear, I think?' he said to the Queen.

`Never!' said the Queen furiously, throwing an inkstand at the Lizard as she spoke. (The unfortunate little Bill had left off writing on his slate with one finger, as he found it made no mark; but he now hastily began again, using the ink, that was trickling down his face, as long as it lasted.)

`Then the words don't fit you,' said the King, looking round the court with a smile. There was a dead silence.

`It's a pun!' the King added in an offended tone, and everybody laughed, `Let the jury consider their verdict,' the King said, for about the twentieth time that day.

`No, no!' said the Queen. `Sentence first--verdict afterwards.'

`Stuff and nonsense!' said Alice loudly. `The idea of having the sentence first!'

`Hold your tongue!' said the Queen, turning purple.

`I won't!' said Alice.

`Off with her head!' the Queen shouted at the top of her voice. Nobody moved.

`Who cares for you?' said Alice, (she had grown to her full size by this time.) `You're nothing but a pack of cards!'

At this the whole pack rose up into the air, and came flying down upon her: she gave a little scream, half of fright and half of anger, and tried to beat them off, and found herself lying on the bank, with her head in the lap of her sister, who was gently brushing away some dead leaves that had fluttered down from the trees upon her face.

`Wake up, Alice dear!' said her sister; `Why, what a long sleep you've had!'

`Oh, I've had such a curious dream!' said Alice, and she told her sister, as well as she could remember them, all these strange Adventures of hers that you have just been reading about; and when she had finished, her sister kissed her, and said, `It WAS a curious dream, dear, certainly: but now run in to your tea; it's getting late.' So Alice got up and ran off, thinking while she ran, as well she might, what a wonderful dream it had been.

But her sister sat still just as she left her, leaning her head on her hand, watching the setting sun, and thinking of little Alice and all her wonderful Adventures, till she too began dreaming after a fashion, and this was her dream:--

First, she dreamed of little Alice herself, and once again the tiny hands were clasped upon her knee, and the bright eager eyes were looking up into hers--she could hear the very tones of her voice, and see that queer little toss of her head to keep back the wandering hair that WOULD always get into her eyes--and still as she listened, or seemed to listen, the whole place around her became alive the strange creatures of her little sister's dream.

The long grass rustled at her feet as the White Rabbit hurried by--the frightened Mouse splashed his way through the neighbouring pool--she could hear the rattle of the teacups as the March Hare and his friends shared their never-ending meal, and the shrill voice of the Queen ordering off her unfortunate guests to execution--once more the pig-baby was sneezing on the Duchess's knee, while plates and dishes crashed around it--once more the shriek of the Gryphon, the squeaking of the Lizard's slate-pencil, and the choking of the suppressed guinea-pigs, filled the air, mixed up with the distant sobs of the miserable Mock Turtle.

So she sat on, with closed eyes, and half believed herself in Wonderland, though she knew she had but to open them again, and all would change to dull reality--the grass would be only rustling in the wind, and the pool rippling to the waving of the reeds--the rattling teacups would change to tinkling sheep- bells, and the Queen's shrill cries to the voice of the shepherd boy--and the sneeze of the baby, the shriek of the Gryphon, and all thy other queer noises, would change (she knew) to the confused clamour of the busy farm-yard--while the lowing of the cattle in the distance would take the place of the Mock Turtle's heavy sobs.

Lastly, she pictured to herself how this same little sister of hers would, in the after-time, be herself a grown woman; and how she would keep, through all her riper years, the simple and loving heart of her childhood: and how she would gather about her other little children, and make their eyes bright and eager with many a strange tale, perhaps even with the dream of Wonderland of long ago: and how she would feel with all their simple sorrows, and find a pleasure in all their simple joys, remembering her own child-life, and the happy summer days.

The End

그냥 죽죽 읽어 나가세요. 모르는 문장이나 단어가 나와도 그냥 추측하고 지나가시기 바랍니다. 작은 것을 버리고 큰 것을 얻으면 됩니다. 모르는 문장은 그런 상황을 뒤에서 여러번 만나면 저절로 알게 됩니다. 그리고 단어는 미리 혹은 나중에 따로 공부하면 됩니다. 그런 것에 자꾸 걸리면 진도가 안나가고 진도가 안나가면 금방 그만 둡니다. 읽을 때는 오직 줄거리에만 집중하셔야 합니다.

Contents

The Crystal Egg 1
The Star 35
A Story of the Stone Age 59
A Story of the Days to Come 165
The Man who could Work Miracles 325

[1]
THE CRYSTAL EGG
There was, until a year ago, a little and very grimy-looking shop near Seven Dials, over which, in weather-worn yellow lettering, the name of "C. Cave, Naturalist and Dealer in Antiquities," was inscribed. The contents of its window were curiously variegated. They comprised some elephant tusks and an imperfect set of chessmen, beads and weapons, a box of eyes, two skulls of tigers and one human, several moth-eaten stuffed monkeys (one holding a lamp), an old-fashioned cabinet, a flyblown ostrich egg or so, some fishing-tackle, and an extraordinarily dirty, empty glass fish-tank. There was also, at the moment the story begins, a mass of crystal, worked into the shape of an egg and brilliantly polished. And at that two people, who stood outside the window, were looking, one of them a tall, thin clergyman, the other a black-bearded young man of dusky complexion and unobtrusive costume. [2]The dusky young man spoke with eager gesticulation, and seemed anxious for his companion to purchase the article.

While they were there, Mr. Cave came into his shop, his beard still wagging with the bread and butter of his tea. When he saw these men and the object of their regard, his countenance fell. He glanced guiltily over his shoulder, and softly shut the door. He was a little old man, with pale face and peculiar watery blue eyes; his hair was a dirty grey, and he wore a shabby blue frock coat, an ancient silk hat, and carpet slippers very much down at heel. He remained watching the two men as they talked. The clergyman went deep into his trouser pocket, examined a handful of money, and showed his teeth in an agreeable smile. Mr. Cave seemed still more depressed when they came into the shop.

The clergyman, without any ceremony, asked the price of the crystal egg. Mr. Cave glanced nervously towards the door leading into the parlour, and said five pounds. The clergyman protested that the price was high, to his companion as well as to Mr. Cave—it was, indeed, very much more than Mr. Cave had intended to ask, when he had stocked the article—and an attempt at bargaining ensued. Mr. Cave stepped to the shop-door, and held it[3] open. "Five pounds is my price," he said, as though he wished to save himself the trouble of unprofitable discussion. As he did so, the upper portion of a woman's face appeared above the blind in the glass upper panel of the door leading into the parlour, and stared curiously at the two customers. "Five pounds is my price," said Mr. Cave, with a quiver in his voice.

The swarthy young man had so far remained a spectator, watching Cave keenly. Now he spoke. "Give him five pounds," he said. The clergyman glanced at him to see if he were in earnest, and, when he looked at Mr. Cave again, he saw that the latter's face was white. "It's a lot of money," said the clergyman, and, diving into his pocket, began counting his resources. He had little more than thirty shillings, and he appealed to his companion, with whom he seemed to be on terms of considerable intimacy. This gave Mr. Cave an opportunity of collecting his thoughts, and he began to explain in an agitated manner that the crystal was not, as a matter of fact, entirely free for sale. His two customers were naturally surprised at this, and inquired why he had not thought of that before he began to bargain. Mr. Cave became confused, but he stuck to his story, that the crystal was not in the market that afternoon,[4] that a probable purchaser of it had already appeared. The two, treating this as an attempt to raise the price still further, made as if they would leave the shop. But at this point the parlour door opened, and the owner of the dark fringe and the little eyes appeared.

She was a coarse-featured, corpulent woman, younger and very much larger than Mr. Cave; she walked heavily, and her face was flushed. "That crystal is for sale," she said. "And five pounds is a good enough price for it. I can't think what you're about, Cave, not to take the gentleman's offer!"

Mr. Cave, greatly perturbed by the irruption, looked angrily at her over the rims of his spectacles, and, without excessive assurance, asserted his right to manage his business in his own way. An altercation began. The two customers watched the scene with interest and some amusement, occasionally assisting Mrs. Cave with suggestions. Mr. Cave, hard driven, persisted in a confused and impossible story of an enquiry for the crystal that morning, and his agitation became painful. But he stuck to his point with extraordinary persistence. It was the young Oriental who ended this curious controversy. He proposed that they should call[5] again in the course of two days—so as to give the alleged enquirer a fair chance. "And then we must insist," said the clergyman, "Five pounds." Mrs. Cave took it on herself to apologise for her husband, explaining that he was sometimes "a little odd," and as the two customers left, the couple prepared for a free discussion of the incident in all its bearings.

Mrs. Cave talked to her husband with singular directness. The poor little man, quivering with emotion, muddled himself between his stories, maintaining on the one hand that he had another customer in view, and on the other asserting that the crystal was honestly worth ten guineas. "Why did you ask five pounds?" said his wife. "Do let me manage my business my own way!" said Mr. Cave.

Mr. Cave had living with him a step-daughter and a step-son, and at supper that night the transaction was re-discussed. None of them had a high opinion of Mr. Cave's business methods, and this action seemed a culminating folly.

"It's my opinion he's refused that crystal before," said the step-son, a loose-limbed lout of eighteen.

"But Five Pounds!" said the step-daughter,[6] an argumentative young woman of six-and-twenty.

Mr. Cave's answers were wretched; he could only mumble weak assertions that he knew his own business best. They drove him from his half-eaten supper into the shop, to close it for the night, his ears aflame and tears of vexation behind his spectacles. "Why had he left the crystal in the window so long? The folly of it!" That was the trouble closest in his mind. For a time he could see no way of evading sale.

After supper his step-daughter and step-son smartened themselves up and went out and his wife retired upstairs to reflect upon the business aspects of the crystal, over a little sugar and lemon and so forth in hot water. Mr. Cave went into the shop, and stayed there until late, ostensibly to make ornamental rockeries for goldfish cases but really for a private purpose that will be better explained later. The next day Mrs. Cave found that the crystal had been removed from the window, and was lying behind some second-hand books on angling. She replaced it in a conspicuous position. But she did not argue further about it, as a nervous headache disinclined her from debate. Mr. Cave was always disinclined. The day passed disagreeably.[7] Mr. Cave was, if anything, more absent-minded than usual, and uncommonly irritable withal. In the afternoon, when his wife was taking her customary sleep, he removed the crystal from the window again.

The next day Mr. Cave had to deliver a consignment of dog-fish at one of the hospital schools, where they were needed for dissection. In his absence Mrs. Cave's mind reverted to the topic of the crystal, and the methods of expenditure suitable to a windfall of five pounds. She had already devised some very agreeable expedients, among others a dress of green silk for herself and a trip to Richmond, when a jangling of the front door bell summoned her into the shop. The customer was an examination coach who came to complain of the non-delivery of certain frogs asked for the previous day. Mrs. Cave did not approve of this particular branch of Mr. Cave's business, and the gentleman, who had called in a somewhat aggressive mood, retired after a brief exchange of words—entirely civil so far as he was concerned. Mrs. Cave's eye then naturally turned to the window; for the sight of the crystal was an assurance of the five pounds and of her dreams. What was her surprise to find it gone![8]
She went to the place behind the locker on the counter, where she had discovered it the day before. It was not there; and she immediately began an eager search about the shop.

When Mr. Cave returned from his business with the dog-fish, about a quarter to two in the afternoon, he found the shop in some confusion, and his wife, extremely exasperated and on her knees behind the counter, routing among his taxidermic material. Her face came up hot and angry over the counter, as the jangling bell announced his return, and she forthwith accused him of "hiding it."

"Hid what?" asked Mr. Cave.

"The crystal!"

At that Mr. Cave, apparently much surprised, rushed to the window. "Isn't it here?" he said. "Great Heavens! what has become of it?"

Just then, Mr. Cave's step-son re-entered the shop from the inner room—he had come home a minute or so before Mr. Cave—and he was blaspheming freely. He was apprenticed to a second-hand furniture dealer down the road, but he had his meals at home, and he was naturally annoyed to find no dinner ready.

But, when he heard of the loss of the crystal, he forgot his meal, and his anger was diverted[9] from his mother to his step-father. Their first idea, of course, was that he had hidden it. But Mr. Cave stoutly denied all knowledge of its fate—freely offering his bedabbled affidavit in the matter—and at last was worked up to the point of accusing, first, his wife and then his step-son of having taken it with a view to a private sale. So began an exceedingly acrimonious and emotional discussion, which ended for Mrs. Cave in a peculiar nervous condition midway between hysterics and amuck, and caused the step-son to be half-an-hour late at the furniture establishment in the afternoon. Mr. Cave took refuge from his wife's emotions in the shop.

In the evening the matter was resumed, with less passion and in a judicial spirit, under the presidency of the step-daughter. The supper passed unhappily and culminated in a painful scene. Mr. Cave gave way at last to extreme exasperation, and went out banging the front door violently. The rest of the family, having discussed him with the freedom his absence warranted, hunted the house from garret to cellar, hoping to light upon the crystal.

The next day the two customers called again. They were received by Mrs. Cave almost in tears. It transpired that no one could[10] imagine all that she had stood from Cave at various times in her married pilgrimage.... She also gave a garbled account of the disappearance. The clergyman and the Oriental laughed silently at one another, and said it was very extraordinary. As Mrs. Cave seemed disposed to give them the complete history of her life they made to leave the shop. Thereupon Mrs. Cave, still clinging to hope, asked for the clergyman's address, so that, if she could get anything out of Cave, she might communicate it. The address was duly given, but apparently was afterwards mislaid. Mrs. Cave can remember nothing about it.

In the evening of that day, the Caves seem to have exhausted their emotions, and Mr. Cave, who had been out in the afternoon, supped in a gloomy isolation that contrasted pleasantly with the impassioned controversy of the previous days. For some time matters were very badly strained in the Cave household, but neither crystal nor customer reappeared.

Now, without mincing the matter, we must admit that Mr. Cave was a liar. He knew perfectly well where the crystal was. It was in the rooms of Mr. Jacoby Wace, Assistant Demonstrator at St. Catherine's Hospital,[11] Westbourne Street. It stood on the sideboard partially covered by a black velvet cloth, and beside a decanter of American whisky. It is from Mr. Wace, indeed, that the particulars upon which this narrative is based were derived. Cave had taken off the thing to the hospital hidden in the dog-fish sack, and there had pressed the young investigator to keep it for him. Mr. Wace was a little dubious at first. His relationship to Cave was peculiar. He had a taste for singular characters, and he had more than once invited the old man to smoke and drink in his rooms, and to unfold his rather amusing views of life in general and of his wife in particular. Mr. Wace had encountered Mrs. Cave, too, on occasions when Mr. Cave was not at home to attend to him. He knew the constant interference to which Cave was subjected, and having weighed the story judicially, he decided to give the crystal a refuge. Mr. Cave promised to explain the reasons for his remarkable affection for the crystal more fully on a later occasion, but he spoke distinctly of seeing visions therein. He called on Mr. Wace the same evening.

He told a complicated story. The crystal he said had come into his possession with other oddments at the forced sale of another curiosity[12] dealer's effects, and not knowing what its value might be, he had ticketed it at ten shillings. It had hung upon his hands at that price for some months, and he was thinking of "reducing the figure," when he made a singular discovery.

At that time his health was very bad—and it must be borne in mind that, throughout all this experience, his physical condition was one of ebb—and he was in considerable distress by reason of the negligence, the positive ill-treatment even, he received from his wife and step-children. His wife was vain, extravagant, unfeeling, and had a growing taste for private drinking; his step-daughter was mean and over-reaching; and his step-son had conceived a violent dislike for him, and lost no chance of showing it. The requirements of his business pressed heavily upon him, and Mr. Wace does not think that he was altogether free from occasional intemperance. He had begun life in a comfortable position, he was a man of fair education, and he suffered, for weeks at a stretch, from melancholia and insomnia. Afraid to disturb his family, he would slip quietly from his wife's side, when his thoughts became intolerable, and wander about the house. And about[13] three o'clock one morning, late in August, chance directed him into the shop.

The dirty little place was impenetrably black except in one spot, where he perceived an unusual glow of light. Approaching this, he discovered it to be the crystal egg, which was standing on the corner of the counter towards the window. A thin ray smote through a crack in the shutters, impinged upon the object, and seemed as it were to fill its entire interior.

It occurred to Mr. Cave that this was not in accordance with the laws of optics as he had known them in his younger days. He could understand the rays being refracted by the crystal and coming to a focus in its interior, but this diffusion jarred with his physical conceptions. He approached the crystal nearly, peering into it and round it, with a transient revival of the scientific curiosity that in his youth had determined his choice of a calling. He was surprised to find the light not steady, but writhing within the substance of the egg, as though that object was a hollow sphere of some luminous vapour. In moving about to get different points of view, he suddenly found that he had come between it and the ray, and that the crystal none the less remained luminous.[14] Greatly astonished, he lifted it out of the light ray and carried it to the darkest part of the shop. It remained bright for some four or five minutes, when it slowly faded and went out. He placed it in the thin streak of daylight, and its luminousness was almost immediately restored.

So far, at least, Mr. Wace was able to verify the remarkable story of Mr. Cave. He has himself repeatedly held this crystal in a ray of light (which had to be of a less diameter than one millimetre). And in a perfect darkness, such as could be produced by velvet wrapping, the crystal did undoubtedly appear very faintly phosphorescent. It would seem, however, that the luminousness was of some exceptional sort, and not equally visible to all eyes; for Mr. Harbinger—whose name will be familiar to the scientific reader in connection with the Pasteur Institute—was quite unable to see any light whatever. And Mr. Wace's own capacity for its appreciation was out of comparison inferior to that of Mr. Cave's. Even with Mr. Cave the power varied very considerably: his vision was most vivid during states of extreme weakness and fatigue.

Now, from the outset this light in the crystal exercised a curious fascination upon Mr. Cave.[15] And it says more for his loneliness of soul than a volume of pathetic writing could do, that he told no human being of his curious observations. He seems to have been living in such an atmosphere of petty spite that to admit the existence of a pleasure would have been to risk the loss of it. He found that as the dawn advanced, and the amount of diffused light increased, the crystal became to all appearance non-luminous. And for some time he was unable to see anything in it, except at night-time, in dark corners of the shop.

But the use of an old velvet cloth, which he used as a background for a collection of minerals, occurred to him, and by doubling this, and putting it over his head and hands, he was able to get a sight of the luminous movement within the crystal even in the daytime. He was very cautious lest he should be thus discovered by his wife, and he practised this occupation only in the afternoons, while she was asleep upstairs, and then circumspectly in a hollow under the counter. And one day, turning the crystal about in his hands, he saw something. It came and went like a flash, but it gave him the impression that the object had for a moment opened to him the view of a wide and spacious and strange country; and, turning[16] it about, he did, just as the light faded, see the same vision again.

Now, it would be tedious and unnecessary to state all the phases of Mr. Cave's discovery from this point. Suffice that the effect was this: the crystal, being peered into at an angle of about 137 degrees from the direction of the illuminating ray, gave a clear and consistent picture of a wide and peculiar countryside. It was not dream-like at all: it produced a definite impression of reality, and the better the light the more real and solid it seemed. It was a moving picture: that is to say, certain objects moved in it, but slowly in an orderly manner like real things, and, according as the direction of the lighting and vision changed, the picture changed also. It must, indeed, have been like looking through an oval glass at a view, and turning the glass about to get at different aspects.

Mr. Cave's statements, Mr. Wace assures me, were extremely circumstantial, and entirely free from any of that emotional quality that taints hallucinatory impressions. But it must be remembered that all the efforts of Mr. Wace to see any similar clarity in the faint opalescence of the crystal were wholly unsuccessful, try as he would. The difference in[17] intensity of the impressions received by the two men was very great, and it is quite conceivable that what was a view to Mr. Cave was a mere blurred nebulosity to Mr. Wace.

The view, as Mr. Cave described it, was invariably of an extensive plain, and he seemed always to be looking at it from a considerable height, as if from a tower or a mast. To the east and to the west the plain was bounded at a remote distance by vast reddish cliffs, which reminded him of those he had seen in some picture; but what the picture was Mr. Wace was unable to ascertain. These cliffs passed north and south—he could tell the points of the compass by the stars that were visible of a night—receding in an almost illimitable perspective and fading into the mists of the distance before they met. He was nearer the eastern set of cliffs, on the occasion of his first vision the sun was rising over them, and black against the sunlight and pale against their shadow appeared a multitude of soaring forms that Mr. Cave regarded as birds. A vast range of buildings spread below him; he seemed to be looking down upon them; and, as they approached the blurred and refracted edge of the picture, they became indistinct. There were also trees curious in shape, and in colouring, a deep[18] mossy green and an exquisite grey, beside a wide and shining canal. And something great and brilliantly coloured flew across the picture. But the first time Mr. Cave saw these pictures he saw only in flashes, his hands shook, his head moved, the vision came and went, and grew foggy and indistinct. And at first he had the greatest difficulty in finding the picture again once the direction of it was lost.

His next clear vision, which came about a week after the first, the interval having yielded nothing but tantalising glimpses and some useful experience, showed him the view down the length of the valley. The view was different, but he had a curious persuasion, which his subsequent observations abundantly confirmed, that he was regarding this strange world from exactly the same spot, although he was looking in a different direction. The long façade of the great building, whose roof he had looked down upon before, was now receding in perspective. He recognised the roof. In the front of the façade was a terrace of massive proportions and extraordinary length, and down the middle of the terrace, at certain intervals, stood huge but very graceful masts, bearing small shiny objects which reflected the setting sun. The import of these small objects did not[19] occur to Mr. Cave until some time after, as he was describing the scene to Mr. Wace. The terrace overhung a thicket of the most luxuriant and graceful vegetation, and beyond this was a wide grassy lawn on which certain broad creatures, in form like beetles but enormously larger, reposed. Beyond this again was a richly decorated causeway of pinkish stone; and beyond that, and lined with dense red weeds, and passing up the valley exactly parallel with the distant cliffs, was a broad and mirror-like expanse of water. The air seemed full of squadrons of great birds, manœuvring in stately curves; and across the river was a multitude of splendid buildings, richly coloured and glittering with metallic tracery and facets, among a forest of moss-like and lichenous trees. And suddenly something flapped repeatedly across the vision, like the fluttering of a jewelled fan or the beating of a wing, and a face, or rather the upper part of a face with very large eyes, came as it were close to his own and as if on the other side of the crystal. Mr. Cave was so startled and so impressed by the absolute reality of these eyes, that he drew his head back from the crystal to look behind it. He had become so absorbed in watching that he was quite surprised to find himself in the cool darkness of[20] his little shop, with its familiar odour of methyl, mustiness, and decay. And, as he blinked about him, the glowing crystal faded, and went out.

Such were the first general impressions of Mr. Cave. The story is curiously direct and circumstantial. From the outset, when the valley first flashed momentarily on his senses, his imagination was strangely affected, and, as he began to appreciate the details of the scene he saw, his wonder rose to the point of a passion. He went about his business listless and distraught, thinking only of the time when he should be able to return to his watching. And then a few weeks after his first sight of the valley came the two customers, the stress and excitement of their offer, and the narrow escape of the crystal from sale, as I have already told.

Now, while the thing was Mr. Cave's secret, it remained a mere wonder, a thing to creep to covertly and peep at, as a child might peep upon a forbidden garden. But Mr. Wace has, for a young scientific investigator, a particularly lucid and consecutive habit of mind. Directly the crystal and its story came to him, and he had satisfied himself, by seeing the phosphorescence with his own eyes, that there really[21] was a certain evidence for Mr. Cave's statements, he proceeded to develop the matter systematically. Mr. Cave was only too eager to come and feast his eyes on this wonderland he saw, and he came every night from half-past eight until half-past ten, and sometimes, in Mr. Wace's absence, during the day. On Sunday afternoons, also, he came. From the outset Mr. Wace made copious notes, and it was due to his scientific method that the relation between the direction from which the initiating ray entered the crystal and the orientation of the picture were proved. And, by covering the crystal in a box perforated only with a small aperture to admit the exciting ray, and by substituting black holland for his buff blinds, he greatly improved the conditions of the observations; so that in a little while they were able to survey the valley in any direction they desired.

So having cleared the way, we may give a brief account of this visionary world within the crystal. The things were in all cases seen by Mr. Cave, and the method of working was invariably for him to watch the crystal and report what he saw, while Mr. Wace (who as a science student had learnt the trick of writing in the dark) wrote a brief note of his report. When the crystal faded, it was put into its box[22] in the proper position and the electric light turned on. Mr. Wace asked questions, and suggested observations to clear up difficult points. Nothing, indeed, could have been less visionary and more matter-of-fact.

The attention of Mr. Cave had been speedily directed to the bird-like creatures he had seen so abundantly present in each of his earlier visions. His first impression was soon corrected, and he considered for a time that they might represent a diurnal species of bat. Then he thought, grotesquely enough, that they might be cherubs. Their heads were round, and curiously human, and it was the eyes of one of them that had so startled him on his second observation. They had broad, silvery wings, not feathered, but glistening almost as brilliantly as new-killed fish and with the same subtle play of colour, and these wings were not built on the plan of bird-wing or bat, Mr. Wace learned, but supported by curved ribs radiating from the body. (A sort of butterfly wing with curved ribs seems best to express their appearance.) The body was small, but fitted with two bunches of prehensile organs, like long tentacles, immediately under the mouth. Incredible as it appeared to Mr. Wace, the persuasion at last became irresistible, that it was[23] these creatures which owned the great quasi-human buildings and the magnificent garden that made the broad valley so splendid. And Mr. Cave perceived that the buildings, with other peculiarities, had no doors, but that the great circular windows, which opened freely, gave the creatures egress and entrance. They would alight upon their tentacles, fold their wings to a smallness almost rod-like, and hop into the interior. But among them was a multitude of smaller-winged creatures, like great dragon-flies and moths and flying beetles, and across the greensward brilliantly-coloured gigantic ground-beetles crawled lazily to and fro. Moreover, on the causeways and terraces, large-headed creatures similar to the greater winged flies, but wingless, were visible, hopping busily upon their hand-like tangle of tentacles.

Allusion has already been made to the glittering objects upon masts that stood upon the terrace of the nearer building. It dawned upon Mr. Cave, after regarding one of these masts very fixedly on one particularly vivid day, that the glittering object there was a crystal exactly like that into which he peered. And a still more careful scrutiny convinced him that each[24] one in a vista of nearly twenty carried a similar object.

Occasionally one of the large flying creatures would flutter up to one, and, folding its wings and coiling a number of its tentacles about the mast, would regard the crystal fixedly for a space,—sometimes for as long as fifteen minutes. And a series of observations, made at the suggestion of Mr. Wace, convinced both watchers that, so far as this visionary world was concerned, the crystal into which they peered actually stood at the summit of the endmost mast on the terrace, and that on one occasion at least one of these inhabitants of this other world had looked into Mr. Cave's face while he was making these observations.

So much for the essential facts of this very singular story. Unless we dismiss it all as the ingenious fabrication of Mr. Wace, we have to believe one of two things: either that Mr. Cave's crystal was in two worlds at once, and that, while it was carried about in one, it remained stationary in the other, which seems altogether absurd; or else that it had some peculiar relation of sympathy with another and exactly similar crystal in this other world, so that what was seen in the interior of the one in this world was, under suitable conditions,[25] visible to an observer in the corresponding crystal in the other world; and vice versa. At present, indeed, we do not know of any way in which two crystals could so come en rapport, but nowadays we know enough to understand that the thing is not altogether impossible. This view of the crystals as en rapport was the supposition that occurred to Mr. Wace, and to me at least it seems extremely plausible....

And where was this other world? On this, also, the alert intelligence of Mr. Wace speedily threw light. After sunset, the sky darkened rapidly—there was a very brief twilight interval indeed—and the stars shone out. They were recognisably the same as those we see, arranged in the same constellations. Mr. Cave recognised the Bear, the Pleiades, Aldebaran, and Sirius: so that the other world must be somewhere in the solar system, and, at the utmost, only a few hundreds of millions of miles from our own. Following up this clue, Mr. Wace learned that the midnight sky was a darker blue even than our midwinter sky, and that the sun seemed a little smaller. And there were two small moons! "like our moon but smaller, and quite differently marked" one of which moved so rapidly that its motion was[26] clearly visible as one regarded it. These moons were never high in the sky, but vanished as they rose: that is, every time they revolved they were eclipsed because they were so near their primary planet. And all this answers quite completely, although Mr. Cave did not know it, to what must be the condition of things on Mars.

Indeed, it seems an exceedingly plausible conclusion that peering into this crystal Mr. Cave did actually see the planet Mars and its inhabitants. And, if that be the case, then the evening star that shone so brilliantly in the sky of that distant vision, was neither more nor less than our own familiar earth.

For a time the Martians—if they were Martians—do not seem to have known of Mr. Cave's inspection. Once or twice one would come to peer, and go away very shortly to some other mast, as though the vision was unsatisfactory. During this time Mr. Cave was able to watch the proceedings of these winged people without being disturbed by their attentions, and, although his report is necessarily vague and fragmentary, it is nevertheless very suggestive. Imagine the impression of humanity a Martian observer would get who, after a difficult process of preparation and with considerable[27] fatigue to the eyes, was able to peer at London from the steeple of St. Martin's Church for stretches, at longest, of four minutes at a time. Mr. Cave was unable to ascertain if the winged Martians were the same as the Martians who hopped about the causeways and terraces, and if the latter could put on wings at will. He several times saw certain clumsy bipeds, dimly suggestive of apes, white and partially translucent, feeding among certain of the lichenous trees, and once some of these fled before one of the hopping, round-headed Martians. The latter caught one in its tentacles, and then the picture faded suddenly and left Mr. Cave most tantalisingly in the dark. On another occasion a vast thing, that Mr. Cave thought at first was some gigantic insect, appeared advancing along the causeway beside the canal with extraordinary rapidity. As this drew nearer Mr. Cave perceived that it was a mechanism of shining metals and of extraordinary complexity. And then, when he looked again, it had passed out of sight.

After a time Mr. Wace aspired to attract the attention of the Martians, and the next time that the strange eyes of one of them appeared close to the crystal Mr. Cave cried out and sprang away, and they immediately turned on[28] the light and began to gesticulate in a manner suggestive of signalling. But when at last Mr. Cave examined the crystal again the Martian had departed.

Thus far these observations had progressed in early November, and then Mr. Cave, feeling that the suspicions of his family about the crystal were allayed, began to take it to and fro with him in order that, as occasion arose in the daytime or night, he might comfort himself with what was fast becoming the most real thing in his existence.

In December Mr. Wace's work in connection with a forthcoming examination became heavy, the sittings were reluctantly suspended for a week, and for ten or eleven days—he is not quite sure which—he saw nothing of Cave. He then grew anxious to resume these investigations, and, the stress of his seasonal labours being abated, he went down to Seven Dials. At the corner he noticed a shutter before a bird fancier's window, and then another at a cobbler's. Mr. Cave's shop was closed.

He rapped and the door was opened by the step-son in black. He at once called Mrs. Cave, who was, Mr. Wace could not but observe, in cheap but ample widow's weeds of the most imposing pattern. Without any very[29] great surprise Mr. Wace learnt that Cave was dead and already buried. She was in tears, and her voice was a little thick. She had just returned from Highgate. Her mind seemed occupied with her own prospects and the honourable details of the obsequies, but Mr. Wace was at last able to learn the particulars of Cave's death. He had been found dead in his shop in the early morning, the day after his last visit to Mr. Wace, and the crystal had been clasped in his stone-cold hands. His face was smiling, said Mrs. Cave, and the velvet cloth from the minerals lay on the floor at his feet. He must have been dead five or six hours when he was found.

This came as a great shock to Wace, and he began to reproach himself bitterly for having neglected the plain symptoms of the old man's ill-health. But his chief thought was of the crystal. He approached that topic in a gingerly manner, because he knew Mrs. Cave's peculiarities. He was dumbfoundered to learn that it was sold.

Mrs. Cave's first impulse, directly Cave's body had been taken upstairs, had been to write to the mad clergyman who had offered five pounds for the crystal, informing him of its recovery; but after a violent hunt in which her[30] daughter joined her, they were convinced of the loss of his address. As they were without the means required to mourn and bury Cave in the elaborate style the dignity of an old Seven Dials inhabitant demands, they had appealed to a friendly fellow-tradesman in Great Portland Street. He had very kindly taken over a portion of the stock at a valuation. The valuation was his own and the crystal egg was included in one of the lots. Mr. Wace, after a few suitable consolatory observations, a little off-handedly proffered perhaps, hurried at once to Great Portland Street. But there he learned that the crystal egg had already been sold to a tall, dark man in grey. And there the material facts in this curious, and to me at least very suggestive, story come abruptly to an end. The Great Portland Street dealer did not know who the tall dark man in grey was, nor had he observed him with sufficient attention to describe him minutely. He did not even know which way this person had gone after leaving the shop. For a time Mr. Wace remained in the shop, trying the dealer's patience with hopeless questions, venting his own exasperation. And at last, realising abruptly that the whole thing had passed out of his hands, had vanished like a vision of the night, he returned[31] to his own rooms, a little astonished to find the notes he had made still tangible and visible upon his untidy table.

His annoyance and disappointment were naturally very great. He made a second call (equally ineffectual) upon the Great Portland Street dealer, and he resorted to advertisements in such periodicals as were likely to come into the hands of a bric-a-brac collector. He also wrote letters to The Daily Chronicle and Nature, but both those periodicals, suspecting a hoax, asked him to reconsider his action before they printed, and he was advised that such a strange story, unfortunately so bare of supporting evidence, might imperil his reputation as an investigator. Moreover, the calls of his proper work were urgent. So that after a month or so, save for an occasional reminder to certain dealers, he had reluctantly to abandon the quest for the crystal egg, and from that day to this it remains undiscovered. Occasionally, however, he tells me, and I can quite believe him, he has bursts of zeal, in which he abandons his more urgent occupation and resumes the search.

Whether or not it will remain lost for ever, with the material and origin of it, are things equally speculative at the present time. If the[32] present purchaser is a collector, one would have expected the enquiries of Mr. Wace to have reached him through the dealers. He has been able to discover Mr. Cave's clergyman and "Oriental"—no other than the Rev. James Parker and the young Prince of Bosso-Kuni in Java. I am obliged to them for certain particulars. The object of the Prince was simply curiosity—and extravagance. He was so eager to buy, because Cave was so oddly reluctant to sell. It is just as possible that the buyer in the second instance was simply a casual purchaser and not a collector at all, and the crystal egg, for all I know, may at the present moment be within a mile of me, decorating a drawing-room or serving as a paper-weight—its remarkable functions all unknown. Indeed, it is partly with the idea of such a possibility that I have thrown this narrative into a form that will give it a chance of being read by the ordinary consumer of fiction.

My own ideas in the matter are practically identical with those of Mr. Wace. I believe the crystal on the mast in Mars and the crystal egg of Mr. Cave's to be in some physical, but at present quite inexplicable, way en rapport, and we both believe further that the terrestrial crystal must have been—possibly at some remote[33] date—sent hither from that planet, in order to give the Martians a near view of our affairs. Possibly the fellows to the crystals in the other masts are also on our globe. No theory of hallucination suffices for the facts.

그냥 죽죽 읽어 나가세요. 모르는 문장이나 단어가 나와도 그냥 추측하고 지나가시기 바랍니다. 작은 것을 버리고 큰 것을 얻으면 됩니다. 모르는 문장은 그런 상황을 뒤에서 여러번 만나면 저절로 알게 됩니다. 그리고 단어는 미리 혹은 나중에 따로 공부하면 됩니다. 그런 것에 자꾸 걸리면 진도가 안나가고 진도가 안나가면 금방 그만 둡니다. 읽을 때는 오직 줄거리에만 집중하셔야 합니다.

독해는 종합적인 공부로서 단어, 숙어, 문법, 회화, 듣기, 작문 실력을 한꺼번에 늘려 줍니다. 모든 영어공부 중에서 가장 종합적인 것이 읽기 입니다. 독해를 많이 하면 소위 영어의 내공이 쌓여 갑니다. 책을 많이 읽는 사람은 도저히 당할 수가 없습니다. 진짜 영어고수들은 모두 독서를 많이 한 사람들입니다.

중고등학교에서 영어성적 상위 1%에 드는 학생이라면 대체로 초등학교 때 영어동화책을 많이 읽은 학생입니다. 읽기는 모든 공부의 기초이면서 또한 완성입니다. 이런 동화들을 죽죽 읽어 나가다 보면 영문독해력은 그야말로 가랑비에 옷 젖듯이 자기도 모르게 쑥쑥 향상됩니다. 일단은 공부한다는 생각을 버리고 재미있게 읽는데 촛점을 맞추시기 바랍니다. 욕심을 버리고 재미있게 읽다보면 독해실력은 저절로 따라오죠. 욕심을 버리는 것! 이게 어렵습니다.

말이 나온 김에, 단어 이야기도 좀 하겠습니다. 모르는 단어도 여러번 실제 상황 속에서 만나게 되면 대충의 뜻을 저절로 알게 됩니다. 심지어 그 단어의 분위기나 색깔은 사전에서 보다 더 정확히 알 수 있습니다. 또 이렇게 체득된 단어는 아주 오래 갑니다. 단어실력을 유지하는 데도 독해가 최고죠. 최소한의 독서량을 유지만 해도 단어실력은 줄지 않습니다.

독서량이 늘면 어휘력이 증가되는 것은 물론, 기존의 어휘력이 유지 되며, 더 나아가 대충 알고 있던 의미가 더 정확해지고 뚜렷해 집니다. 저처럼 평소에 무식하게 단어만 따로 외웠더라도 나중에 독해를 많이 하게 되면, 여러 상황 속에서 그런 단어들을 접하게 되므로 독해를 하면서 외운 단어들처럼 깊이 체화됩니다. 한 마디로, 독해야말로 어휘력을 늘리고 유지하고 정확히 하는 데도 최선의 방법입니다. 그래서 독해는 종합공부인 것이죠.

참고로, 상급자라 해도 다 같은 실력은 아닙니다. 하늘과 땅 차이일 수도 있습니다. 그러면 초기 상급자란 무엇인가? 일단 독해에 자신감이 있고 어떤 문장에 대해서도 거부감이 없는 상태이며 모르는 문장들이  나오더라도 실망하기 보다는 의욕과 투지가 불타는 수준을 말합니다. 어떤 상황에서도 포기하지 않고 오히려 모르는 문장들을 발전의 기회로 바라보는 수준이죠. 이 수준까지 가면 일단 그 사람은 영어가 강점이 되었으며 더 이상의 단계로 가는 것은 그냥 시간문제입니다.

미안하지만 이런 사람은 결코 다시 중급자나 하급자가 될 수 없습니다. 한 동안 영어를 놓았더라도 약간만 하면 금방 이전 수준으로 회복 됩니다. 영어실력 자체는 변동이 있을 수 있지만 마음 속에 한 번 자리잡은 자신감은 결코 사라지지 않습니다. 마치 자전거를 한 번 배운 사람은 언제라도 다시 자전거를 탈 수 있듯이요.^^
 

THE KING OF THE POLAR BEARS


The King of the Polar Bears lived among the icebergs in the far north country. He was old and monstrous big; he was wise and friendly to all who knew him. His body was thickly covered with long, white hair that glistened like silver under the rays of the midnight sun. His claws were strong and sharp, that he might walk safely over the smooth ice or grasp and tear the fishes and seals upon which he fed.

The seals were afraid when he drew near, and tried to avoid him; but the gulls, both white and gray, loved him because he left the remnants of his feasts for them to devour.

Often his subjects, the polar bears, came to him for advice when ill or in trouble; but they wisely kept away from his hunting grounds, lest they might interfere with his sport and arouse his anger.

The wolves, who sometimes came as far north as the icebergs, whispered among themselves that the King of the Polar Bears was either a magician or under the protection of a powerful fairy. For no earthly thing seemed able to harm him; he never failed to secure plenty of food, and he grew bigger and stronger day by day and year by year.

Yet the time came when this monarch of the north met man, and his wisdom failed him.

He came out of his cave among the icebergs one day and saw a boat moving through the strip of water which had been uncovered by the shifting of the summer ice. In the boat were men.

The great bear had never seen such creatures before, and therefore advanced toward the boat, sniffing the strange scent with aroused curiosity and wondering whether he might take them for friends or foes, food or carrion.

When the king came near the water's edge a man stood up in the boat and with a queer instrument made a loud "bang!" The polar bear felt a shock; his brain became numb; his thoughts deserted him; his great limbs shook and gave way beneath him and his body fell heavily upon the hard ice.

That was all he remembered for a time.

When he awoke he was smarting with pain on every inch of his huge bulk, for the men had cut away his hide with its glorious white hair and carried it with them to a distant ship.

Above him circled thousands of his friends the gulls, wondering if their benefactor were really dead and it was proper to eat him. But when they saw him raise his head and groan and tremble they knew he still lived, and one of them said to his comrades:

"The wolves were right. The king is a great magician, for even men cannot kill him. But he suffers for lack of covering. Let us repay his kindness to us by each giving him as many feathers as we can spare."

This idea pleased the gulls. One after another they plucked with their beaks the softest feathers from under their wings, and, flying down, dropped then gently upon the body of the King of the Polar Bears.

Then they called to him in a chorus:

"Courage, friend! Our feathers are as soft and beautiful as your own shaggy hair. They will guard you from the cold winds and warm you while you sleep. Have courage, then, and live!"

And the King of the Polar Bears had courage to bear his pain and lived and was strong again.

The feathers grew as they had grown upon the bodies of the birds and covered him as his own hair had done. Mostly they were pure white in color, but some from the gray gulls gave his majesty a slight mottled appearance.

The rest of that summer and all through the six months of night the king left his icy cavern only to fish or catch seals for food. He felt no shame at his feathery covering, but it was still strange to him, and he avoided meeting any of his brother bears.

During this period of retirement he thought much of the men who had harmed him, and remembered the way they had made the great "bang!" And he decided it was best to keep away from such fierce creatures. Thus he added to his store of wisdom.

When the moon fell away from the sky and the sun came to make the icebergs glitter with the gorgeous tintings of the rainbow, two of the polar bears arrived at the king's cavern to ask his advice about the hunting season. But when they saw his great body covered with feathers instead of hair they began to laugh, and one said:

"Our mighty king has become a bird! Who ever before heard of a feathered polar bear?"

Then the king gave way to wrath. He advanced upon them with deep growls and stately tread and with one blow of his monstrous paw stretched the mocker lifeless at his feet.

The other ran away to his fellows and carried the news of the king's strange appearance. The result was a meeting of all the polar bears upon a broad field of ice, where they talked gravely of the remarkable change that had come upon their monarch.

"He is, in reality, no longer a bear," said one; "nor can he justly be called a bird. But he is half bird and half bear, and so unfitted to remain our king."

"Then who shall take his place?" asked another.

"He who can fight the bird-bear and overcome him," answered an aged member of the group. "Only the strongest is fit to rule our race."

There was silence for a time, but at length a great bear moved to the front and said:

"I will fight him; I—Woof—the strongest of our race! And I will be King of the Polar Bears."

The others nodded assent, and dispatched a messenger to the king to say he must fight the great Woof and master him or resign his sovereignty.

"For a bear with feathers," added the messenger, "is no bear at all, and the king we obey must resemble the rest of us."

"I wear feathers because it pleases me," growled the king. "Am I not a great magician? But I will fight, nevertheless, and if Woof masters me he shall be king in my stead."

Then he visited his friends, the gulls, who were even then feasting upon the dead bear, and told them of the coming battle.

"I shall conquer," he said, proudly. "Yet my people are in the right, for only a hairy one like themselves can hope to command their obedience."

The queen gull said:

"I met an eagle yesterday, which had made its escape from a big city of men. And the eagle told me he had seen a monstrous polar bear skin thrown over the back of a carriage that rolled along the street. That skin must have been yours, oh king, and if you wish I will sent an hundred of my gulls to the city to bring it back to you."

"Let them go!" said the king, gruffly. And the hundred gulls were soon flying rapidly southward.

For three days they flew straight as an arrow, until they came to scattered houses, to villages, and to cities. Then their search began.

The gulls were brave, and cunning, and wise. Upon the fourth day they reached the great metropolis, and hovered over the streets until a carriage rolled along with a great white bear robe thrown over the back seat. Then the birds swooped down—the whole hundred of them—and seizing the skin in their beaks flew quickly away.

They were late. The king's great battle was upon the seventh day, and they must fly swiftly to reach the Polar regions by that time.

Meanwhile the bird-bear was preparing for his fight. He sharpened his claws in the small crevasses of the ice. He caught a seal and tested his big yellow teeth by crunching its bones between them. And the queen gull set her band to pluming the king bear's feathers until they lay smoothly upon his body.

But every day they cast anxious glances into the southern sky, watching for the hundred gulls to bring back the king's own skin.

The seventh day came, and all the Polar bears in that region gathered around the king's cavern. Among them was Woof, strong and confident of his success.

"The bird-bear's feathers will fly fast enough when I get my claws upon him!" he boasted; and the others laughed and encouraged him.

The king was disappointed at not having recovered his skin, but he resolved to fight bravely without it. He advanced from the opening of his cavern with a proud and kingly bearing, and when he faced his enemy he gave so terrible a growl that Woof's heart stopped beating for a moment, and he began to realize that a fight with the wise and mighty king of his race was no laughing matter.

After exchanging one or two heavy blows with his foe Woof's courage returned, and he determined to dishearten his adversary by bluster.

"Come nearer, bird-bear!" he cried. "Come nearer, that I may pluck your plumage!"

The defiance filled the king with rage. He ruffled his feathers as a bird does, till he appeared to be twice his actual size, and then he strode forward and struck Woof so powerful a blow that his skull crackled like an egg-shell and he fell prone upon the ground.

While the assembled bears stood looking with fear and wonder at their fallen champion the sky became darkened.

An hundred gulls flew down from above and dripped upon the king's body a skin covered with pure white hair that glittered in the sun like silver.

And behold! the bears saw before them the well-known form of their wise and respected master, and with one accord they bowed their shaggy heads in homage to the mighty King of the Polar Bears.

This story teaches us that true dignity and courage depend not upon outward appearance, but come rather from within; also that brag and bluster are poor weapons to carry into battle.

 
그냥 죽죽 읽어 나가세요. 모르는 문장이나 단어가 나와도 그냥 추측하고 지나가시기 바랍니다. 작은 것을 버리고 큰 것을 얻으면 됩니다. 모르는 문장은 그런 상황을 뒤에서 여러번 만나면 저절로 알게 됩니다. 그리고 단어는 미리 혹은 나중에 따로 공부하면 됩니다. 그런 것에 자꾸 걸리면 진도가 안나가고 진도가 안나가면 금방 그만 둡니다. 읽을 때는 오직 줄거리에만 집중하셔야 합니다.

An accomplished wizard once lived on the top floor of a tenement house and passed his time in thoughtful study and studious thought. What he didn't know about wizardry was hardly worth knowing, for he possessed all the books and recipes of all the wizards who had lived before him; and, moreover, he had invented several wizardments himself.

This admirable person would have been completely happy but for the numerous interruptions to his studies caused by folk who came to consult him about their troubles (in which he was not interested), and by the loud knocks of the iceman, the milkman, the baker's boy, the laundryman and the peanut woman. He never dealt with any of these people; but they rapped at his door every day to see him about this or that or to try to sell him their wares. Just when he was most deeply interested in his books or engaged in watching the bubbling of a cauldron there would come a knock at his door. And after sending the intruder away he always found he had lost his train of thought or ruined his compound.

At length these interruptions aroused his anger, and he decided he must have a dog to keep people away from his door. He didn't know where to find a dog, but in the next room lived a poor glass-blower with whom he had a slight acquaintance; so he went into the man's apartment and asked:

"Where can I find a dog?"

"What sort of a dog?" inquired the glass-blower.

"A good dog. One that will bark at people and drive them away. One that will be no trouble to keep and won't expect to be fed. One that has no fleas and is neat in his habits. One that will obey me when I speak to him. In short, a good dog," said the wizard.

"Such a dog is hard to find," returned the glass-blower, who was busy making a blue glass flower pot with a pink glass rosebush in it, having green glass leaves and yellow glass roses.

The wizard watched him thoughtfully.

"Why cannot you blow me a dog out of glass?" he asked, presently.

"I can," declared the glass-blower; "but it would not bark at people, you know."

"Oh, I'll fix that easily enough," replied the other. "If I could not make a glass dog bark I would be a mighty poor wizard."

"Very well; if you can use a glass dog I'll be pleased to blow one for you. Only, you must pay for my work."

"Certainly," agreed the wizard. "But I have none of that horrid stuff you call money. You must take some of my wares in exchange."

The glass-blower considered the matter for a moment.

"Could you give me something to cure my rheumatism?" he asked.

"Oh, yes; easily."

"Then it's a bargain. I'll start the dog at once. What color of glass shall I use?"

"Pink is a pretty color," said the wizard, "and it's unusual for a dog, isn't it?"

"Very," answered the glass-blower; "but it shall be pink."

So the wizard went back to his studies and the glass-blower began to make the dog.

Next morning he entered the wizard's room with the glass dog under his arm and set it carefully upon the table. It was a beautiful pink in color, with a fine coat of spun glass, and about its neck was twisted a blue glass ribbon. Its eyes were specks of black glass and sparkled intelligently, as do many of the glass eyes worn by men.

The wizard expressed himself pleased with the glass-blower's skill and at once handed him a small vial.

"This will cure your rheumatism," he said.

"But the vial is empty!" protested the glass-blower.

"Oh, no; there is one drop of liquid in it," was the wizard's reply.

"Will one drop cure my rheumatism?" inquired the glass-blower, in wonder.

"Most certainly. That is a marvelous remedy. The one drop contained in the vial will cure instantly any kind of disease ever known to humanity. Therefore it is especially good for rheumatism. But guard it well, for it is the only drop of its kind in the world, and I've forgotten the recipe."

"Thank you," said the glass-blower, and went back to his room.

Then the wizard cast a wizzy spell and mumbled several very learned words in the wizardese language over the glass dog. Whereupon the little animal first wagged its tail from side to side, then winked his left eye knowingly, and at last began barking in a most frightful manner—that is, when you stop to consider the noise came from a pink glass dog. There is something almost astonishing in the magic arts of wizards; unless, of course, you know how to do the things yourself, when you are not expected to be surprised at them.

The wizard was as delighted as a school teacher at the success of his spell, although he was not astonished. Immediately he placed the dog outside his door, where it would bark at anyone who dared knock and so disturb the studies of its master.

The glass-blower, on returning to his room, decided not to use the one drop of wizard cure-all just then.

"My rheumatism is better to-day," he reflected, "and I will be wise to save the medicine for a time when I am very ill, when it will be of more service to me."

So he placed the vial in his cupboard and went to work blowing more roses out of glass. Presently he happened to think the medicine might not keep, so he started to ask the wizard about it. But when he reached the door the glass dog barked so fiercely that he dared not knock, and returned in great haste to his own room. Indeed, the poor man was quite upset at so unfriendly a reception from the dog he had himself so carefully and skillfully made.

The next morning, as he read his newspaper, he noticed an article stating that the beautiful Miss Mydas, the richest young lady in town, was very ill, and the doctors had given up hope of her recovery.

The glass-blower, although miserably poor, hard-working and homely of feature, was a man of ideas. He suddenly recollected his precious medicine, and determined to use it to better advantage than relieving his own ills. He dressed himself in his best clothes, brushed his hair and combed his whiskers, washed his hands and tied his necktie, blackened his hoes and sponged his vest, and then put the vial of magic cure-all in his pocket. Next he locked his door, went downstairs and walked through the streets to the grand mansion where the wealthy Miss Mydas resided.

The butler opened the door and said:

"No soap, no chromos, no vegetables, no hair oil, no books, no baking powder. My young lady is dying and we're well supplied for the funeral."

The glass-blower was grieved at being taken for a peddler.

"My friend," he began, proudly; but the butler interrupted him, saying:

"No tombstones, either; there's a family graveyard and the monument's built."

"The graveyard won't be needed if you will permit me to speak," said the glass-blower.

"No doctors, sir; they've given up my young lady, and she's given up the doctors," continued the butler, calmly.

"I'm no doctor," returned the glass-blower.

"Nor are the others. But what is your errand?"

"I called to cure your young lady by means of a magical compound."

"Step in, please, and take a seat in the hall. I'll speak to the housekeeper," said the butler, more politely.

So he spoke to the housekeeper and the housekeeper mentioned the matter to the steward and the steward consulted the chef and the chef kissed the lady's maid and sent her to see the stranger. Thus are the very wealthy hedged around with ceremony, even when dying.

When the lady's maid heard from the glass-blower that he had a medicine which would cure her mistress, she said:

"I'm glad you came."

"But," said he, "if I restore your mistress to health she must marry me."

"I'll make inquiries and see if she's willing," answered the maid, and went at once to consult Miss Mydas.

The young lady did not hesitate an instant.

"I'd marry any old thing rather than die!" she cried. "Bring him here at once!"

So the glass-blower came, poured the magic drop into a little water, gave it to the patient, and the next minute Miss Mydas was as well as she had ever been in her life.

"Dear me!" she exclaimed; "I've an engagement at the Fritters' reception to-night. Bring my pearl-colored silk, Marie, and I will begin my toilet at once. And don't forget to cancel the order for the funeral flowers and your mourning gown."

"But, Miss Mydas," remonstrated the glass-blower, who stood by, "you promised to marry me if I cured you."

"I know," said the young lady, "but we must have time to make proper announcement in the society papers and have the wedding cards engraved. Call to-morrow and we'll talk it over."

The glass-blower had not impressed her favorably as a husband, and she was glad to find an excuse for getting rid of him for a time. And she did not want to miss the Fritters' reception.

Yet the man went home filled with joy; for he thought his stratagem had succeeded and he was about to marry a rich wife who would keep him in luxury forever afterward.

The first thing he did on reaching his room was to smash his glass-blowing tools and throw them out of the window.

He then sat down to figure out ways of spending his wife's money.

The following day he called upon Miss Mydas, who was reading a novel and eating chocolate creams as happily as if she had never been ill in her life.

"Where did you get the magic compound that cured me?" she asked.

"From a learned wizard," said he; and then, thinking it would interest her, he told how he had made the glass dog for the wizard, and how it barked and kept everybody from bothering him.

"How delightful!" she said. "I've always wanted a glass dog that could bark."

"But there is only one in the world," he answered, "and it belongs to the wizard."

"You must buy it for me," said the lady.

"The wizard cares nothing for money," replied the glass-blower.

"Then you must steal it for me," she retorted. "I can never live happily another day unless I have a glass dog that can bark."

The glass-blower was much distressed at this, but said he would see what he could do. For a man should always try to please his wife, and Miss Mydas has promised to marry him within a week.

On his way home he purchased a heavy sack, and when he passed the wizard's door and the pink glass dog ran out to bark at him he threw the sack over the dog, tied the opening with a piece of twine, and carried him away to his own room.

The next day he sent the sack by a messenger boy to Miss Mydas, with his compliments, and later in the afternoon he called upon her in person, feeling quite sure he would be received with gratitude for stealing the dog she so greatly desired.

But when he came to the door and the butler opened it, what was his amazement to see the glass dog rush out and begin barking at him furiously.

"Call off your dog," he shouted, in terror.

"I can't, sir," answered the butler. "My young lady has ordered the glass dog to bark whenever you call here. You'd better look out, sir," he added, "for if it bites you, you may have glassophobia!"

This so frightened the poor glass-blower that he went away hurriedly. But he stopped at a drug store and put his last dime in the telephone box so he could talk to Miss Mydas without being bitten by the dog.

"Give me Pelf 6742!" he called.

"Hello! What is it?" said a voice.

"I want to speak with Miss Mydas," said the glass-blower.

Presently a sweet voice said: "This is Miss Mydas. What is it?"

"Why have you treated me so cruelly and set the glass dog on me?" asked the poor fellow.

"Well, to tell the truth," said the lady, "I don't like your looks. Your cheeks are pale and baggy, your hair is coarse and long, your eyes are small and red, your hands are big and rough, and you are bow-legged."

"But I can't help my looks!" pleaded the glass-blower; "and you really promised to marry me."

"If you were better looking I'd keep my promise," she returned. "But under the circumstances you are no fit mate for me, and unless you keep away from my mansion I shall set my glass dog on you!" Then she dropped the 'phone and would have nothing more to say.

The miserable glass-blower went home with a heart bursting with disappointment and began tying a rope to the bedpost by which to hang himself.

Some one knocked at the door, and, upon opening it, he saw the wizard.

"I've lost my dog," he announced.

"Have you, indeed?" replied the glass-blower tying a knot in the rope.

"Yes; some one has stolen him."

"That's too bad," declared the glass-blower, indifferently.

"You must make me another," said the wizard.

"But I cannot; I've thrown away my tools."

"Then what shall I do?" asked the wizard.

"I do not know, unless you offer a reward for the dog."

"But I have no money," said the wizard.

"Offer some of your compounds, then," suggested the glass-blower, who was making a noose in the rope for his head to go through.

"The only thing I can spare," replied the wizard, thoughtfully, "is a Beauty Powder."

"What!" cried the glass-blower, throwing down the rope, "have you really such a thing?"

"Yes, indeed. Whoever takes the powder will become the most beautiful person in the world."

"If you will offer that as a reward," said the glass-blower, eagerly, "I'll try to find the dog for you, for above everything else I long to be beautiful."

"But I warn you the beauty will only be skin deep," said the wizard.

"That's all right," replied the happy glass-blower; "when I lose my skin I shan't care to remain beautiful."

"Then tell me where to find my dog and you shall have the powder," promised the wizard.

So the glass-blower went out and pretended to search, and by-and-by he returned and said:

"I've discovered the dog. You will find him in the mansion of Miss Mydas."

The wizard went at once to see if this were true, and, sure enough, the glass dog ran out and began barking at him. Then the wizard spread out his hands and chanted a magic spell which sent the dog fast asleep, when he picked him up and carried him to his own room on the top floor of the tenement house.

Afterward he carried the Beauty Powder to the glass-blower as a reward, and the fellow immediately swallowed it and became the most beautiful man in the world.

The next time he called upon Miss Mydas there was no dog to bark at him, and when the young lady saw him she fell in love with his beauty at once.

"If only you were a count or a prince," she sighed, "I'd willingly marry you."

"But I am a prince," he answered; "the Prince of Dogblowers."

"Ah!" said she; "then if you are willing to accept an allowance of four dollars a week I'll order the wedding cards engraved."

The man hesitated, but when he thought of the rope hanging from his bedpost he consented to the terms.

So they were married, and the bride was very jealous of her husband's beauty and led him a dog's life. So he managed to get into debt and made her miserable in turn.

As for the glass dog, the wizard set him barking again by means of his wizardness and put him outside his door. I suppose he is there yet, and am rather sorry, for I should like to consult the wizard about the moral to this story.

When the wind sweeps across a field of grass it makes little ripples in it like a lake; in a field of corn it makes great waves like the sea itself: this is the wind's frolic. Then listen to the stories it tells; it sings them aloud, one kind of song among the trees of the forest, and a very different one when it is pent up within walls with all their cracks and crannies. Do you see how the wind chases the white fleecy clouds as if they were a flock of sheep? Do you hear the wind down there, howling in the open doorway like a watchman winding his horn? Then, too, how he whistles in the chimneys, making the fire crackle and sparkle. How cosy it is to sit in the warm glow of the fire listening to the tales it has to tell! Let the wind tell its own story! It can tell you more adventures than all of us put together. Listen now:—

'Whew!—Whew!—Fare away!' That was the refrain of his song.

'Close to the Great Belt stands an old mansion with thick red walls,' says the wind. 'I know every stone of it; I knew them before when they formed part of Marsk Stig's Castle on the Ness. It had to come down. The stones were used again, and made a new wall of a new castle in another place—Borreby Hall as it now stands.

'I have watched the highborn men and women of all the various races who have lived there, and now I am going to tell you about Waldemar Daa and his daughters!

'He held his head very high, for he came of a royal stock! He knew more than the mere chasing of a stag, or the emptying of a flagon; he knew how to manage his affairs, he said himself.

'His lady wife walked proudly across the brightly polished floors, in her gold brocaded kirtle; the tapestries in the rooms were gorgeous, and the furniture of costly carved woods. She had brought much gold and silver plate into the house with her, and the cellars were full of German ale, when there was anything there at all. Fiery black horses neighed in the stables; Borreby Hall was a very rich place when wealth came there.

'Then there were the children, three dainty maidens, Ida, Johanna and Anna Dorothea. I remember their names well.

'They were rich and aristocratic people, and they were born and bred in wealth! Whew!—whew!—fare away!' roared the wind, then he went on with his story.

'I did not see here, as in other old noble castles the highborn lady sitting among her maidens in the great hall turning the spinning-wheel. No, she played upon the ringing lute, and sang to its tones. Her songs were not always the old Danish ditties, however, but songs in foreign tongues. All was life and hospitality; noble guests came from far and wide; there were sounds of music and the clanging of flagons, so loud that I could not drown them!' said the wind. 'Here were arrogance and ostentation enough and to spare; plenty of lords, but the Lord had no place there.

'Then came the evening of May-day!' said the wind. 'I came from the west; I had been watching ships being wrecked and broken up on the west coast of Jutland. I tore over the heaths and the green wooded coasts, across the island of Funen and over the Great Belt puffing and blowing. I settled down to rest on the coast of Zealand close to Borreby Hall, where the splendid forest of oaks still stood. The young bachelors of the neighbourhood came out and collected faggots and branches, the longest and driest they could find. These they took to the town, piled them up in a heap, and set fire to them; then the men and maidens danced and sang round the bonfire. I lay still,' said the wind, 'but I softly moved a branch, the one laid by the handsomest young man, and his billet blazed up highest of all. He was the chosen one, he had the name of honour, he became 'Buck of the Street!' and he chose from among the girls his little May-lamb. All was life and merriment, greater far than within rich Borreby Hall.

'The great lady came driving towards the Hall, in her gilded chariot drawn by six horses. She had her three dainty daughters with her; they were indeed three lovely flowers. A rose, a lily and a pale hyacinth. The mother herself was a gorgeous tulip; she took no notice whatever of the crowd, who all stopped in their game to drop their curtsies and make their bows; one might have thought that, like a tulip, she was rather frail in the stalk and feared to bend her back. The rose, the lily, and the pale hyacinth—yes, I saw them all three. Whose May-lambs were they one day to become, thought I; their mates would be proud knights—perhaps even princes!

'Whew!—whew!—fare away! Yes, the chariot bore them away, and the peasants whirled on in their dance. They played at "Riding the Summer into the village," to Borreby village, Tareby village, and many others.

'But that night when I rose,' said the wind, 'the noble lady laid herself down to rise no more; that came to her which comes to every one—there was nothing new about it. Waldemar Daa stood grave and silent for a time; "The proudest tree may bend, but it does not break," said something within him. The daughters wept, and every one else at the Castle was wiping their eyes; but Madam Daa had fared away, and I fared away too! Whew!—whew!' said the wind.

She played upon the ringing lute, and sang to its tones.

'I came back again; I often came back across the island of Funen and the waters of the Belt, and took up my place on Borreby shore close to the great forest of oaks. The ospreys and the wood pigeons used to build in it, the blue raven and even the black stork! It was early in the year; some of the nests were full of eggs, while in others the young ones were just hatched. What a flying and screaming was there! Then came the sound of the axe, blow upon blow; the forest was to be felled. Waldemar Daa was about to build a costly ship, a three-decked man-of-war, which it was expected the king would buy. So the wood fell, the ancient landmark of the seaman, the home of the birds. The shrike was frightened away; its nest was torn down; the osprey and all the other birds lost their nests too, and they flew about distractedly, shrieking in their terror and anger. The crows and the jackdaws screamed in mockery, Caw! caw! Waldemar Daa and his three daughters stood in the middle of the wood among the workmen. They all laughed at the wild cries of the birds, except Anna Dorothea, who was touched by their distress, and when they were about to fell a tree which was half-dead, and on whose naked branches a black stork had built its nest, out of which the young ones were sticking their heads, she begged them with tears in her eyes to spare it. So the tree with the black stork's nest was allowed to stand. It was only a little thing.

'The chopping and the sawing went on—the three-decker was built. The master builder was a man of humble origin, but of noble loyalty; great power lay in his eyes and on his forehead, and Waldemar Daa liked to listen to him, and little Ida liked to listen too, the eldest fifteen-year-old daughter. But whilst he built the ship for her father, he built a castle in the air for himself, in which he and little Ida sat side by side as man and wife. This might also have happened if his castle had been built of solid stone, with moat and ramparts, wood and gardens. But with all his wisdom the shipbuilder was only a poor bird, and what business has a sparrow in a crane's nest? Whew! whew! I rushed away, and he rushed away, for he dared not stay, and little Ida got over it, as get over it she must.

'The fiery black horses stood neighing in the stables; they were worth looking at, and they were looked at to some purpose too. An admiral was sent from the King to look at the new man-of-war, with a view to purchasing it. The admiral was loud in his admiration of the horses. I heard all he said,' added the wind. 'I went through the open door with the gentlemen and scattered the straw like gold before their feet. Waldemar Daa wanted gold; the admiral wanted the black horses, and so he praised them as he did; but his hints were not taken, therefore the ship remained unsold. There it stood by the shore covered up with boards, like a Noah's Ark which never reached the water. Whew! whew! get along! get along! It was a miserable business. In the winter, when the fields were covered with snow and the Belt was full of ice-floes which I drove up on to the coast,' said the wind, 'the ravens and crows came in flocks, the one blacker than the other, and perched upon the desolate, dead ship by the shore. They screamed themselves hoarse about the forest which had disappeared, and the many precious birds' nests which had been devastated, leaving old and young homeless; and all for the sake of this old piece of lumber, the proud ship which was never to touch the water! I whirled the snow about till it lay in great heaps round the ship. I let it hear my voice, and all that a storm has to say, I know that I did my best to give it an idea of the sea. Whew! whew!'

'The winter passed by; winter and summer passed away! They come and go just as I do. The snow-flakes, the apple blossom, and the leaves fall, each in their turn. Whew! whew! they pass away, as men pass too!

'The daughters were still young. Little Ida, the rose, as lovely to look at as when the shipbuilder turned his gaze upon her. I often took hold of her long brown hair when she stood lost in thought by the apple-tree in the garden. She never noticed that I showered apple-blossom over her loosened hair; she only gazed at the red sunset against the golden background of the sky, and the dark trees and bushes of the garden. Her sister Johanna was like a tall, stately lily; she held herself as stiffly erect as her mother, and seemed to have the same dread of bending her stem. She liked to walk in the long gallery where the family portraits hung. The ladies were painted in velvet and silk, with tiny pearl embroidered caps on their braided tresses. Their husbands were all clad in steel, or in costly cloaks lined with squirrel skins and stiff blue ruffs; their swords hung loosely by their sides. Where would Johanna's portrait one day hang on these walls? What would her noble husband look like? These were her thoughts, and she even spoke them aloud; I heard her as I swept through the long corridor into the gallery, where I veered round again.

'Anna Dorothea, the pale hyacinth, was only a child of fourteen, quiet and thoughtful. Her large blue eyes, as clear as water, were very solemn, but childhood's smile still played upon her lips; I could not blow it away, nor did I wish to do so. I used to meet her in the garden, the ravine, and in the manor fields. She was always picking flowers and herbs, those she knew her father could use for healing drinks and potions. Waldemar Daa was proud and conceited, but he was also learned, and he knew a great deal about many things. One could see that, and many whispers went about as to his learning. The fire blazed in his stove even in summer, and his chamber door was locked. This went on for days and nights, but he did not talk much about it. One must deal silently with the forces of nature. He would soon discover the best of everything, the red, red gold!

'This was why his chimney flamed and smoked and sparkled. Yes, I was there, too,' said the wind.

I used to meet her in the garden, the ravine, and in the manor fields. She was always picking flowers and herbs, those she knew her father could use for healing drinks and potions.

'Away with you, away! I sang in the back of the chimney. Smoke smoke, embers and ashes, that is all it will come to! You will burn yourself up in it. Whew! whew! away with it! But Waldemar Daa could not let it go.

'The fiery steeds in the stable, where were they? The old gold and silver plate in cupboard and chest, where was that? The cattle, the land, the castle itself? Yes, they could all be melted down in the crucible, but yet no gold would come.

'Barn and larder got emptier and emptier. Fewer servants; more mice. One pane of glass got broken and another followed it. There was no need for me to go in by the doors,' said the wind. 'A smoking chimney means a cooking meal, but the only chimney which smoked here swallowed up all the meals, all for the sake of the red gold.

'I blew through the castle gate like a watchman blowing his horn, but there was no watchman,' said the wind. 'I twisted round the weather-cock on the tower and it creaked as if the watchman up there was snoring, only there was no watchman. Rats and mice were the only inhabitants. Poverty laid the table; poverty lurked in wardrobe and larder. The doors fell off their hinges, cracks and crannies appeared everywhere; I went in and out,' said the wind, 'so I know all about it.

'The hair and the beard of Waldemar Daa grew grey, in the sorrow of his sleepless nights, amid smoke and ashes. His skin grew grimy and yellow, and his eyes greedy for gold, the long expected gold.

'I whistled through the broken panes and fissures; I blew into the daughters' chests where their clothes lay faded and threadbare; they had to last for ever. A song like this had never been sung over the cradles of these children. A lordly life became a woeful life! I was the only one to sing in the castle now,' said the wind. 'I snowed them up, for they said it gave warmth. They had no firewood, for the forest was cut down where they should have got it. There was a biting frost. Even I had to keep rushing through the crannies and passages to keep myself lively. They stayed in bed to keep themselves warm, those noble ladies. Their father crept about under a fur rug. Nothing to bite, and nothing to burn! a lordly life indeed! Whew! whew! let it go! But this was what Waldemar Daa could not do.

'"After winter comes the spring," said he; "a good time will come after a time of need; but they make us wait their pleasure, wait! The castle is mortgaged, we are in extremities—and yet the gold will come—at Easter!"

'I heard him murmur to the spider's web.—"You clever little weaver! You teach me to persevere! If your web is broken, you begin at the beginning again and complete it! Broken again—and cheerfully you begin it over again. That is what one must do, and one will be rewarded!"

'It was Easter morning, the bells were ringing, and the sun was at play in the heavens. Waldemar Daa had watched through the night with his blood at fever pitch; boiling and cooling, mixing and distilling. I heard him sigh like a despairing soul; I heard him pray, and I felt that he held his breath. The lamp had gone out, but he never noticed it; I blew up the embers and they shone upon his ashen face, which took a tinge of colour from their light; his eyes started in their sockets, they grew larger and larger, as if they would leap out.

'Look at the alchemist's glass! something twinkles in it; it is glowing, pure and heavy. He lifted it with a trembling hand and shouted with a trembling voice: "Gold! gold!" He reeled, and I could easily have blown him over,' said the wind, 'but I only blew upon the embers, and followed him to the room where his daughters sat shivering. His coat was powdered with ash, as well as his beard and his matted hair. He drew himself up to his full height and held up his precious treasure, in the fragile glass: "Found! won! gold!" he cried, stretching up his hand with the glass which glittered in the sunbeams: his hand shook, and the alchemist's glass fell to the ground shivered into a thousand atoms. The last bubble of his welfare was shattered too. Whew! whew! fare away! and away I rushed from the goldmaker's home.

He lifted it with a trembling hand and shouted with a trembling voice: 'Gold! gold!'

'Late in the year, when the days were short and dark up here, and the fog envelops the red berries and bare branches with its cold moisture, I came along in a lively mood clearing the sky and snapping off the dead boughs. This is no great labour, it is true, yet it has to be done. Borreby Hall, the home of Waldemar Daa, was having a clean sweep of a different sort. The family enemy, Ové Ramel from Basness, appeared, holding the mortgage of the Hall and all its contents. I drummed upon the cracked window panes, beat against the decaying doors, and whistled through all the cracks and crannies, whew! I did my best to prevent Herr Ové taking a fancy to stay there. Ida and Anna Dorothea faced it bravely, although they shed some tears; Johanna stood pale and erect and bit her finger till it bled! Much that would help her! Ové Ramel offered to let them stay on at the Castle for Waldemar Daa's lifetime, but he got no thanks for his offer; I was listening. I saw the ruined gentleman stiffen his neck and hold his head higher than ever. I beat against the walls and the old linden trees with such force that the thickest branch broke, although it was not a bit rotten. It fell across the gate like a broom, as if some one was about to sweep; and a sweeping there was indeed to be. I quite expected it. It was a grievous day and a hard time for them, but their wills were as stubborn as their necks were stiff. They had not a possession in the world but the clothes on their backs; yes, one thing—an alchemist's glass which had been bought and filled with the fragments scraped up from the floor. The treasure which promised much and fulfilled nothing. Waldemar Daa hid it in his bosom, took his staff in his hand, and, with his three daughters, the once wealthy gentleman walked out of Borreby Hall for the last time. I blew a cold blast upon his burning cheeks, I fluttered his grey beard and his long white hair; I sang such a tune as only I could sing. Whew! whew! away with them! away with them! This was the end of all their grandeur.

'Ida and Ana Dorothea walked one on each side of him: Johanna turned round in the gateway, but what was the good of that? nothing could make their luck turn. She looked at the red stones of what had once been Marsk Stig's Castle. Was she thinking of his daughters?

Was she thinking of that song? Here there were three and their father was with them. They walked along the road where once they used to ride in their chariot. They trod it now as vagrants, on their way to a plastered cottage on Smidstrup Heath, which was rented at ten marks yearly. This was their new country seat with its empty walls and its empty vessels. The crows and the magpies wheeled screaming over their heads with their mocking "Caw, caw! Out of the nest, Caw, caw!" just as they screamed in Borreby Forest when the trees were felled.

'Herr Daa and his daughters must have noticed it. I blew into their ears to try and deaden the cries, which after all were not worth listening to.

'So they took up their abode in the plastered cottage on Smidstrup Heath, and I tore off over marshes and meadows, through naked hedges and bare woods, to the open seas and other lands. Whew! whew! away, away! and that for many years.'

What happened to Waldemar Daa? What happened to his daughters? This is what the wind relates.

'The last of them I saw, yes, for the last time, was Anna Dorothea, the pale hyacinth. She was old and bent now; it was half a century later. She lived the longest, she had gone through everything.

'Across the heath, near the town of Viborg, stood the Dean's new, handsome mansion, built of red stone with toothed gables. The smoke curled thickly out of the chimneys. The gentle lady and her fair daughters sat in the bay window looking into the garden at the drooping thorns and out to the brown heath beyond. What were they looking at there? They were looking at a stork's nest on a tumble-down cottage; the roof was covered, as far as there was any roof to cover, with moss and house-leek; but the stork's nest made the best covering. It was the only part to which anything was done, for the stork kept it in repair.

Waldemar Daa hid it in his bosom, took his staff in his hand, and, with his three daughters, the once wealthy gentleman walked out of Borreby Hall for the last time.

'This house was only fit to be looked at, not to be touched. I had to mind what I was about,' said the wind. 'The cottage was allowed to stand for the sake of the stork's nest; in itself it was only a scarecrow on the heath, but the dean did not want to frighten away the stork, so the hovel was allowed to stand. The poor soul inside was allowed to live in it; she had the Egyptian bird to thank for that; or was it payment for once having pleaded for the nest of his wild black brother in the Borreby Forest? Then, poor thing, she was a child, a delicate, pale hyacinth in a noble flower-garden. Poor Anna Dorothea; she remembered it all! Ah, human beings can sigh as well as the wind when it soughs through the rushes and reeds.

'Oh dear! oh dear! No bells rang over the grave of Waldemar Daa. No schoolboys sang when the former lord of Borreby Castle was laid in his grave. Well, everything must have an end, even misery! Sister Ida became the wife of a peasant, and this was her father's sorest trial. His daughter's husband a miserable serf, who might at any moment be ordered the punishment of the wooden horse by his lord. It is well that the sod covers him now, and you too, Ida! Ah yes! ah yes! Poor me! poor me! I still linger on. In Thy mercy release me, O Christ!'

'This was the prayer of Anna Dorothea, as she lay in the miserable hovel which was only left standing for the sake of the stork.

'I took charge of the boldest of the sisters,' said the wind. 'She had clothes made to suit her manly disposition, and took a place as a lad with a skipper. Her words were few and looks stubborn, but she was willing enough at her work. But with all her will she could not climb the rigging; so I blew her overboard before any one discovered that she was a woman, and I fancy that was not a bad deed of mine!' said the wind.

'On such an Easter morning as that on which Waldemar Daa thought he had found the red gold, I heard from beneath the stork's nest a psalm echoing through the miserable walls. It was Anna Dorothea's last song. There was no window; only a hole in the wall. The sun rose in splendour and poured in upon her; her eyes were glazed and her heart broken! This would have been so this morning whether the sun had shone upon her or not. The stork kept a roof over her head till her death! I sang at her grave,' said the wind, 'and I sang at her father's grave. I know where it is, and hers too, which is more than any one else knows.

'The old order changeth, giving place to the new. The old high-road now only leads to cultivated fields, while peaceful graves are covered by busy traffic on the new road. Soon comes Steam with its row of waggons behind it, rushing over the graves, forgotten, like the names upon them. Whew! whew! Let us be gone! This is the story of Waldemar Daa and his daughters. Tell it better yourselves, if you can,' said the wind, as it veered round. Then it was gone.

Once upon a time there was an old Sow with three little Pigs, and as she had not enough to keep them, she sent them out to seek their fortune.

The first that went off met a Man with a bundle of straw, and said to him, "Please, Man, give me that straw to build me a house"; which the Man did, and the little Pig built a house with it. Presently came along a Wolf, and knocked at the door, and said, "Little Pig, little Pig, let me come in."

To which the Pig answered, "No, no, by the hair of my chinny chin chin."

"Then I'll huff and I'll puff, and I'll blow your house in!" said the Wolf. So he huffed, and he puffed, and he blew his house in, and ate up the little Pig.

The second Pig met a Man with a bundle of furze, and said, "Please, Man, give me that furze to build a house"; which the Man did, and the Pig built his house. Then along came the Wolf and said, "Little Pig, little Pig, let me come in."

"No, no, by the hair of my chinny chin chin."

"Then I'll puff and I'll huff, and I'll blow your house in!" So he huffed and he puffed, and he puffed and he huffed, and at last he blew the house down, and ate up the second little Pig.

The third little Pig met a Man with a load of bricks, and said, "Please, Man, give me those bricks to build a house with"; so the Man gave him the bricks, and he built his house with them. So the Wolf came, as he did to the other little Pigs, and said, "Little Pig, little Pig, let me come in."

"No, no, by the hair of my chinny chin chin." "Then I'll huff and I'll puff, and I'll blow your house in." Well, he huffed and he puffed, and he huffed and he puffed, and he puffed and he huffed; but he could not get the house down. When he found that he could not, with all his huffing and puffing, blow the house down, he said, "Little Pig, I know where there is a nice field of turnips."

"Where?" said the little Pig.

"Oh, in Mr. Smith's home-field; and if you will be ready to-morrow morning, I will call for you, and we will go together and get some for dinner."

"Very well," said the little Pig, "I will be ready. What time do you mean to go?"

"Oh, at six o'clock."

Well, the little Pig got up at five, and got the turnips and was home again before six. When the Wolf came he said, "Little Pig, are you ready?"

"Ready!" said the little Pig, "I have been and come back again, and got a nice pot-full for dinner."

The Wolf felt very angry at this, but thought that he would be up to the little Pig somehow or other; so he said, "Little Pig, I know where there is a nice apple-tree." "Where?" said the Pig.

"Down at Merry-garden," replied the Wolf; "and if you will not deceive me I will come for you, at five o'clock to-morrow, and we will go together and get some apples."

Well, the little Pig woke at four the next morning, and bustled up, and went off for the apples, hoping to get back before the Wolf came; but he had farther to go, and had to climb the tree, so that just as he was coming down from it, he saw the Wolf coming, which, as you may suppose, frightened him very much. When the Wolf came up he said, "Little Pig, what! are you here before me? Are they nice apples?"

"Yes, very," said the little Pig; "I will throw you down one." And he threw it so far that, while the Wolf was gone to pick it up, the little Pig jumped down and ran home.

The next day the Wolf came again, and said to the little Pig, "Little Pig, there is a Fair in the Town this afternoon: will you go?"

"Oh, yes," said the Pig, I will go; what time shall you be ready?"

"At three," said the Wolf.

So the little Pig went off before the time, as usual, and got to the Fair, and bought a butter churn, and was on his way home with it when he saw the Wolf coming. Then he could not tell what to do. So he got into the churn to hide, and in doing so turned it round, and it began to roll, and rolled down the hill with the Pig inside it, which frightened the Wolf so much that he ran home without going to the Fair.

He went to the little Pig's house, and told him how frightened he had been by a great round thing which came down the hill past him.

Then the little Pig said, "Hah! I frightened you, did I? I had been to the Fair and bought a butter churn, and when I saw you I got into it, and rolled down the hill."

Then the Wolf was very angry indeed, and declared he would eat up the little Pig, and that he would get down the chimney after him.

When the little Pig saw what he was about, he hung on the pot full of water, and made up a blazing fire, and, just as the Wolf was coming down, took off the cover of the pot, and in fell the Wolf. And the little Pig put on the cover again in an instant, boiled him up, and ate him for supper, and lived happy ever after.

Once upon a time there were Three Bears, who lived together in a house of their own, in a wood. One of them was a Little, Small, Wee Bear; and one was a Middle-sized Bear, and the other was a Great, Huge Bear. They had each a pot for their porridge; a little pot for the Little, Small, Wee Bear; and a middle-sized pot for the Middle Bear, and a great pot for the Great, Huge Bear. And they had each a chair to sit in; a little chair for the Little, Small, Wee Bear; and a middle-sized chair for the Middle Bear, and a great chair for the Great, Huge Bear. And they had each a bed to sleep in; a little bed for the Little, Small, Wee Bear; and a middle-sized bed for the Middle Bear, and a great bed for the Great, Huge Bear.

One day, after they had made the porridge for their breakfast, and poured it into their porridge-pots, they walked out into the wood while the porridge was cooling, that they might not burn their mouths by beginning too soon to eat it. And while they were walking, a little Girl called Goldenlocks came to the house. First she looked in at the window, and then she peeped in at the keyhole; and seeing nobody in the house, she turned the handle of the door. The door was not fastened, because the Bears were good Bears, who did nobody any harm, and never suspected that anybody would harm them. So Goldenlocks opened the door, and went in; and well pleased she was when she saw the porridge on the table. If she had been a thoughtful little Girl, she would have waited till the Bears came home, and then, perhaps, they would have asked her to breakfast; for they were good Bears—a little rough or so, as the manner of Bears is, but for all that very good-natured and hospitable. But the porridge looked tempting, and she set about helping herself.

So first she tasted the porridge of the Great, Huge Bear, and that was too hot for her. And then she tasted the porridge of the Middle Bear, and that was too cold for her. And then she went to the porridge of the Little, Small, Wee Bear, and tasted that; and that was neither too hot nor too cold, but just right, and she liked it so well that she ate it all up.

Then Goldenlocks sat down in the chair of the Great, Huge Bear, and that was too hard for her. And then she sat down in the chair of the Middle Bear, and that was too soft for her. And then she sat down in the chair of the Little, Small, Wee Bear, and that was neither too hard nor too soft, but just right. So she seated herself in it, and there she sat till the bottom of the chair came out, and down she came plump upon the ground.

Then Goldenlocks went upstairs into the bedchamber in which the three Bears slept. And first she lay down upon the bed of the Great, Huge Bear, but that was too high at the head for her. And next she lay down upon the bed of the Middle Bear, and that was too high at the foot for her. And then she lay down upon the bed of the Little, Small, Wee Bear; and that was neither too high at the head nor at the foot, but just right. So she covered herself up comfortably, and lay there till she fell fast asleep.

By this time the Three Bears thought their porridge would be cool enough; so they came home to breakfast. Now Goldenlocks had left the spoon of the Great, Huge Bear standing in his porridge.

"SOMEBODY HAS BEEN AT MY PORRIDGE!" said the Great, Huge Bear, in his great, rough, gruff voice. And when the Middle Bear looked at hers, she saw that the spoon was standing in it too.

"SOMEBODY HAS BEEN AT MY PORRIDGE!" said the Middle Bear, in her middle voice. Then the Little, Small, Wee Bear looked at his, and there was the spoon in the porridge-pot, but the porridge was all gone.

"SOMEBODY HAS BEEN AT MY PORRIDGE, AND HAS EATEN IT ALL UP!" said the Little, Small, Wee Bear, in his little, small, wee voice.

Upon this the Three Bears, seeing that someone had entered their house, and eaten up the Little, Small, Wee Bear's breakfast, began to look about them. Now Goldenlocks had not put the hard cushion straight when she rose from the chair of the Great, Huge Bear.

"SOMEBODY HAS BEEN SITTING IN MY CHAIR!" said the Great, Huge Bear, in his great, rough, gruff voice.

And Goldenlocks had squatted down the soft cushion of the Middle Bear.

"SOMEBODY HAS BEEN SITTING IN MY CHAIR!" said the Middle Bear, in her middle voice.

And you know what Goldenlocks had done to the third chair.

"SOMEBODY HAS BEEN SITTING IN MY CHAIR, AND HAS SAT THE BOTTOM OUT OF IT!" said the Little, Small, Wee Bear, in his little, small, wee voice.

Then the Three Bears thought it necessary that they should make farther search; so they went upstairs into their bedchamber. Now Goldenlocks had pulled the pillow of the Great, Huge Bear out of its place.

"SOMEBODY HAS BEEN LYING IN MY BED!" said the Great, Huge Bear, in his great, rough, gruff voice.

And Goldenlocks had pulled the bolster of the Middle Bear out of its place.

"SOMEBODY HAS BEEN LYING IN MY BED!" said the Middle Bear, in her middle voice.

And when the Little, Small, Wee Bear came to look at his bed, there was the bolster in its place; and the pillow in its place upon the bolster; and upon the pillow was the head of Goldenlocks—which was not in its place, for she had no business there.

"SOMEBODY HAS BEEN LYING IN MY BED—AND HERE SHE IS!" said the Little, Small, Wee Bear, in his little, small, wee voice.

Goldenlocks had heard in her sleep the great, rough, gruff voice of the Great, Huge Bear, and the middle voice of the Middle Bear, but it was only as if she had heard someone speaking in a dream. But when she heard the little, small, wee voice of the Little, Small, Wee Bear, it was so sharp, and so shrill, that it awakened her at once. Up she started; and when she saw the Three Bears on one side of the bed she tumbled herself out at the other, and ran to the window. Now the window was open, because the Bears, like good, tidy Bears, as they were, always opened their bedchamber window when they got up in the morning. Out Goldenlocks jumped, and ran away as fast as she could run—never looking behind her; and what happened to her afterwards I cannot tell. But the Three Bears never saw anything more of her.

Little Red Hen lived in a
barnyard. She spent almost all of
her time walking about the barnyard

in

her

picketty-pecketty

fashion,

scratching

everywhere

for

worms.

he dearly loved fat, delicious worms and felt they were absolutely necessary to the health of her children. As
often as

she

found a

worm

she

would

call

“Chuck-chuck-chuck!” to her chickies.

hen they were gathered about her, she would distribute choice morsels of her tid-bit. A busy little body was she!

A cat usually napped lazily in the barn door, not even bothering herself to scare the rat who ran here and there as

he pleased.

And

as for

the pig

who lived

in the

sty—he

did

not care what

happened so long as he could eat and grow fat.

ne day the Little Red Hen found a Seed. It was a Wheat Seed, but the Little Red Hen was so accustomed to bugs and worms that she supposed this to be some new and perhaps very delicious kind of meat. She bit it gently and found that it resembled a worm in no way whatsoever as to taste although because it was long and slender, a Little Red Hen might easily be fooled by its appearance.

arrying it about, she made many inquiries as to what it might be. She found it was a Wheat Seed and that, if planted, it would grow up and when ripe it could be made into flour and then into bread.

When she discovered

that, she knew it ought

to be planted. She was

so busy hunting food for

herself and her family

that, naturally, she

thought she ought not

to take time to plant it.

o she thought of the Pig—upon whom time must hang heavily and of the Cat who had nothing to do, and of the great fat Rat with his idle hours, and she called loudly:

“Who

will

plant

the

Seed?”

But the Pig said, “Not I,”

and the Cat said, “Not I,”

and the Rat said, “Not I.”

“Well, then,” said the Little Red Hen, “I will.”

And she did.

hen she went on with her daily duties through the long summer days, scratching for worms and feeding her chicks, while

the Pig grew fat,

and the Cat grew fat,

and the Rat grew fat,

and the Wheat

grew tall and

ready for

harvest.

o one day the Little Red Hen chanced to notice how large the Wheat was and that the grain was ripe, so she ran about calling briskly: “Who will cut the Wheat?”

The Pig said, “Not I,”

the Cat said, “Not I,”

and the Rat said, “Not I.”

“Well,

then,”

said the

Little

Red Hen,

“I will.”

And she did.

he got the sickle from among the farmer's tools in the barn and proceeded to cut off all of the big plant of Wheat.

On the ground lay the nicely cut Wheat, ready to be gathered and threshed, but the newest and yellowest and downiest of Mrs.

Hen's chicks set up a “peep-peep-peeping” in their most vigorous fashion, proclaiming to the world at large, but most particularly to their mother, that she was neglecting them.

oor Little Red Hen! She felt quite bewildered and hardly knew where to turn.

Her attention was sorely divided between her duty to her children and her duty to the Wheat, for which she felt responsible.

So, again, in a very hopeful tone, she called out, “Who will thresh the Wheat?”

But the Pig, with a grunt, said, “Not I,” and the Cat, with a meow, said, “Not I,” and the Rat, with a squeak, said, “Not I.”

So the Little Red Hen, looking, it must be admitted, rather discouraged, said, “Well, I will, then.”

And she did.

Of course, she had to feed her babies first, though, and when she had gotten them all to sleep for their afternoon nap, she

went out and threshed the Wheat. Then she called out: “Who will carry the Wheat to the mill to be ground?”

Turning their backs with snippy glee, that Pig said, “Not I,”

and

that

Cat

said,

“Not I,”

and

that

Rat

said,

“Not I.”

o the good Little Red Hen could do nothing but say, “I will then.” And she did.

Carrying the sack of Wheat, she trudged off to the distant mill. There she ordered the Wheat ground into beautiful white flour. When the miller brought her the

flour she

walked

slowly

back all

the way

to her own

barnyard

in her own

picketty-pecketty

fashion.

he even managed, in spite of her load, to catch a nice juicy worm now and then and had one left for the babies when she reached them. Those cunning little fluff-balls were so glad to see their mother. For the first time, they really appreciated her.

After this really strenuous day Mrs. Hen retired to her slumbers earlier than usual—indeed, before the colors came into the sky to herald the setting of the sun, her usual bedtime hour.

She would have liked to sleep late in the morning, but her chicks, joining in the morning chorus of the hen yard, drove away all hopes of such a luxury.

Even as she sleepily half opened one eye, the thought came to her that to-day that Wheat must, somehow, be made into bread.

She was not in the habit of making bread, although, of course, anyone can make it if he or she follows the recipe with care, and she knew perfectly well that she could do it if necessary.

So after her children were fed and made sweet and fresh for the day, she hunted up the Pig, the Cat and the Rat.

Still confident that they would

surely help

her some day

she sang out,

“Who will

make the

bread?”

las for the Little Red Hen! Once

more her hopes were dashed! For

the

Pig

said,

“Not

I,”

the

Cat

said,

“Not

I,”

and

the

Rat

said,

“Not

I.”

o the Little Red Hen said once more, “I will then,” and she did.

Feeling that she might have known all the time that she would have to do it all herself, she went and put on a fresh apron and spotless cook's cap. First of all she set the dough, as was proper. When it was time she brought out the moulding board and the baking tins, moulded the bread, divided it into loaves, and put them into the oven to bake. All the while the Cat sat lazily by, giggling and chuckling.

And close at

hand the

vain Rat

powdered

his nose

and admired

himself

in a mirror.

In the distance

could be

heard the long-drawn

snores of

the dozing Pig.

t last the great moment arrived. A delicious odor was wafted upon the autumn breeze. Everywhere the barnyard citizens sniffed the air with delight.

The Red Hen ambled in her picketty-pecketty way toward the source of all this excitement.

lthough she appeared to be perfectly calm, in reality she could only with difficulty restrain an impulse to dance and sing, for had she not

done

all

the

work

on

this

wonderful

bread?

mall wonder that she was the most excited person in the barnyard!

She did not know whether the bread would be fit to eat, but—joy of joys!—when the lovely brown loaves came out of the oven,

they were done to perfection.

Then, probably because she had acquired the habit, the Red Hen called:

“Who

will

eat

the

Bread?”

All the animals in the barnyard were watching hungrily and smacking their lips in anticipation, and

the Pig said, “I will,”

the Cat said, “I will,”

the Rat said, “I will.”

But the Little Red Hen said,

“No, you won't. I will.”

And

she

did.

Once on a time there was a Little Old Woman who lived in a Shoe. This shoe stood near a great forest, and was so large that it served as a house for the Old Lady and all her children, of which she had so many that she did not know what to do with them.

But the Little Old Woman was very fond of her children, and they only thought of the best way to please her. Strong-arm, the eldest, cut down trees for firewood. Peter made baskets of wicker-work. Mark was chief gardener. Lizzie milked the cow, and Jenny taught the younger children to read.

Now this Little Old Woman had not always lived in a Shoe. She and her family had once dwelt in a nice house covered with ivy, and her husband was a wood-cutter, like Strong-arm. But there lived in a huge castle beyond the forest, a fierce giant, who one day came and laid their house in ruins with his club; after which he carried off the poor wood-cutter to his castle beyond the forest. When the Little Old Woman came home, her house was in ruins and her husband was no where to be seen.

Night came on, and as the father did not return, the Old Lady and her family went to search for him. When they came to that part of the wood where the Giant had met their father, they saw an immense shoe. They spent a long time weeping and calling out for their father, but met with no reply. Then the Old Lady thought that they had better take shelter in the shoe until they could build a new house. So Peter and Strong-arm put a roof to it, and cut a door, and turned it into a dwelling. Here they all lived happily for many years, but the Little Old Lady never forgot her husband and his sad fate. Strong-arm, who saw how wretched his mother often was about it, proposed to the next eleven brothers that they should go with him and set their father free from the Giant. Their mother knew the Giant's strength, and would not hear of the attempt, as she feared they would be killed. But Strong-arm was not afraid. He bought a dozen sharp swords, and Peter made as many strong shields and helmets, as well as cross-bows and iron-headed arrows. They were now quite ready; Strong-arm gave the order to march, and they started for the forest. The next day they came in sight of the Giant's Castle. Strong-arm, leaving his brothers in a wood close by, strode boldly up to the entrance, and seized the knocker. The door was opened by a funny little boy with a large head, who kept grinning and laughing.

Strong-arm then walked boldly across the court-yard, and presently met a page, who took off his hat and asked him what he wanted. Strong-arm said he had come to liberate his father, who was kept a prisoner by the Giant; on this the little man said he was sorry for him, because the part of the castle in which his father was kept was guarded by a large dragon. Strong-arm, nothing daunted, soon found the monster, who was fast asleep, so he made short work of him by sending his sword right through his heart; at which he jumped up, uttering a loud scream, and made as if he would spring forward and seize Strong-arm; but the good sword had done its work, and the monster fell heavily on the ground, dead.

Now the Giant, who had been drinking much wine, was fast asleep in a remote part of the castle. Strong-arm had no sooner finished the Dragon, than up started the funny little boy who had opened the door. He led Strong-arm round to another part of the court-yard, where he saw his poor father, who at once sprung to his feet, and embraced him. Then Strong-arm called up his brothers, and when they had embraced their father, they soon broke his chain and set him free.

We must now return to the Little Old Woman. After her sons had started she gave way to the most bitter grief. While she was in this state, an old witch came up to her, and said she would help her, as she hated the Giant, and wished to kill him. The Old Witch then took the little Old Lady on her broom, and they sailed off through the air, straight to the Giant's castle.

Now this old Witch had great power, and at once afflicted the Giant with corns and tender feet. When he awoke from his sleep he was in such pain that he could bear it no longer, so he thought he would go in search of his missing shoe, which, like the other one he had in his castle, was easy and large for his foot. When he came to the spot where the Old Lady and her children lived, he saw his old shoe, and with a laugh that shook the trees, he thrust his foot into it, breaking through the roof that Strong-arm and Peter had put to it. The children, in great alarm, rushed about inside the shoe, and frightened and trembling, scrambled through the door and the slits which the Giant had formerly made for his corns. By this time the witch and the Little Old Lady, as also Strong-arm, his eleven brother and his father, were come up to the spot. Strong-arm and his brothers shot their arrows at him till at last he fell wounded, when Strong-arm went up to him and cut off his head. Then the father and the Little Old Woman and all their children built a new house, and lived happily ever afterwards.

A gentleman of good account
  In Norfolk dwelt of late,
Whose wealth and riches did surmount
  Most men of his estate.

Sore sick he was, and like to die,
  No help his life could save;
His wife by him as sick did lie,
  And both were near the grave.

No love between these two was lost:
  Each to the other kind;
In love they lived, in love they died,
  And left two babes behind.

Now if the children chanced to die,
  Ere they to age should come,
Their uncle should possess their wealth:
  For so the will did run.

“Now brother,” said the dying man,
  “Look to my children dear;
Be good unto my boy and girl,
  No friend else have they here.”

Their parents being dead and gone,
  The children home he takes,
And brings them both unto his house,
  Where much of them he makes.

He had not kept these pretty babes
  A twelvemonth and a day,
When, for their wealth, he did devise
  To make them both away.

He bargain'd with two ruffians bold,
  Who were of savage mood,
That they should take the children twain,
  And slay them in a wood.

They prate and prattle pleasantly
  While riding on the way,
To those their wicked uncle hired,
  These lovely babes to slay:

So that the pretty speech they had,
  Made the ruffians' heart relent;
And they that took the deed to do,
  Full sorely did repent.

Yet one of them, more hard of heart,
  Did vow to do his charge,
Because the wretch that hired him
  Had paid him very large.

The other would not agree thereto,
  So here they fell at strife;
With one another they did fight,
  About the children's life:

And he that was of milder mood,
  Did slay the other there,
Within an unfrequented wood;
  The babes did quake for fear!

He took the children by the hand,
  While they for bread complain:
“Stay here,” said he, “I'll bring ye bread,
  When I do come again.”

These pretty babes, with hand in hand,
  Went wandering up and down;
But never more they saw the man,
  Approaching from the town:

Thus wander'd these two pretty dears,
  Till death did end their grief;
In one another's arms they died,
  Poor babes, past all relief:

No burial these innocents
  Of any man receives,
But robin red-breast lovingly
  Did cover them with leaves.

The fellow that did take in hand
  These children for to kill,
Was for a robbery judged to die,
  As was God's blessed will:

And did confess the very truth,
  The which is here express'd;
Their uncle died while he for debt
  Did long in prison rest.

“Little Bo-Peep she lost her sheep
  And didn't know where to find them.
Let them alone, and they'll come home,
  And bring their tails behind them!”

So runs the Nursery Rhyme. Little Bo-Peep was a very nice little girl. Her cheeks had a bloom on them like a lovely peach, and her voice sounded like a sweet silver bell.

But though Little Bo-Peep was as good as she was beautiful, she sometimes met with misfortunes that made her very sad. Once, when she lost her sheep, she was very doleful indeed. And this is how it happened.

One summer evening, when the sun was setting, Little Bo-Peep, who had to rise very early in the morning, felt tired, and sat down on a bank covered with daisies. Being very weary she soon fell fast asleep. Now the Bell-wether of Bo-Peep's flock was a most stupid and stubborn fellow. I dare say you know that all the sheep in a flock will follow the Bell-wether, and that he always wears a bell round his neck. It was a great pity, but the Bell-wether of Bo-Peep's flock was very wild, and was much given to wander far away into the wood, where of course the rest of the sheep would follow him.

Finding Little Bo-Peep asleep, the tiresome fellow began by standing on his hind legs and making a great bow to his shadow before him on the grass. After this he whirled himself round like a top, shaking his head all the time, and ringing his bell.

Very soon the rest of the flock began to dance and caper too. And when they had wheeled round their leader for a time, they ran off after him with a bound into the wood. Away they went, till they were quite tired out; and then they came to a stand-still, staring at their leader with very blank faces. But the Bell-wether looked foolish enough now, and did nothing but shake his head slowly and ring his bell, which seemed to say quite clearly, “You are lost, you are lost!”

When Little Bo-Peep awoke she found her sheep gone, and hardly knowing what she did, she walked on and on, far into the wood. She met some people with hoes and rakes in their hands, and asked them if they had seen her sheep. But they only laughed at her, and said, No. One man was very cross, and threatened to beat her. At last she came to a stile, on which an old Raven was perched. He looked so wise that Little Bo-Peep asked him whether he had seen a flock of sheep. But he only cried “Caw, caw, caw;” so Bo-Peep ran on again across the fields.

She wandered on till night-fall, and being faint with hunger, was very glad to see a light just before her. As she went on, she saw that it shone from a cottage window. But when she came to the door, it looked so dark and dismal that she was afraid to go in, and was just going to run away, when a cross-looking old woman came out, and dragged her into the cottage. She made her sit by the side of her son, who was a very ugly youth with a great red face and red hair.

The old woman told him that she had brought Bo-Peep to be his wife, so Bo-Peep, who did not like him at all, ran away while they were asleep. But she did not know where to go, and gave herself up for lost, when she heard something cry, “tu-whit—tu-whoo,” in the tree above her. It was a great owl, which began flapping its wings with joy. Bo-Peep was frightened at first, but as the owl seemed very kind, she followed it. It took her to a cottage were there was plenty to eat and drink, and then, to Bo-Peep's great surprise, it began to speak, and told her this story:—

“Know, dear Maiden,” said the owl, “that I am the daughter of a King, and was a lovely Princess; but I was changed into an owl by the old woman at the cottage, because I would not marry her ugly son. But I have heard the fairies say that one day a lovely maiden, who would come into this wood to find her lost sheep, should be the means of my gaining my own form again. You are that pretty maid, and I will take you to a spot where you will find your sheep, but without their tails. The elves will play with them for this night, but in the morning every sheep will have its tail again, except the stupid Bell-wether. You must then wave his tail three times over my head, and I shall resume my shape again.”

The owl flew off, and led Bo-Peep into the wood, and said, “Sleep, maiden, I will watch.” How long she was asleep she could not tell, but the charmed spot was suddenly lighted up, and she saw the Queen of the Fairies seated on a bank. The Queen said the sheep should be punished for running away. She then saw all her sheep come trooping into the place, and on every sheep there was an Elf, who held in his hand a sheep's tail.

After riding them about for some time, and having great fun with them, the mad sport ceased, and each Elf restored the tail to his sheep—all but the Bell-wether's, which their leader hid in a tree. When Bo-Peep awoke, she saw the owl flapping its wings as if to remind her of her promise; so she fetched the tail, and waved it three times over its head, when up started the most charming Princess that ever was seen. The princess gave Bo-Peep a beautiful cottage, and her sheep never ran away from their kind mistress again.

There was once a family of Five Little Pigs, and Mrs. Pig, their mother, loved them all very dearly. Some of these little pigs were very good, and took a great deal of trouble to please her. The eldest pig was so active and useful that he was called Mr. Pig. One day he went to market with his cart full of vegetables, but Rusty, the donkey, began to show his bad temper before he had gone very far on the road. All the coaxing and whipping would not make him move. So Mr. Pig took him out of the shafts, and being very strong, drew the cart to market himself. When he got there, all the other pigs began to laugh. But they did not laugh so loudly when Mr. Pig told them all his struggles on the road. Mr. Pig lost no time in selling his vegetables, and very soon after Rusty came trotting into the market-place, and as he now seemed willing to take his place in the cart, Mr. Pig started for home without delay. When he got there, he told Mrs. Pig his story, and she called him her best and most worthy son.

This little pig very much wanted to go with his brother, but as he was so mischievous that he could not be trusted far away, his mother made him stay at home, and told him to keep a good fire while she went out to the miller's to buy some flour. But as soon as he was alone, instead of learning his lessons, he began to tease the poor cat. Then he got the bellows, and cut the leather with a knife, so as to see where the wind came from: and when he could not find this out, he began to cry. After this he broke all his brother's toys; he forced the drum-stick through the drum, he tore off the tail from the kite, and then pulled off the horse's head. And then he went to the cupboard and ate the jam. When Mrs. Pig came home, she sat down by the fire, and being very tired, she soon fell asleep. No sooner had she done so, than this bad little pig got a long handkerchief and tied her in her chair. But soon she awoke and found out all the mischief that he had been doing. She saw at once the damage that he had done to his brother's playthings. So she quickly brought out her thickest and heaviest birch, and gave this naughty little pig such a beating as he did not forget for a long time.

This little pig was a very good and careful fellow. He gave his mother scarcely any trouble, and always took a pleasure in doing all she bade him. Here you see him sitting down with clean hands and face, to some nice roast beef, while his brother, the idle pig, who is standing on a stool in the corner, with the dunce's cap on, has none. He sat down and quietly learned his lesson, and asked his mother to hear him repeat it. And this he did so well that Mrs. Pig stroked him on the ears and forehead, and called him a good little pig. After this he asked her to allow him to help her make tea. He brought everything she wanted, and lifted off the kettle from the fire, without spilling a drop either on his toes or the carpet. By-and-bye he went out, after asking his mother's leave, to play with his hoop. He had not gone far when he saw an old blind pig, who, with his hat in his hand was crying at the loss of his dog; so he put his hand in his pocket and found a halfpenny which he gave to the poor old pig. It was for such thoughtful conduct as this that his mother often gave this little pig roast beef. We now come to the little pig who had none.

This was a most obstinate and wilful little pig. His mother had set him to learn his lesson, but no sooner had she gone out into the garden, than he tore his book into pieces. When his mother came back he ran off into the streets to play with other idle little pigs like himself. After this he quarrelled with one of the pigs and got a sound thrashing. Being afraid to go home, he stayed out till it was quite dark and caught a severe cold. So he was taken home and put to bed, and had to take a lot of nasty physic.

This little pig went fishing. Now he had been told not to go into Farmer Grumpey's grounds, who did not allow any one to fish in his part of the river. But in spite of what he had been told, this foolish little pig went there. He soon caught a very large fish, and while he was trying to carry it home, Farmer Grumpey came running along with his great whip. He quickly dropped the fish, but the farmer caught him, and as he laid his whip over his back for some time, the little pig ran off, crying, “Wee, wee, wee,” all the way home.

Old Mother Goose lived in a cottage with her son Jack. Jack was a very good lad, and although he was not handsome, he was good-tempered and industrious, and this made him better-looking than half the other boys. Old Mother Goose carried a long stick, she wore a high-crowned hat, and high-heeled shoes, and her kerchief was as white as snow. Then there was the Gander that swam in the pond, and the Owl that sat on the wall. So you see they formed a very happy family. But what a fine strong fellow the Gander was! Whenever Old Mother Goose wanted to take a journey, she would mount upon his broad strong back, and away he would fly and carry her swiftly to any distance.

Now Old Mother Goose thought her Gander often looked sad and lonely; so one day she sent Jack to market to buy the finest Goose he could find. It was early in the morning when he started, and his way lay through a wood. He was not afraid of robbers; so on he went, with his Mother's great clothes-prop over his shoulder. The fresh morning air caused Jack's spirits to rise. He left the road, and plunged into the thick of the wood, where he amused himself by leaping with his clothes-prop till he found he had lost himself. After he had made many attempts to find the path again, he heard a scream. He jumped up and ran boldly towards the spot from which the sound came. Through an opening in the trees he saw a young lady trying to get away from a ruffian who wanted to steal her mantle. With one heavy blow of his staff Jack sent the thief howling away, and then went back to the young lady, who was lying on the ground, crying.

She soon dried her tears when she found that the robber had made off, and thanked Jack for his help. The young lady told Jack that she was the daughter of the Squire, who lived in the great white house on the hill-top. She knew the path out of the wood quite well, and when they reached the border, she said that Jack must come soon to her father's house, so that he might thank him for his noble conduct.

When Jack was left alone, he made the best of his way to the market-place. He found little trouble in picking out the best Goose, for when he got there he was very late, and there was but one left. But as it was a prime one, Jack bought it at once, and keeping to the road, made straight for home. At first the Goose objected to be carried; and then, when she had walked along slowly and gravely for a short time, she tried to fly away; so Jack seized her in his arms and kept her there till he reached home.

Old Mother Goose was greatly pleased when she saw what a fine bird Jack had bought; and the Gander showed more joy than I can describe. And then they all lived very happily for a long time. But Jack would often leave off work to dream of the lovely young lady whom he had rescued in the forest, and soon began to sigh all day long. He neglected the garden, cared no more for the Gander, and scarcely even noticed the beautiful Goose. But one morning, as he was walking by the pond, he saw both the Goose and the Gander making a great noise, as though they were in the utmost glee. He went up to them and was surprised to find on the bank a large golden egg. He ran with it to his mother, who said, “Go to market, my son; sell your egg, and you will soon be rich enough to pay a visit to the Squire.” So to market Jack went, and sold his golden egg; but the rogue who bought it of him cheated him out of half his due. Then he dressed himself in his finest clothes, and went up to the Squire's house. Two footmen stood at the door, one looking very stout and saucy, and the other sleepy and stupid.

When Jack asked to see the Squire, they laughed at him, and made sport of his fine clothes; but Jack had wit enough to offer them each a guinea, when they at once showed him to the Squire's room.

Now the Squire, who was very rich, was also very proud and fat, and scarcely turned his head to notice Jack; but when he showed him his bag of gold, and asked for his daughter to be his bride, the Squire flew into a rage, and ordered his servants to throw him into the horse-pond. But this was not so easy to do, for Jack was strong and active; and then the young lady come out and begged her father to release him. This made Jack more deeply in love with her than ever, and he went home determined to win her in spite of all. And well did his wonderful Goose aid him in his design. Almost every morning she would lay him a golden egg, and Jack, grown wiser, would no longer sell them at half their value to the rogue who had before cheated him. So Jack soon grew to be a richer man than the Squire himself. His wealth became known to all the country round, and the Squire at length consented to accept Jack as his son-in-law. Then Old Mother Goose flew away into the woods on the back of her strong Gander, leaving the cottage and the Goose to Jack and his bride, who lived happily ever afterwards.

 

그냥 죽죽 읽어 나가세요. 모르는 문장이나 단어가 나와도 그냥 추측하고 지나가시기 바랍니다. 작은 것을 버리고 큰 것을 얻으면 됩니다. 모르는 문장은 그런 상황을 뒤에서 여러번 만나면 저절로 알게 됩니다. 그리고 단어는 미리 혹은 나중에 따로 공부하면 됩니다. 그런 것에 자꾸 걸리면 진도가 안나가고 진도가 안나가면 금방 그만 둡니다. 읽을 때는 오직 줄거리에만 집중하셔야 합니다.

독해는 종합적인 공부로서 단어, 숙어, 문법, 회화, 듣기, 작문 실력을 한꺼번에 늘려 줍니다. 모든 영어공부 중에서 가장 종합적인 것이 읽기 입니다. 독해를 많이 하면 소위 영어의 내공이 쌓여 갑니다. 책을 많이 읽는 사람은 도저히 당할 수가 없습니다. 진짜 영어고수들은 모두 독서를 많이 한 사람들입니다.

중고등학교에서 영어성적 상위 1%에 드는 학생이라면 대체로 초등학교 때 영어동화책을 많이 읽은 학생입니다. 읽기는 모든 공부의 기초이면서 또한 완성입니다. 이런 동화들을 죽죽 읽어 나가다 보면 영문독해력은 그야말로 가랑비에 옷 젖듯이 자기도 모르게 쑥쑥 향상됩니다. 일단은 공부한다는 생각을 버리고 재미있게 읽는데 촛점을 맞추시기 바랍니다. 욕심을 버리고 재미있게 읽다보면 독해실력은 저절로 따라오죠. 욕심을 버리는 것! 이게 어렵습니다.

말이 나온 김에, 단어 이야기도 좀 하겠습니다. 모르는 단어도 여러번 실제 상황 속에서 만나게 되면 대충의 뜻을 저절로 알게 됩니다. 심지어 그 단어의 분위기나 색깔은 사전에서 보다 더 정확히 알 수 있습니다. 또 이렇게 체득된 단어는 아주 오래 갑니다. 단어실력을 유지하는 데도 독해가 최고죠. 최소한의 독서량을 유지만 해도 단어실력은 줄지 않습니다.

독서량이 늘면 어휘력이 증가되는 것은 물론, 기존의 어휘력이 유지 되며, 더 나아가 대충 알고 있던 의미가 더 정확해지고 뚜렷해 집니다. 저처럼 평소에 무식하게 단어만 따로 외웠더라도 나중에 독해를 많이 하게 되면, 여러 상황 속에서 그런 단어들을 접하게 되므로 독해를 하면서 외운 단어들처럼 깊이 체화됩니다. 한 마디로, 독해야말로 어휘력을 늘리고 유지하고 정확히 하는 데도 최선의 방법입니다. 그래서 독해는 종합공부인 것이죠.

참고로, 상급자라 해도 다 같은 실력은 아닙니다. 하늘과 땅 차이일 수도 있습니다. 그러면 초기 상급자란 무엇인가? 일단 독해에 자신감이 있고 어떤 문장에 대해서도 거부감이 없는 상태이며 모르는 문장들이  나오더라도 실망하기 보다는 의욕과 투지가 불타는 수준을 말합니다. 어떤 상황에서도 포기하지 않고 오히려 모르는 문장들을 발전의 기회로 바라보는 수준이죠. 이 수준까지 가면 일단 그 사람은 영어가 강점이 되었으며 더 이상의 단계로 가는 것은 그냥 시간문제입니다.

미안하지만 이런 사람은 결코 다시 중급자나 하급자가 될 수 없습니다. 한 동안 영어를 놓았더라도 약간만 하면 금방 이전 수준으로 회복 됩니다. 영어실력 자체는 변동이 있을 수 있지만 마음 속에 한 번 자리잡은 자신감은 결코 사라지지 않습니다. 마치 자전거를 한 번 배운 사람은 언제라도 다시 자전거를 탈 수 있듯이요.^^
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The Phantom of the Opera

by Gaston Leroux

Prologue
IN WHICH THE AUTHOR OF THIS SINGULAR WORK INFORMS THE READER HOW HE ACQUIRED THE CERTAINTY THAT THE OPERA GHOST REALLY EXISTED

The Opera ghost really existed. He was not, as was long believed, a creature of the imagination of the artists, the superstition of the managers, or a product of the absurd and impressionable brains of the young ladies of the ballet, their mothers, the box-keepers, the cloak-room attendants or the concierge. Yes, he existed in flesh and blood, although he assumed the complete appearance of a real phantom; that is to say, of a spectral shade.

When I began to ransack the archives of the National Academy of Music I was at once struck by the surprising coincidences between the phenomena ascribed to the "ghost" and the most extraordinary and fantastic tragedy that ever excited the Paris upper classes; and I soon conceived the idea that this tragedy might reasonably be explained by the phenomena in question. The events do not date more than thirty years back; and it would not be difficult to find at the present day, in the foyer of the ballet, old men of the highest respectability, men upon whose word one could absolutely rely, who would remember as though they happened yesterday the mysterious and dramatic conditions that attended the kidnapping of Christine Daae, the disappearance of the Vicomte de Chagny and the death of his elder brother, Count Philippe, whose body was found on the bank of the lake that exists in the lower cellars of the Opera on the Rue-Scribe side. But none of those witnesses had until that day thought that there was any reason for connecting the more or less legendary figure of the Opera ghost with that terrible story.

The truth was slow to enter my mind, puzzled by an inquiry that at every moment was complicated by events which, at first sight, might be looked upon as superhuman; and more than once I was within an ace of abandoning a task in which I was exhausting myself in the hopeless pursuit of a vain image. At last, I received the proof that my presentiments had not deceived me, and I was rewarded for all my efforts on the day when I acquired the certainty that the Opera ghost was more than a mere shade.

On that day, I had spent long hours over THE MEMOIRS OF A MANAGER, the light and frivolous work of the too-skeptical Moncharmin, who, during his term at the Opera, understood nothing of the mysterious behavior of the ghost and who was making all the fun of it that he could at the very moment when he became the first victim of the curious financial operation that went on inside the "magic envelope."

I had just left the library in despair, when I met the delightful acting-manager of our National Academy, who stood chatting on a landing with a lively and well-groomed little old man, to whom he introduced me gaily. The acting-manager knew all about my investigations and how eagerly and unsuccessfully I had been trying to discover the whereabouts of the examining magistrate in the famous Chagny case, M. Faure. Nobody knew what had become of him, alive or dead; and here he was back from Canada, where he had spent fifteen years, and the first thing he had done, on his return to Paris, was to come to the secretarial offices at the Opera and ask for a free seat. The little old man was M. Faure himself.

We spent a good part of the evening together and he told me the whole Chagny case as he had understood it at the time. He was bound to conclude in favor of the madness of the viscount and the accidental death of the elder brother, for lack of evidence to the contrary; but he was nevertheless persuaded that a terrible tragedy had taken place between the two brothers in connection with Christine Daae. He could not tell me what became of Christine or the viscount. When I mentioned the ghost, he only laughed. He, too, had been told of the curious manifestations that seemed to point to the existence of an abnormal being, residing in one of the most mysterious corners of the Opera, and he knew the story of the envelope; but he had never seen anything in it worthy of his attention as magistrate in charge of the Chagny case, and it was as much as he had done to listen to the evidence of a witness who appeared of his own accord and declared that he had often met the ghost. This witness was none other than the man whom all Paris called the "Persian" and who was well-known to every subscriber to the Opera. The magistrate took him for a visionary.

I was immensely interested by this story of the Persian. I wanted, if there were still time, to find this valuable and eccentric witness. My luck began to improve and I discovered him in his little flat in the Rue de Rivoli, where he had lived ever since and where he died five months after my visit. I was at first inclined to be suspicious; but when the Persian had told me, with child-like candor, all that he knew about the ghost and had handed me the proofs of the ghost's existence—including the strange correspondence of Christine Daae—to do as I pleased with, I was no longer able to doubt. No, the ghost was not a myth!

I have, I know, been told that this correspondence may have been forged from first to last by a man whose imagination had certainly been fed on the most seductive tales; but fortunately I discovered some of Christine's writing outside the famous bundle of letters and, on a comparison between the two, all my doubts were removed. I also went into the past history of the Persian and found that he was an upright man, incapable of inventing a story that might have defeated the ends of justice.

This, moreover, was the opinion of the more serious people who, at one time or other, were mixed up in the Chagny case, who were friends of the Chagny family, to whom I showed all my documents and set forth all my inferences. In this connection, I should like to print a few lines which I received from General D——:

SIR:

I can not urge you too strongly to publish the results of your inquiry. I remember perfectly that, a few weeks before the disappearance of that great singer, Christine Daae, and the tragedy which threw the whole of the Faubourg Saint-Germain into mourning, there was a great deal of talk, in the foyer of the ballet, on the subject of the "ghost;" and I believe that it only ceased to be discussed in consequence of the later affair that excited us all so greatly. But, if it be possible—as, after hearing you, I believe—to explain the tragedy through the ghost, then I beg you sir, to talk to us about the ghost again.

Mysterious though the ghost may at first appear, he will always be more easily explained than the dismal story in which malevolent people have tried to picture two brothers killing each other who had worshiped each other all their lives.

Believe me, etc.

Lastly, with my bundle of papers in hand, I once more went over the ghost's vast domain, the huge building which he had made his kingdom. All that my eyes saw, all that my mind perceived, corroborated the Persian's documents precisely; and a wonderful discovery crowned my labors in a very definite fashion. It will be remembered that, later, when digging in the substructure of the Opera, before burying the phonographic records of the artist's voice, the workmen laid bare a corpse. Well, I was at once able to prove that this corpse was that of the Opera ghost. I made the acting-manager put this proof to the test with his own hand; and it is now a matter of supreme indifference to me if the papers pretend that the body was that of a victim of the Commune.

The wretches who were massacred, under the Commune, in the cellars of the Opera, were not buried on this side; I will tell where their skeletons can be found in a spot not very far from that immense crypt which was stocked during the siege with all sorts of provisions. I came upon this track just when I was looking for the remains of the Opera ghost, which I should never have discovered but for the unheard-of chance described above.

But we will return to the corpse and what ought to be done with it. For the present, I must conclude this very necessary introduction by thanking M. Mifroid (who was the commissary of police called in for the first investigations after the disappearance of Christine Daae), M. Remy, the late secretary, M. Mercier, the late acting-manager, M. Gabriel, the late chorus-master, and more particularly Mme. la Baronne de Castelot-Barbezac, who was once the "little Meg" of the story (and who is not ashamed of it), the most charming star of our admirable corps de ballet, the eldest daughter of the worthy Mme. Giry, now deceased, who had charge of the ghost's private box. All these were of the greatest assistance to me; and, thanks to them, I shall be able to reproduce those hours of sheer love and terror, in their smallest details, before the reader's eyes.

And I should be ungrateful indeed if I omitted, while standing on the threshold of this dreadful and veracious story, to thank the present management the Opera, which has so kindly assisted me in all my inquiries, and M. Messager in particular, together with M. Gabion, the acting-manager, and that most amiable of men, the architect intrusted with the preservation of the building, who did not hesitate to lend me the works of Charles Garnier, although he was almost sure that I would never return them to him. Lastly, I must pay a public tribute to the generosity of my friend and former collaborator, M. J. Le Croze, who allowed me to dip into his splendid theatrical library and to borrow the rarest editions of books by which he set great store.

GASTON LEROUX.

Chapter I Is it the Ghost?

It was the evening on which MM. Debienne and Poligny, the managers of the Opera, were giving a last gala performance to mark their retirement. Suddenly the dressing-room of La Sorelli, one of the principal dancers, was invaded by half-a-dozen young ladies of the ballet, who had come up from the stage after "dancing" Polyeucte. They rushed in amid great confusion, some giving vent to forced and unnatural laughter, others to cries of terror. Sorelli, who wished to be alone for a moment to "run through" the speech which she was to make to the resigning managers, looked around angrily at the mad and tumultuous crowd. It was little Jammes—the girl with the tip-tilted nose, the forget-me-not eyes, the rose-red cheeks and the lily-white neck and shoulders—who gave the explanation in a trembling voice:

"It's the ghost!" And she locked the door.

Sorelli's dressing-room was fitted up with official, commonplace elegance. A pier-glass, a sofa, a dressing-table and a cupboard or two provided the necessary furniture. On the walls hung a few engravings, relics of the mother, who had known the glories of the old Opera in the Rue le Peletier; portraits of Vestris, Gardel, Dupont, Bigottini. But the room seemed a palace to the brats of the corps de ballet, who were lodged in common dressing-rooms where they spent their time singing, quarreling, smacking the dressers and hair-dressers and buying one another glasses of cassis, beer, or even rhum, until the call-boy's bell rang.

Sorelli was very superstitious. She shuddered when she heard little Jammes speak of the ghost, called her a "silly little fool" and then, as she was the first to believe in ghosts in general, and the Opera ghost in particular, at once asked for details:

"Have you seen him?"

"As plainly as I see you now!" said little Jammes, whose legs were giving way beneath her, and she dropped with a moan into a chair.

Thereupon little Giry—the girl with eyes black as sloes, hair black as ink, a swarthy complexion and a poor little skin stretched over poor little bones—little Giry added:

"If that's the ghost, he's very ugly!"

"Oh, yes!" cried the chorus of ballet-girls.

And they all began to talk together. The ghost had appeared to them in the shape of a gentleman in dress-clothes, who had suddenly stood before them in the passage, without their knowing where he came from. He seemed to have come straight through the wall.

"Pooh!" said one of them, who had more or less kept her head. "You see the ghost everywhere!"

And it was true. For several months, there had been nothing discussed at the Opera but this ghost in dress-clothes who stalked about the building, from top to bottom, like a shadow, who spoke to nobody, to whom nobody dared speak and who vanished as soon as he was seen, no one knowing how or where. As became a real ghost, he made no noise in walking. People began by laughing and making fun of this specter dressed like a man of fashion or an undertaker; but the ghost legend soon swelled to enormous proportions among the corps de ballet. All the girls pretended to have met this supernatural being more or less often. And those who laughed the loudest were not the most at ease. When he did not show himself, he betrayed his presence or his passing by accident, comic or serious, for which the general superstition held him responsible. Had any one met with a fall, or suffered a practical joke at the hands of one of the other girls, or lost a powderpuff, it was at once the fault of the ghost, of the Opera ghost.

After all, who had seen him? You meet so many men in dress-clothes at the Opera who are not ghosts. But this dress-suit had a peculiarity of its own. It covered a skeleton. At least, so the ballet-girls said. And, of course, it had a death's head.

Was all this serious? The truth is that the idea of the skeleton came from the description of the ghost given by Joseph Buquet, the chief scene-shifter, who had really seen the ghost. He had run up against the ghost on the little staircase, by the footlights, which leads to "the cellars." He had seen him for a second—for the ghost had fled—and to any one who cared to listen to him he said:

"He is extraordinarily thin and his dress-coat hangs on a skeleton frame. His eyes are so deep that you can hardly see the fixed pupils. You just see two big black holes, as in a dead man's skull. His skin, which is stretched across his bones like a drumhead, is not white, but a nasty yellow. His nose is so little worth talking about that you can't see it side-face; and THE ABSENCE of that nose is a horrible thing TO LOOK AT. All the hair he has is three or four long dark locks on his forehead and behind his ears."

This chief scene-shifter was a serious, sober, steady man, very slow at imagining things. His words were received with interest and amazement; and soon there were other people to say that they too had met a man in dress-clothes with a death's head on his shoulders. Sensible men who had wind of the story began by saying that Joseph Buquet had been the victim of a joke played by one of his assistants. And then, one after the other, there came a series of incidents so curious and so inexplicable that the very shrewdest people began to feel uneasy.

For instance, a fireman is a brave fellow! He fears nothing, least of all fire! Well, the fireman in question, who had gone to make a round of inspection in the cellars and who, it seems, had ventured a little farther than usual, suddenly reappeared on the stage, pale, scared, trembling, with his eyes starting out of his head, and practically fainted in the arms of the proud mother of little Jammes.[1] And why? Because he had seen coming toward him, AT THE LEVEL OF HIS HEAD, BUT WITHOUT A BODY ATTACHED TO IT, A HEAD OF FIRE! And, as I said, a fireman is not afraid of fire.

The fireman's name was Pampin.

The corps de ballet was flung into consternation. At first sight, this fiery head in no way corresponded with Joseph Buquet's description of the ghost. But the young ladies soon persuaded themselves that the ghost had several heads, which he changed about as he pleased. And, of course, they at once imagined that they were in the greatest danger. Once a fireman did not hesitate to faint, leaders and front-row and back-row girls alike had plenty of excuses for the fright that made them quicken their pace when passing some dark corner or ill-lighted corridor. Sorelli herself, on the day after the adventure of the fireman, placed a horseshoe on the table in front of the stage-door-keeper's box, which every one who entered the Opera otherwise than as a spectator must touch before setting foot on the first tread of the staircase. This horse-shoe was not invented by me—any more than any other part of this story, alas!—and may still be seen on the table in the passage outside the stage-door-keeper's box, when you enter the Opera through the court known as the Cour de l'Administration.

To return to the evening in question.

"It's the ghost!" little Jammes had cried.

An agonizing silence now reigned in the dressing-room. Nothing was heard but the hard breathing of the girls. At last, Jammes, flinging herself upon the farthest corner of the wall, with every mark of real terror on her face, whispered:

"Listen!"

Everybody seemed to hear a rustling outside the door. There was no sound of footsteps. It was like light silk sliding over the panel. Then it stopped.

Sorelli tried to show more pluck than the others. She went up to the door and, in a quavering voice, asked:

"Who's there?"

But nobody answered. Then feeling all eyes upon her, watching her last movement, she made an effort to show courage, and said very loudly:

"Is there any one behind the door?"

"Oh, yes, yes! Of course there is!" cried that little dried plum of a Meg Giry, heroically holding Sorelli back by her gauze skirt. "Whatever you do, don't open the door! Oh, Lord, don't open the door!"

But Sorelli, armed with a dagger that never left her, turned the key and drew back the door, while the ballet-girls retreated to the inner dressing-room and Meg Giry sighed:

"Mother! Mother!"

Sorelli looked into the passage bravely. It was empty; a gas-flame, in its glass prison, cast a red and suspicious light into the surrounding darkness, without succeeding in dispelling it. And the dancer slammed the door again, with a deep sigh.

"No," she said, "there is no one there."

"Still, we saw him!" Jammes declared, returning with timid little steps to her place beside Sorelli. "He must be somewhere prowling about. I shan't go back to dress. We had better all go down to the foyer together, at once, for the 'speech,' and we will come up again together."

And the child reverently touched the little coral finger-ring which she wore as a charm against bad luck, while Sorelli, stealthily, with the tip of her pink right thumb-nail, made a St. Andrew's cross on the wooden ring which adorned the fourth finger of her left hand. She said to the little ballet-girls:

"Come, children, pull yourselves together! I dare say no one has ever seen the ghost."

"Yes, yes, we saw him—we saw him just now!" cried the girls. "He had his death's head and his dress-coat, just as when he appeared to Joseph Buquet!"

"And Gabriel saw him too!" said Jammes. "Only yesterday! Yesterday afternoon—in broad day-light——"

"Gabriel, the chorus-master?"

"Why, yes, didn't you know?"

"And he was wearing his dress-clothes, in broad daylight?"

"Who? Gabriel?"

"Why, no, the ghost!"

"Certainly! Gabriel told me so himself. That's what he knew him by. Gabriel was in the stage-manager's office. Suddenly the door opened and the Persian entered. You know the Persian has the evil eye——"

"Oh, yes!" answered the little ballet-girls in chorus, warding off ill-luck by pointing their forefinger and little finger at the absent Persian, while their second and third fingers were bent on the palm and held down by the thumb.

"And you know how superstitious Gabriel is," continued Jammes. "However, he is always polite. When he meets the Persian, he just puts his hand in his pocket and touches his keys. Well, the moment the Persian appeared in the doorway, Gabriel gave one jump from his chair to the lock of the cupboard, so as to touch iron! In doing so, he tore a whole skirt of his overcoat on a nail. Hurrying to get out of the room, he banged his forehead against a hat-peg and gave himself a huge bump; then, suddenly stepping back, he skinned his arm on the screen, near the piano; he tried to lean on the piano, but the lid fell on his hands and crushed his fingers; he rushed out of the office like a madman, slipped on the staircase and came down the whole of the first flight on his back. I was just passing with mother. We picked him up. He was covered with bruises and his face was all over blood. We were frightened out of our lives, but, all at once, he began to thank Providence that he had got off so cheaply. Then he told us what had frightened him. He had seen the ghost behind the Persian, THE GHOST WITH THE DEATH'S HEAD just like Joseph Buquet's description!"

Jammes had told her story ever so quickly, as though the ghost were at her heels, and was quite out of breath at the finish. A silence followed, while Sorelli polished her nails in great excitement. It was broken by little Giry, who said:

"Joseph Buquet would do better to hold his tongue."

"Why should he hold his tongue?" asked somebody.

"That's mother's opinion," replied Meg, lowering her voice and looking all about her as though fearing lest other ears than those present might overhear.

"And why is it your mother's opinion?"

"Hush! Mother says the ghost doesn't like being talked about."

"And why does your mother say so?"

"Because—because—nothing—"

This reticence exasperated the curiosity of the young ladies, who crowded round little Giry, begging her to explain herself. They were there, side by side, leaning forward simultaneously in one movement of entreaty and fear, communicating their terror to one another, taking a keen pleasure in feeling their blood freeze in their veins.

"I swore not to tell!" gasped Meg.

But they left her no peace and promised to keep the secret, until Meg, burning to say all she knew, began, with her eyes fixed on the door:

"Well, it's because of the private box."

"What private box?"

"The ghost's box!"

"Has the ghost a box? Oh, do tell us, do tell us!"

"Not so loud!" said Meg. "It's Box Five, you know, the box on the grand tier, next to the stage-box, on the left."

"Oh, nonsense!"

"I tell you it is. Mother has charge of it. But you swear you won't say a word?"

"Of course, of course."

"Well, that's the ghost's box. No one has had it for over a month, except the ghost, and orders have been given at the box-office that it must never be sold."

"And does the ghost really come there?"

"Yes."

"Then somebody does come?"

"Why, no! The ghost comes, but there is nobody there."

The little ballet-girls exchanged glances. If the ghost came to the box, he must be seen, because he wore a dress-coat and a death's head. This was what they tried to make Meg understand, but she replied:

"That's just it! The ghost is not seen. And he has no dress-coat and no head! All that talk about his death's head and his head of fire is nonsense! There's nothing in it. You only hear him when he is in the box. Mother has never seen him, but she has heard him. Mother knows, because she gives him his program."

Sorelli interfered.

"Giry, child, you're getting at us!"

Thereupon little Giry began to cry.

"I ought to have held my tongue—if mother ever came to know! But I was quite right, Joseph Buquet had no business to talk of things that don't concern him—it will bring him bad luck—mother was saying so last night——"

There was a sound of hurried and heavy footsteps in the passage and a breathless voice cried:

"Cecile! Cecile! Are you there?"

"It's mother's voice," said Jammes. "What's the matter?"

She opened the door. A respectable lady, built on the lines of a Pomeranian grenadier, burst into the dressing-room and dropped groaning into a vacant arm-chair. Her eyes rolled madly in her brick-dust colored face.

"How awful!" she said. "How awful!"

"What? What?"

"Joseph Buquet!"

"What about him?"

"Joseph Buquet is dead!"

The room became filled with exclamations, with astonished outcries, with scared requests for explanations.

"Yes, he was found hanging in the third-floor cellar!"

"It's the ghost!" little Giry blurted, as though in spite of herself; but she at once corrected herself, with her hands pressed to her mouth: "No, no!—I, didn't say it!—I didn't say it!——"

All around her, her panic-stricken companions repeated under their breaths:

"Yes—it must be the ghost!"

Sorelli was very pale.

"I shall never be able to recite my speech," she said.

Ma Jammes gave her opinion, while she emptied a glass of liqueur that happened to be standing on a table; the ghost must have something to do with it.

The truth is that no one ever knew how Joseph Buquet met his death. The verdict at the inquest was "natural suicide." In his Memoirs of Manager, M. Moncharmin, one of the joint managers who succeeded MM. Debienne and Poligny, describes the incident as follows:

"A grievous accident spoiled the little party which MM. Debienne and Poligny gave to celebrate their retirement. I was in the manager's office, when Mercier, the acting-manager, suddenly came darting in. He seemed half mad and told me that the body of a scene-shifter had been found hanging in the third cellar under the stage, between a farm-house and a scene from the Roi de Lahore. I shouted:

"'Come and cut him down!'

"By the time I had rushed down the staircase and the Jacob's ladder, the man was no longer hanging from his rope!"

So this is an event which M. Moncharmin thinks natural. A man hangs at the end of a rope; they go to cut him down; the rope has disappeared. Oh, M. Moncharmin found a very simple explanation! Listen to him:

"It was just after the ballet; and leaders and dancing-girls lost no time in taking their precautions against the evil eye."

There you are! Picture the corps de ballet scuttling down the Jacob's ladder and dividing the suicide's rope among themselves in less time than it takes to write! When, on the other hand, I think of the exact spot where the body was discovered—the third cellar underneath the stage!—imagine that SOMEBODY must have been interested in seeing that the rope disappeared after it had effected its purpose; and time will show if I am wrong.

The horrid news soon spread all over the Opera, where Joseph Buquet was very popular. The dressing-rooms emptied and the ballet-girls, crowding around Sorelli like timid sheep around their shepherdess, made for the foyer through the ill-lit passages and staircases, trotting as fast as their little pink legs could carry them.

[1] I have the anecdote, which is quite authentic, from M. Pedro Gailhard himself, the late manager of the Opera.

Chapter II The New Margarita

On the first landing, Sorelli ran against the Comte de Chagny, who was coming up-stairs. The count, who was generally so calm, seemed greatly excited.

"I was just going to you," he said, taking off his hat. "Oh, Sorelli, what an evening! And Christine Daae: what a triumph!"

"Impossible!" said Meg Giry. "Six months ago, she used to sing like a CROCK! But do let us get by, my dear count," continues the brat, with a saucy curtsey. "We are going to inquire after a poor man who was found hanging by the neck."

Just then the acting-manager came fussing past and stopped when he heard this remark.

"What!" he exclaimed roughly. "Have you girls heard already? Well, please forget about it for tonight—and above all don't let M. Debienne and M. Poligny hear; it would upset them too much on their last day."

They all went on to the foyer of the ballet, which was already full of people. The Comte de Chagny was right; no gala performance ever equalled this one. All the great composers of the day had conducted their own works in turns. Faure and Krauss had sung; and, on that evening, Christine Daae had revealed her true self, for the first time, to the astonished and enthusiastic audience. Gounod had conducted the Funeral March of a Marionnette; Reyer, his beautiful overture to Siguar; Saint Saens, the Danse Macabre and a Reverie Orientale; Massenet, an unpublished Hungarian march; Guiraud, his Carnaval; Delibes, the Valse Lente from Sylvia and the Pizzicati from Coppelia. Mlle. Krauss had sung the bolero in the Vespri Siciliani; and Mlle. Denise Bloch the drinking song in Lucrezia Borgia.

But the real triumph was reserved for Christine Daae, who had begun by singing a few passages from Romeo and Juliet. It was the first time that the young artist sang in this work of Gounod, which had not been transferred to the Opera and which was revived at the Opera Comique after it had been produced at the old Theatre Lyrique by Mme. Carvalho. Those who heard her say that her voice, in these passages, was seraphic; but this was nothing to the superhuman notes that she gave forth in the prison scene and the final trio in FAUST, which she sang in the place of La Carlotta, who was ill. No one had ever heard or seen anything like it.

Daae revealed a new Margarita that night, a Margarita of a splendor, a radiance hitherto unsuspected. The whole house went mad, rising to its feet, shouting, cheering, clapping, while Christine sobbed and fainted in the arms of her fellow-singers and had to be carried to her dressing-room. A few subscribers, however, protested. Why had so great a treasure been kept from them all that time? Till then, Christine Daae had played a good Siebel to Carlotta's rather too splendidly material Margarita. And it had needed Carlotta's incomprehensible and inexcusable absence from this gala night for the little Daae, at a moment's warning, to show all that she could do in a part of the program reserved for the Spanish diva! Well, what the subscribers wanted to know was, why had Debienne and Poligny applied to Daae, when Carlotta was taken ill? Did they know of her hidden genius? And, if they knew of it, why had they kept it hidden? And why had she kept it hidden? Oddly enough, she was not known to have a professor of singing at that moment. She had often said she meant to practise alone for the future. The whole thing was a mystery.

The Comte de Chagny, standing up in his box, listened to all this frenzy and took part in it by loudly applauding. Philippe Georges Marie Comte de Chagny was just forty-one years of age. He was a great aristocrat and a good-looking man, above middle height and with attractive features, in spite of his hard forehead and his rather cold eyes. He was exquisitely polite to the women and a little haughty to the men, who did not always forgive him for his successes in society. He had an excellent heart and an irreproachable conscience. On the death of old Count Philibert, he became the head of one of the oldest and most distinguished families in France, whose arms dated back to the fourteenth century. The Chagnys owned a great deal of property; and, when the old count, who was a widower, died, it was no easy task for Philippe to accept the management of so large an estate. His two sisters and his brother, Raoul, would not hear of a division and waived their claim to their shares, leaving themselves entirely in Philippe's hands, as though the right of primogeniture had never ceased to exist. When the two sisters married, on the same day, they received their portion from their brother, not as a thing rightfully belonging to them, but as a dowry for which they thanked him.

The Comtesse de Chagny, nee de Moerogis de La Martyniere, had died in giving birth to Raoul, who was born twenty years after his elder brother. At the time of the old count's death, Raoul was twelve years of age. Philippe busied himself actively with the youngster's education. He was admirably assisted in this work first by his sisters and afterward by an old aunt, the widow of a naval officer, who lived at Brest and gave young Raoul a taste for the sea. The lad entered the Borda training-ship, finished his course with honors and quietly made his trip round the world. Thanks to powerful influence, he had just been appointed a member of the official expedition on board the Requin, which was to be sent to the Arctic Circle in search of the survivors of the D'Artoi's expedition, of whom nothing had been heard for three years. Meanwhile, he was enjoying a long furlough which would not be over for six months; and already the dowagers of the Faubourg Saint-Germain were pitying the handsome and apparently delicate stripling for the hard work in store for him.

The shyness of the sailor-lad—I was almost saying his innocence—was remarkable. He seemed to have but just left the women's apron-strings. As a matter of fact, petted as he was by his two sisters and his old aunt, he had retained from this purely feminine education manners that were almost candid and stamped with a charm that nothing had yet been able to sully. He was a little over twenty-one years of age and looked eighteen. He had a small, fair mustache, beautiful blue eyes and a complexion like a girl's.

Philippe spoiled Raoul. To begin with, he was very proud of him and pleased to foresee a glorious career for his junior in the navy in which one of their ancestors, the famous Chagny de La Roche, had held the rank of admiral. He took advantage of the young man's leave of absence to show him Paris, with all its luxurious and artistic delights. The count considered that, at Raoul's age, it is not good to be too good. Philippe himself had a character that was very well-balanced in work and pleasure alike; his demeanor was always faultless; and he was incapable of setting his brother a bad example. He took him with him wherever he went. He even introduced him to the foyer of the ballet. I know that the count was said to be "on terms" with Sorelli. But it could hardly be reckoned as a crime for this nobleman, a bachelor, with plenty of leisure, especially since his sisters were settled, to come and spend an hour or two after dinner in the company of a dancer, who, though not so very, very witty, had the finest eyes that ever were seen! And, besides, there are places where a true Parisian, when he has the rank of the Comte de Chagny, is bound to show himself; and at that time the foyer of the ballet at the Opera was one of those places.

Lastly, Philippe would perhaps not have taken his brother behind the scenes of the Opera if Raoul had not been the first to ask him, repeatedly renewing his request with a gentle obstinacy which the count remembered at a later date.

On that evening, Philippe, after applauding the Daae, turned to Raoul and saw that he was quite pale.

"Don't you see," said Raoul, "that the woman's fainting?"

"You look like fainting yourself," said the count. "What's the matter?"

But Raoul had recovered himself and was standing up.

"Let's go and see," he said, "she never sang like that before."

The count gave his brother a curious smiling glance and seemed quite pleased. They were soon at the door leading from the house to the stage. Numbers of subscribers were slowly making their way through. Raoul tore his gloves without knowing what he was doing and Philippe had much too kind a heart to laugh at him for his impatience. But he now understood why Raoul was absent-minded when spoken to and why he always tried to turn every conversation to the subject of the Opera.

They reached the stage and pushed through the crowd of gentlemen, scene-shifters, supers and chorus-girls, Raoul leading the way, feeling that his heart no longer belonged to him, his face set with passion, while Count Philippe followed him with difficulty and continued to smile. At the back of the stage, Raoul had to stop before the inrush of the little troop of ballet-girls who blocked the passage which he was trying to enter. More than one chaffing phrase darted from little made-up lips, to which he did not reply; and at last he was able to pass, and dived into the semi-darkness of a corridor ringing with the name of "Daae! Daae!" The count was surprised to find that Raoul knew the way. He had never taken him to Christine's himself and came to the conclusion that Raoul must have gone there alone while the count stayed talking in the foyer with Sorelli, who often asked him to wait until it was her time to "go on" and sometimes handed him the little gaiters in which she ran down from her dressing-room to preserve the spotlessness of her satin dancing-shoes and her flesh-colored tights. Sorelli had an excuse; she had lost her mother.

Postponing his usual visit to Sorelli for a few minutes, the count followed his brother down the passage that led to Daae's dressing-room and saw that it had never been so crammed as on that evening, when the whole house seemed excited by her success and also by her fainting fit. For the girl had not yet come to; and the doctor of the theater had just arrived at the moment when Raoul entered at his heels. Christine, therefore, received the first aid of the one, while opening her eyes in the arms of the other. The count and many more remained crowding in the doorway.

"Don't you think, Doctor, that those gentlemen had better clear the room?" asked Raoul coolly. "There's no breathing here."

"You're quite right," said the doctor.

And he sent every one away, except Raoul and the maid, who looked at Raoul with eyes of the most undisguised astonishment. She had never seen him before and yet dared not question him; and the doctor imagined that the young man was only acting as he did because he had the right to. The viscount, therefore, remained in the room watching Christine as she slowly returned to life, while even the joint managers, Debienne and Poligny, who had come to offer their sympathy and congratulations, found themselves thrust into the passage among the crowd of dandies. The Comte de Chagny, who was one of those standing outside, laughed:

"Oh, the rogue, the rogue!" And he added, under his breath: "Those youngsters with their school-girl airs! So he's a Chagny after all!"

He turned to go to Sorelli's dressing-room, but met her on the way, with her little troop of trembling ballet-girls, as we have seen.

Meanwhile, Christine Daae uttered a deep sigh, which was answered by a groan. She turned her head, saw Raoul and started. She looked at the doctor, on whom she bestowed a smile, then at her maid, then at Raoul again.

"Monsieur," she said, in a voice not much above a whisper, "who are you?"

"Mademoiselle," replied the young man, kneeling on one knee and pressing a fervent kiss on the diva's hand, "I AM THE LITTLE BOY WHO WENT INTO THE SEA TO RESCUE YOUR SCARF."

Christine again looked at the doctor and the maid; and all three began to laugh.

Raoul turned very red and stood up.

"Mademoiselle," he said, "since you are pleased not to recognize me, I should like to say something to you in private, something very important."

"When I am better, do you mind?" And her voice shook. "You have been very good."

"Yes, you must go," said the doctor, with his pleasantest smile. "Leave me to attend to mademoiselle."

"I am not ill now," said Christine suddenly, with strange and unexpected energy.

She rose and passed her hand over her eyelids.

"Thank you, Doctor. I should like to be alone. Please go away, all of you. Leave me. I feel very restless this evening."

The doctor tried to make a short protest, but, perceiving the girl's evident agitation, he thought the best remedy was not to thwart her. And he went away, saying to Raoul, outside:

"She is not herself to-night. She is usually so gentle."

Then he said good night and Raoul was left alone. The whole of this part of the theater was now deserted. The farewell ceremony was no doubt taking place in the foyer of the ballet. Raoul thought that Daae might go to it and he waited in the silent solitude, even hiding in the favoring shadow of a doorway. He felt a terrible pain at his heart and it was of this that he wanted to speak to Daae without delay.

Suddenly the dressing-room door opened and the maid came out by herself, carrying bundles. He stopped her and asked how her mistress was. The woman laughed and said that she was quite well, but that he must not disturb her, for she wished to be left alone. And she passed on. One idea alone filled Raoul's burning brain: of course, Daae wished to be left alone FOR HIM! Had he not told her that he wanted to speak to her privately?

Hardly breathing, he went up to the dressing-room and, with his ear to the door to catch her reply, prepared to knock. But his hand dropped. He had heard A MAN'S VOICE in the dressing-room, saying, in a curiously masterful tone:

"Christine, you must love me!"

And Christine's voice, infinitely sad and trembling, as though accompanied by tears, replied:

"How can you talk like that? WHEN I SING ONLY FOR YOU!"

Raoul leaned against the panel to ease his pain. His heart, which had seemed gone for ever, returned to his breast and was throbbing loudly. The whole passage echoed with its beating and Raoul's ears were deafened. Surely, if his heart continued to make such a noise, they would hear it inside, they would open the door and the young man would be turned away in disgrace. What a position for a Chagny! To be caught listening behind a door! He took his heart in his two hands to make it stop.

The man's voice spoke again: "Are you very tired?"

"Oh, to-night I gave you my soul and I am dead!" Christine replied.

"Your soul is a beautiful thing, child," replied the grave man's voice, "and I thank you. No emperor ever received so fair a gift. THE ANGELS WEPT TONIGHT."

Raoul heard nothing after that. Nevertheless, he did not go away, but, as though he feared lest he should be caught, he returned to his dark corner, determined to wait for the man to leave the room. At one and the same time, he had learned what love meant, and hatred. He knew that he loved. He wanted to know whom he hated. To his great astonishment, the door opened and Christine Daae appeared, wrapped in furs, with her face hidden in a lace veil, alone. She closed the door behind her, but Raoul observed that she did not lock it. She passed him. He did not even follow her with his eyes, for his eyes were fixed on the door, which did not open again.

When the passage was once more deserted, he crossed it, opened the door of the dressing-room, went in and shut the door. He found himself in absolute darkness. The gas had been turned out.

"There is some one here!" said Raoul, with his back against the closed door, in a quivering voice. "What are you hiding for?"

All was darkness and silence. Raoul heard only the sound of his own breathing. He quite failed to see that the indiscretion of his conduct was exceeding all bounds.

"You shan't leave this until I let you!" he exclaimed. "If you don't answer, you are a coward! But I'll expose you!"

And he struck a match. The blaze lit up the room. There was no one in the room! Raoul, first turning the key in the door, lit the gas-jets. He went into the dressing-closet, opened the cupboards, hunted about, felt the walls with his moist hands. Nothing!

"Look here!" he said, aloud. "Am I going mad?"

He stood for ten minutes listening to the gas flaring in the silence of the empty room; lover though he was, he did not even think of stealing a ribbon that would have given him the perfume of the woman he loved. He went out, not knowing what he was doing nor where he was going. At a given moment in his wayward progress, an icy draft struck him in the face. He found himself at the bottom of a staircase, down which, behind him, a procession of workmen were carrying a sort of stretcher, covered with a white sheet.

"Which is the way out, please?" he asked of one of the men.

"Straight in front of you, the door is open. But let us pass."

Pointing to the stretcher, he asked mechanically: "What's that?"

The workmen answered:

"'That' is Joseph Buquet, who was found in the third cellar, hanging between a farm-house and a scene from the ROI DE LAHORE."

He took off his hat, fell back to make room for the procession and went out.

Chapter III The Mysterious Reason

During this time, the farewell ceremony was taking place. I have already said that this magnificent function was being given on the occasion of the retirement of M. Debienne and M. Poligny, who had determined to "die game," as we say nowadays. They had been assisted in the realization of their ideal, though melancholy, program by all that counted in the social and artistic world of Paris. All these people met, after the performance, in the foyer of the ballet, where Sorelli waited for the arrival of the retiring managers with a glass of champagne in her hand and a little prepared speech at the tip of her tongue. Behind her, the members of the Corps de Ballet, young and old, discussed the events of the day in whispers or exchanged discreet signals with their friends, a noisy crowd of whom surrounded the supper-tables arranged along the slanting floor.

A few of the dancers had already changed into ordinary dress; but most of them wore their skirts of gossamer gauze; and all had thought it the right thing to put on a special face for the occasion: all, that is, except little Jammes, whose fifteen summers—happy age!—seemed already to have forgotten the ghost and the death of Joseph Buquet. She never ceased to laugh and chatter, to hop about and play practical jokes, until Mm. Debienne and Poligny appeared on the steps of the foyer, when she was severely called to order by the impatient Sorelli.

Everybody remarked that the retiring managers looked cheerful, as is the Paris way. None will ever be a true Parisian who has not learned to wear a mask of gaiety over his sorrows and one of sadness, boredom or indifference over his inward joy. You know that one of your friends is in trouble; do not try to console him: he will tell you that he is already comforted; but, should he have met with good fortune, be careful how you congratulate him: he thinks it so natural that he is surprised that you should speak of it. In Paris, our lives are one masked ball; and the foyer of the ballet is the last place in which two men so "knowing" as M. Debienne and M. Poligny would have made the mistake of betraying their grief, however genuine it might be. And they were already smiling rather too broadly upon Sorelli, who had begun to recite her speech, when an exclamation from that little madcap of a Jammes broke the smile of the managers so brutally that the expression of distress and dismay that lay beneath it became apparent to all eyes:

"The Opera ghost!"

Jammes yelled these words in a tone of unspeakable terror; and her finger pointed, among the crowd of dandies, to a face so pallid, so lugubrious and so ugly, with two such deep black cavities under the straddling eyebrows, that the death's head in question immediately scored a huge success.

"The Opera ghost! The Opera ghost!" Everybody laughed and pushed his neighbor and wanted to offer the Opera ghost a drink, but he was gone. He had slipped through the crowd; and the others vainly hunted for him, while two old gentlemen tried to calm little Jammes and while little Giry stood screaming like a peacock.

Sorelli was furious; she had not been able to finish her speech; the managers, had kissed her, thanked her and run away as fast as the ghost himself. No one was surprised at this, for it was known that they were to go through the same ceremony on the floor above, in the foyer of the singers, and that finally they were themselves to receive their personal friends, for the last time, in the great lobby outside the managers' office, where a regular supper would be served.

Here they found the new managers, M. Armand Moncharmin and M. Firmin Richard, whom they hardly knew; nevertheless, they were lavish in protestations of friendship and received a thousand flattering compliments in reply, so that those of the guests who had feared that they had a rather tedious evening in store for them at once put on brighter faces. The supper was almost gay and a particularly clever speech of the representative of the government, mingling the glories of the past with the successes of the future, caused the greatest cordiality to prevail.

The retiring managers had already handed over to their successors the two tiny master-keys which opened all the doors—thousands of doors—of the Opera house. And those little keys, the object of general curiosity, were being passed from hand to hand, when the attention of some of the guests was diverted by their discovery, at the end of the table, of that strange, wan and fantastic face, with the hollow eyes, which had already appeared in the foyer of the ballet and been greeted by little Jammes' exclamation:

"The Opera ghost!"

There sat the ghost, as natural as could be, except that he neither ate nor drank. Those who began by looking at him with a smile ended by turning away their heads, for the sight of him at once provoked the most funereal thoughts. No one repeated the joke of the foyer, no one exclaimed:

"There's the Opera ghost!"

He himself did not speak a word and his very neighbors could not have stated at what precise moment he had sat down between them; but every one felt that if the dead did ever come and sit at the table of the living, they could not cut a more ghastly figure. The friends of Firmin Richard and Armand Moncharmin thought that this lean and skinny guest was an acquaintance of Debienne's or Poligny's, while Debienne's and Poligny's friends believed that the cadaverous individual belonged to Firmin Richard and Armand Moncharmin's party.

The result was that no request was made for an explanation; no unpleasant remark; no joke in bad taste, which might have offended this visitor from the tomb. A few of those present who knew the story of the ghost and the description of him given by the chief scene-shifter—they did not know of Joseph Buquet's death—thought, in their own minds, that the man at the end of the table might easily have passed for him; and yet, according to the story, the ghost had no nose and the person in question had. But M. Moncharmin declares, in his Memoirs, that the guest's nose was transparent: "long, thin and transparent" are his exact words. I, for my part, will add that this might very well apply to a false nose. M. Moncharmin may have taken for transparency what was only shininess. Everybody knows that orthopaedic science provides beautiful false noses for those who have lost their noses naturally or as the result of an operation.

Did the ghost really take a seat at the managers' supper-table that night, uninvited? And can we be sure that the figure was that of the Opera ghost himself? Who would venture to assert as much? I mention the incident, not because I wish for a second to make the reader believe—or even to try to make him believe—that the ghost was capable of such a sublime piece of impudence; but because, after all, the thing is impossible.

M. Armand Moncharmin, in chapter eleven of his Memoirs, says:

"When I think of this first evening, I can not separate the secret confided to us by MM. Debienne and Poligny in their office from the presence at our supper of that GHOSTLY person whom none of us knew."

What happened was this: Mm. Debienne and Poligny, sitting at the center of the table, had not seen the man with the death's head. Suddenly he began to speak.

"The ballet-girls are right," he said. "The death of that poor Buquet is perhaps not so natural as people think."

Debienne and Poligny gave a start.

"Is Buquet dead?" they cried.

"Yes," replied the man, or the shadow of a man, quietly. "He was found, this evening, hanging in the third cellar, between a farm-house and a scene from the Roi de Lahore."

The two managers, or rather ex-managers, at once rose and stared strangely at the speaker. They were more excited than they need have been, that is to say, more excited than any one need be by the announcement of the suicide of a chief scene-shifter. They looked at each other. They, had both turned whiter than the table-cloth. At last, Debienne made a sign to Mm. Richard and Moncharmin; Poligny muttered a few words of excuse to the guests; and all four went into the managers' office. I leave M. Moncharmin to complete the story. In his Memoirs, he says:

"Mm. Debienne and Poligny seemed to grow more and more excited, and they appeared to have something very difficult to tell us. First, they asked us if we knew the man, sitting at the end of the table, who had told them of the death of Joseph Buquet; and, when we answered in the negative, they looked still more concerned. They took the master-keys from our hands, stared at them for a moment and advised us to have new locks made, with the greatest secrecy, for the rooms, closets and presses that we might wish to have hermetically closed. They said this so funnily that we began to laugh and to ask if there were thieves at the Opera. They replied that there was something worse, which was the GHOST. We began to laugh again, feeling sure that they were indulging in some joke that was intended to crown our little entertainment. Then, at their request, we became 'serious,' resolving to humor them and to enter into the spirit of the game. They told us that they never would have spoken to us of the ghost, if they had not received formal orders from the ghost himself to ask us to be pleasant to him and to grant any request that he might make. However, in their relief at leaving a domain where that tyrannical shade held sway, they had hesitated until the last moment to tell us this curious story, which our skeptical minds were certainly not prepared to entertain. But the announcement of the death of Joseph Buquet had served them as a brutal reminder that, whenever they had disregarded the ghost's wishes, some fantastic or disastrous event had brought them to a sense of their dependence.

"During these unexpected utterances made in a tone of the most secret and important confidence, I looked at Richard. Richard, in his student days, had acquired a great reputation for practical joking, and he seemed to relish the dish which was being served up to him in his turn. He did not miss a morsel of it, though the seasoning was a little gruesome because of the death of Buquet. He nodded his head sadly, while the others spoke, and his features assumed the air of a man who bitterly regretted having taken over the Opera, now that he knew that there was a ghost mixed up in the business. I could think of nothing better than to give him a servile imitation of this attitude of despair. However, in spite of all our efforts, we could not, at the finish, help bursting out laughing in the faces of MM. Debienne and Poligny, who, seeing us pass straight from the gloomiest state of mind to one of the most insolent merriment, acted as though they thought that we had gone mad.

"The joke became a little tedious; and Richard asked half-seriously and half in jest:

"'But, after all, what does this ghost of yours want?'

"M. Poligny went to his desk and returned with a copy of the memorandum-book. The memorandum-book begins with the well-known words saying that 'the management of the Opera shall give to the performance of the National Academy of Music the splendor that becomes the first lyric stage in France' and ends with Clause 98, which says that the privilege can be withdrawn if the manager infringes the conditions stipulated in the memorandum-book. This is followed by the conditions, which are four in number.

"The copy produced by M. Poligny was written in black ink and exactly similar to that in our possession, except that, at the end, it contained a paragraph in red ink and in a queer, labored handwriting, as though it had been produced by dipping the heads of matches into the ink, the writing of a child that has never got beyond the down-strokes and has not learned to join its letters. This paragraph ran, word for word, as follows:

"'5. Or if the manager, in any month, delay for more than a fortnight the payment of the allowance which he shall make to the Opera ghost, an allowance of twenty thousand francs a month, say two hundred and forty thousand francs a year.'

"M. Poligny pointed with a hesitating finger to this last clause, which we certainly did not expect.

"'Is this all? Does he not want anything else?' asked Richard, with the greatest coolness.

"'Yes, he does,' replied Poligny.

"And he turned over the pages of the memorandum-book until he came to the clause specifying the days on which certain private boxes were to be reserved for the free use of the president of the republic, the ministers and so on. At the end of this clause, a line had been added, also in red ink:

"'Box Five on the grand tier shall be placed at the disposal of the Opera ghost for every performance.'

"When we saw this, there was nothing else for us to do but to rise from our chairs, shake our two predecessors warmly by the hand and congratulate them on thinking of this charming little joke, which proved that the old French sense of humor was never likely to become extinct. Richard added that he now understood why MM. Debienne and Poligny were retiring from the management of the National Academy of Music. Business was impossible with so unreasonable a ghost.

"'Certainly, two hundred and forty thousand francs are not be picked up for the asking,' said M. Poligny, without moving a muscle of his face. 'And have you considered what the loss over Box Five meant to us? We did not sell it once; and not only that, but we had to return the subscription: why, it's awful! We really can't work to keep ghosts! We prefer to go away!'

"'Yes,' echoed M. Debienne, 'we prefer to go away. Let us go.'"

"And he stood up. Richard said: 'But, after all all, it seems to me that you were much too kind to the ghost. If I had such a troublesome ghost as that, I should not hesitate to have him arrested.'

"'But how? Where?' they cried, in chorus. 'We have never seen him!'

"'But when he comes to his box?'

"'WE HAVE NEVER SEEN HIM IN HIS BOX.'

"'Then sell it.'

"'Sell the Opera ghost's box! Well, gentlemen, try it.'

"Thereupon we all four left the office. Richard and I had 'never laughed so much in our lives.'"

Chapter IV Box Five

Armand Moncharmin wrote such voluminous Memoirs during the fairly long period of his co-management that we may well ask if he ever found time to attend to the affairs of the Opera otherwise than by telling what went on there. M. Moncharmin did not know a note of music, but he called the minister of education and fine arts by his Christian name, had dabbled a little in society journalism and enjoyed a considerable private income. Lastly, he was a charming fellow and showed that he was not lacking in intelligence, for, as soon as he made up his mind to be a sleeping partner in the Opera, he selected the best possible active manager and went straight to Firmin Richard.

Firmin Richard was a very distinguished composer, who had published a number of successful pieces of all kinds and who liked nearly every form of music and every sort of musician. Clearly, therefore, it was the duty of every sort of musician to like M. Firmin Richard. The only things to be said against him were that he was rather masterful in his ways and endowed with a very hasty temper.

The first few days which the partners spent at the Opera were given over to the delight of finding themselves the head of so magnificent an enterprise; and they had forgotten all about that curious, fantastic story of the ghost, when an incident occurred that proved to them that the joke—if joke it were—was not over. M. Firmin Richard reached his office that morning at eleven o'clock. His secretary, M. Remy, showed him half a dozen letters which he had not opened because they were marked "private." One of the letters had at once attracted Richard's attention not only because the envelope was addressed in red ink, but because he seemed to have seen the writing before. He soon remembered that it was the red handwriting in which the memorandum-book had been so curiously completed. He recognized the clumsy childish hand. He opened the letter and read:

DEAR MR. MANAGER:

I am sorry to have to trouble you at a time when you must be so very busy, renewing important engagements, signing fresh ones and generally displaying your excellent taste. I know what you have done for Carlotta, Sorelli and little Jammes and for a few others whose admirable qualities of talent or genius you have suspected.

Of course, when I use these words, I do not mean to apply them to La Carlotta, who sings like a squirt and who ought never to have been allowed to leave the Ambassadeurs and the Cafe Jacquin; nor to La Sorelli, who owes her success mainly to the coach-builders; nor to little Jammes, who dances like a calf in a field. And I am not speaking of Christine Daae either, though her genius is certain, whereas your jealousy prevents her from creating any important part. When all is said, you are free to conduct your little business as you think best, are you not?

All the same, I should like to take advantage of the fact that you have not yet turned Christine Daae out of doors by hearing her this evening in the part of Siebel, as that of Margarita has been forbidden her since her triumph of the other evening; and I will ask you not to dispose of my box to-day nor on the FOLLOWING DAYS, for I can not end this letter without telling you how disagreeably surprised I have been once or twice, to hear, on arriving at the Opera, that my box had been sold, at the box-office, by your orders.

I did not protest, first, because I dislike scandal, and, second, because I thought that your predecessors, MM. Debienne and Poligny, who were always charming to me, had neglected, before leaving, to mention my little fads to you. I have now received a reply from those gentlemen to my letter asking for an explanation, and this reply proves that you know all about my Memorandum-Book and, consequently, that you are treating me with outrageous contempt. IF YOU WISH TO LIVE IN PEACE, YOU MUST NOT BEGIN BY TAKING AWAY MY PRIVATE BOX.

Believe me to be, dear Mr. Manager, without prejudice to these little observations,

Your Most Humble and Obedient Servant,
      OPERA GHOST.

The letter was accompanied by a cutting from the agony-column of the Revue Theatrale, which ran:

O. G.—There is no excuse for R. and M. We told them and left your memorandum-book in their hands. Kind regards.

M. Firmin Richard had hardly finished reading this letter when M. Armand Moncharmin entered, carrying one exactly similar. They looked at each other and burst out laughing.

"They are keeping up the joke," said M. Richard, "but I don't call it funny."

"What does it all mean?" asked M. Moncharmin. "Do they imagine that, because they have been managers of the Opera, we are going to let them have a box for an indefinite period?"

"I am not in the mood to let myself be laughed at long," said Firmin Richard.

"It's harmless enough," observed Armand Moncharmin. "What is it they really want? A box for to-night?"

M. Firmin Richard told his secretary to send Box Five on the grand tier to Mm. Debienne and Poligny, if it was not sold. It was not. It was sent off to them. Debienne lived at the corner of the Rue Scribe and the Boulevard des Capucines; Poligny, in the Rue Auber. O. Ghost's two letters had been posted at the Boulevard des Capucines post-office, as Moncharmin remarked after examining the envelopes.

"You see!" said Richard.

They shrugged their shoulders and regretted that two men of that age should amuse themselves with such childish tricks.

"They might have been civil, for all that!" said Moncharmin. "Did you notice how they treat us with regard to Carlotta, Sorelli and Little Jammes?"

"Why, my dear fellow, these two are mad with jealousy! To think that they went to the expense of, an advertisement in the Revue Theatrale! Have they nothing better to do?"

"By the way," said Moncharmin, "they seem to be greatly interested in that little Christine Daae!"

"You know as well as I do that she has the reputation of being quite good," said Richard.

"Reputations are easily obtained," replied Moncharmin. "Haven't I a reputation for knowing all about music? And I don't know one key from another."

"Don't be afraid: you never had that reputation," Richard declared.

Thereupon he ordered the artists to be shown in, who, for the last two hours, had been walking up and down outside the door behind which fame and fortune—or dismissal—awaited them.

The whole day was spent in discussing, negotiating, signing or cancelling contracts; and the two overworked managers went to bed early, without so much as casting a glance at Box Five to see whether M. Debienne and M. Poligny were enjoying the performance.

Next morning, the managers received a card of thanks from the ghost:

DEAR, MR. MANAGER:

Thanks. Charming evening. Daae exquisite. Choruses want waking up. Carlotta a splendid commonplace instrument. Will write you soon for the 240,000 francs, or 233,424 fr. 70 c., to be correct. Mm. Debienne and Poligny have sent me the 6,575 fr. 30 c. representing the first ten days of my allowance for the current year; their privileges finished on the evening of the tenth inst.

Kind regards. O. G.

On the other hand, there was a letter from Mm. Debienne and Poligny:

GENTLEMEN:

We are much obliged for your kind thought of us, but you will easily understand that the prospect of again hearing Faust, pleasant though it is to ex-managers of the Opera, can not make us forget that we have no right to occupy Box Five on the grand tier, which is the exclusive property of HIM of whom we spoke to you when we went through the memorandum-book with you for the last time. See Clause 98, final paragraph.

Accept, gentlemen, etc.

"Oh, those fellows are beginning to annoy me!" shouted Firmin Richard, snatching up the letter.

And that evening Box Five was sold.

The next morning, Mm. Richard and Moncharmin, on reaching their office, found an inspector's report relating to an incident that had happened, the night before, in Box Five. I give the essential part of the report:

I was obliged to call in a municipal guard twice, this evening, to clear Box Five on the grand tier, once at the beginning and once in the middle of the second act. The occupants, who arrived as the curtain rose on the second act, created a regular scandal by their laughter and their ridiculous observations. There were cries of "Hush!" all around them and the whole house was beginning to protest, when the box-keeper came to fetch me. I entered the box and said what I thought necessary. The people did not seem to me to be in their right mind; and they made stupid remarks. I said that, if the noise was repeated, I should be compelled to clear the box. The moment I left, I heard the laughing again, with fresh protests from the house. I returned with a municipal guard, who turned them out. They protested, still laughing, saying they would not go unless they had their money back. At last, they became quiet and I allowed them to enter the box again. The laughter at once recommenced; and, this time, I had them turned out definitely.

"Send for the inspector," said Richard to his secretary, who had already read the report and marked it with blue pencil.

M. Remy, the secretary, had foreseen the order and called the inspector at once.

"Tell us what happened," said Richard bluntly.

The inspector began to splutter and referred to the report.

"Well, but what were those people laughing at?" asked Moncharmin.

"They must have been dining, sir, and seemed more inclined to lark about than to listen to good music. The moment they entered the box, they came out again and called the box-keeper, who asked them what they wanted. They said, 'Look in the box: there's no one there, is there?' 'No,' said the woman. 'Well,' said they, 'when we went in, we heard a voice saying THAT THE BOX WAS TAKEN!'"

M. Moncharmin could not help smiling as he looked at M. Richard; but M. Richard did not smile. He himself had done too much in that way in his time not to recognize, in the inspector's story, all the marks of one of those practical jokes which begin by amusing and end by enraging the victims. The inspector, to curry favor with M. Moncharmin, who was smiling, thought it best to give a smile too. A most unfortunate smile! M. Richard glared at his subordinate, who thenceforth made it his business to display a face of utter consternation.

"However, when the people arrived," roared Richard, "there was no one in the box, was there?"

"Not a soul, sir, not a soul! Nor in the box on the right, nor in the box on the left: not a soul, sir, I swear! The box-keeper told it me often enough, which proves that it was all a joke."

"Oh, you agree, do you?" said Richard. "You agree! It's a joke! And you think it funny, no doubt?"

"I think it in very bad taste, sir."

"And what did the box-keeper say?"

"Oh, she just said that it was the Opera ghost. That's all she said!"

And the inspector grinned. But he soon found that he had made a mistake in grinning, for the words had no sooner left his mouth than M. Richard, from gloomy, became furious.

"Send for the box-keeper!" he shouted. "Send for her! This minute! This minute! And bring her in to me here! And turn all those people out!"

The inspector tried to protest, but Richard closed his mouth with an angry order to hold his tongue. Then, when the wretched man's lips seemed shut for ever, the manager commanded him to open them once more.

"Who is this 'Opera ghost?'" he snarled.

But the inspector was by this time incapable of speaking a word. He managed to convey, by a despairing gesture, that he knew nothing about it, or rather that he did not wish to know.

"Have you ever seen him, have you seen the Opera ghost?"

The inspector, by means of a vigorous shake of the head, denied ever having seen the ghost in question.

"Very well!" said M. Richard coldly.

The inspector's eyes started out of his head, as though to ask why the manager had uttered that ominous "Very well!"

"Because I'm going to settle the account of any one who has not seen him!" explained the manager. "As he seems to be everywhere, I can't have people telling me that they see him nowhere. I like people to work for me when I employ them!"

Having said this, M. Richard paid no attention to the inspector and discussed various matters of business with his acting-manager, who had entered the room meanwhile. The inspector thought he could go and was gently—oh, so gently!—sidling toward the door, when M. Richard nailed the man to the floor with a thundering:

"Stay where you are!"

M. Remy had sent for the box-keeper to the Rue de Provence, close to the Opera, where she was engaged as a porteress. She soon made her appearance.

"What's your name?"

"Mme. Giry. You know me well enough, sir; I'm the mother of little Giry, little Meg, what!"

This was said in so rough and solemn a tone that, for a moment, M. Richard was impressed. He looked at Mme. Giry, in her faded shawl, her worn shoes, her old taffeta dress and dingy bonnet. It was quite evident from the manager's attitude, that he either did not know or could not remember having met Mme. Giry, nor even little Giry, nor even "little Meg!" But Mme. Giry's pride was so great that the celebrated box-keeper imagined that everybody knew her.

"Never heard of her!" the manager declared. "But that's no reason, Mme. Giry, why I shouldn't ask you what happened last night to make you and the inspector call in a municipal guard."

"I was just wanting to see you, sir, and talk to you about it, so that you mightn't have the same unpleasantness as M. Debienne and M. Poligny. They wouldn't listen to me either, at first."

"I'm not asking you about all that. I'm asking what happened last night."

Mme. Giry turned purple with indignation. Never had she been spoken to like that. She rose as though to go, gathering up the folds of her skirt and waving the feathers of her dingy bonnet with dignity, but, changing her mind, she sat down again and said, in a haughty voice:

"I'll tell you what happened. The ghost was annoyed again!"

Thereupon, as M. Richard was on the point of bursting out, M. Moncharmin interfered and conducted the interrogatory, whence it appeared that Mme. Giry thought it quite natural that a voice should be heard to say that a box was taken, when there was nobody in the box. She was unable to explain this phenomenon, which was not new to her, except by the intervention of the ghost. Nobody could see the ghost in his box, but everybody could hear him. She had often heard him; and they could believe her, for she always spoke the truth. They could ask M. Debienne and M. Poligny, and anybody who knew her; and also M. Isidore Saack, who had had a leg broken by the ghost!

"Indeed!" said Moncharmin, interrupting her. "Did the ghost break poor Isidore Saack's leg?"

Mme. Giry opened her eyes with astonishment at such ignorance. However, she consented to enlighten those two poor innocents. The thing had happened in M. Debienne and M. Poligny's time, also in Box Five and also during a performance of FAUST. Mme. Giry coughed, cleared her throat—it sounded as though she were preparing to sing the whole of Gounod's score—and began:

"It was like this, sir. That night, M. Maniera and his lady, the jewelers in the Rue Mogador, were sitting in the front of the box, with their great friend, M. Isidore Saack, sitting behind Mme. Maniera. Mephistopheles was singing"—Mme. Giry here burst into song herself—"'Catarina, while you play at sleeping,' and then M. Maniera heard a voice in his right ear (his wife was on his left) saying, 'Ha, ha! Julie's not playing at sleeping!' His wife happened to be called Julie. So. M. Maniera turns to the right to see who was talking to him like that. Nobody there! He rubs his ear and asks himself, if he's dreaming. Then Mephistopheles went on with his serenade... But, perhaps I'm boring you gentlemen?"

"No, no, go on."

"You are too good, gentlemen," with a smirk. "Well, then, Mephistopheles went on with his serenade"—Mme. Giry, burst into song again—"'Saint, unclose thy portals holy and accord the bliss, to a mortal bending lowly, of a pardon-kiss.' And then M. Maniera again hears the voice in his right ear, saying, this time, 'Ha, ha! Julie wouldn't mind according a kiss to Isidore!' Then he turns round again, but, this time, to the left; and what do you think he sees? Isidore, who had taken his lady's hand and was covering it with kisses through the little round place in the glove—like this, gentlemen"—rapturously kissing the bit of palm left bare in the middle of her thread gloves. "Then they had a lively time between them! Bang! Bang! M. Maniera, who was big and strong, like you, M. Richard, gave two blows to M. Isidore Saack, who was small and weak like M. Moncharmin, saving his presence. There was a great uproar. People in the house shouted, 'That will do! Stop them! He'll kill him!' Then, at last, M. Isidore Saack managed to run away."

"Then the ghost had not broken his leg?" asked M. Moncharmin, a little vexed that his figure had made so little impression on Mme. Giry.

"He did break it for him, sir," replied Mme. Giry haughtily. "He broke it for him on the grand staircase, which he ran down too fast, sir, and it will be long before the poor gentleman will be able to go up it again!"

"Did the ghost tell you what he said in M. Maniera's right ear?" asked M. Moncharmin, with a gravity which he thought exceedingly humorous.

"No, sir, it was M. Maniera himself. So——"

"But you have spoken to the ghost, my good lady?"

"As I'm speaking to you now, my good sir!" Mme. Giry replied.

"And, when the ghost speaks to you, what does he say?"

"Well, he tells me to bring him a footstool!"

This time, Richard burst out laughing, as did Moncharmin and Remy, the secretary. Only the inspector, warned by experience, was careful not to laugh, while Mme. Giry ventured to adopt an attitude that was positively threatening.

"Instead of laughing," she cried indignantly, "you'd do better to do as M. Poligny did, who found out for himself."

"Found out about what?" asked Moncharmin, who had never been so much amused in his life.

"About the ghost, of course! ... Look here ..."

She suddenly calmed herself, feeling that this was a solemn moment in her life:

"LOOK HERE," she repeated. "They were playing La Juive. M. Poligny thought he would watch the performance from the ghost's box... Well, when Leopold cries, 'Let us fly!'—you know—and Eleazer stops them and says, 'Whither go ye?' ... well, M. Poligny—I was watching him from the back of the next box, which was empty—M. Poligny got up and walked out quite stiffly, like a statue, and before I had time to ask him, 'Whither go ye?' like Eleazer, he was down the staircase, but without breaking his leg.

"Still, that doesn't let us know how the Opera ghost came to ask you for a footstool," insisted M. Moncharmin.

"Well, from that evening, no one tried to take the ghost's private box from him. The manager gave orders that he was to have it at each performance. And, whenever he came, he asked me for a footstool."

"Tut, tut! A ghost asking for a footstool! Then this ghost of yours is a woman?"

"No, the ghost is a man."

"How do you know?"

"He has a man's voice, oh, such a lovely man's voice! This is what happens: When he comes to the opera, it's usually in the middle of the first act. He gives three little taps on the door of Box Five. The first time I heard those three taps, when I knew there was no one in the box, you can think how puzzled I was! I opened the door, listened, looked; nobody! And then I heard a voice say, 'Mme. Jules' my poor husband's name was Jules—'a footstool, please.' Saving your presence, gentlemen, it made me feel all-overish like. But the voice went on, 'Don't be frightened, Mme. Jules, I'm the Opera ghost!' And the voice was so soft and kind that I hardly felt frightened. THE VOICE WAS SITTING IN THE CORNER CHAIR, ON THE RIGHT, IN THE FRONT ROW."

"Was there any one in the box on the right of Box Five?" asked Moncharmin.

"No; Box Seven, and Box Three, the one on the left, were both empty. The curtain had only just gone up."

"And what did you do?"

"Well, I brought the footstool. Of course, it wasn't for himself he wanted it, but for his lady! But I never heard her nor saw her."

"Eh? What? So now the ghost is married!" The eyes of the two managers traveled from Mme. Giry to the inspector, who, standing behind the box-keeper, was waving his arms to attract their attention. He tapped his forehead with a distressful forefinger, to convey his opinion that the widow Jules Giry was most certainly mad, a piece of pantomime which confirmed M. Richard in his determination to get rid of an inspector who kept a lunatic in his service. Meanwhile, the worthy lady went on about her ghost, now painting his generosity:

"At the end of the performance, he always gives me two francs, sometimes five, sometimes even ten, when he has been many days without coming. Only, since people have begun to annoy him again, he gives me nothing at all.

"Excuse me, my good woman," said Moncharmin, while Mme. Giry tossed the feathers in her dingy hat at this persistent familiarity, "excuse me, how does the ghost manage to give you your two francs?"

"Why, he leaves them on the little shelf in the box, of course. I find them with the program, which I always give him. Some evenings, I find flowers in the box, a rose that must have dropped from his lady's bodice ... for he brings a lady with him sometimes; one day, they left a fan behind them."

"Oh, the ghost left a fan, did he? And what did you do with it?"

"Well, I brought it back to the box next night."

Here the inspector's voice was raised.

"You've broken the rules; I shall have to fine you, Mme. Giry."

"Hold your tongue, you fool!" muttered M. Firmin Richard.

"You brought back the fan. And then?"

"Well, then, they took it away with them, sir; it was not there at the end of the performance; and in its place they left me a box of English sweets, which I'm very fond of. That's one of the ghost's pretty thoughts."

"That will do, Mme. Giry. You can go."

When Mme. Giry had bowed herself out, with the dignity that never deserted her, the manager told the inspector that they had decided to dispense with that old madwoman's services; and, when he had gone in his turn, they instructed the acting-manager to make up the inspector's accounts. Left alone, the managers told each other of the idea which they both had in mind, which was that they should look into that little matter of Box Five themselves.

Chapter V The Enchanted Violin

Christine Daae, owing to intrigues to which I will return later, did not immediately continue her triumph at the Opera. After the famous gala night, she sang once at the Duchess de Zurich's; but this was the last occasion on which she was heard in private. She refused, without plausible excuse, to appear at a charity concert to which she had promised her assistance. She acted throughout as though she were no longer the mistress of her own destiny and as though she feared a fresh triumph.

She knew that the Comte de Chagny, to please his brother, had done his best on her behalf with M. Richard; and she wrote to thank him and also to ask him to cease speaking in her favor. Her reason for this curious attitude was never known. Some pretended that it was due to overweening pride; others spoke of her heavenly modesty. But people on the stage are not so modest as all that; and I think that I shall not be far from the truth if I ascribe her action simply to fear. Yes, I believe that Christine Daae was frightened by what had happened to her. I have a letter of Christine's (it forms part of the Persian's collection), relating to this period, which suggests a feeling of absolute dismay:

"I don't know myself when I sing," writes the poor child.

She showed herself nowhere; and the Vicomte de Chagny tried in vain to meet her. He wrote to her, asking to call upon her, but despaired of receiving a reply when, one morning, she sent him the following note:

MONSIEUR:

I have not forgotten the little boy who went into the sea to rescue my scarf. I feel that I must write to you to-day, when I am going to Perros, in fulfilment of a sacred duty. To-morrow is the anniversary of the death of my poor father, whom you knew and who was very fond of you. He is buried there, with his violin, in the graveyard of the little church, at the bottom of the slope where we used to play as children, beside the road where, when we were a little bigger, we said good-by for the last time.

The Vicomte de Chagny hurriedly consulted a railway guide, dressed as quickly as he could, wrote a few lines for his valet to take to his brother and jumped into a cab which brought him to the Gare Montparnasse just in time to miss the morning train. He spent a dismal day in town and did not recover his spirits until the evening, when he was seated in his compartment in the Brittany express. He read Christine's note over and over again, smelling its perfume, recalling the sweet pictures of his childhood, and spent the rest of that tedious night journey in feverish dreams that began and ended with Christine Daae. Day was breaking when he alighted at Lannion. He hurried to the diligence for Perros-Guirec. He was the only passenger. He questioned the driver and learned that, on the evening of the previous day, a young lady who looked like a Parisian had gone to Perros and put up at the inn known as the Setting Sun.

The nearer he drew to her, the more fondly he remembered the story of the little Swedish singer. Most of the details are still unknown to the public.

There was once, in a little market-town not far from Upsala, a peasant who lived there with his family, digging the earth during the week and singing in the choir on Sundays. This peasant had a little daughter to whom he taught the musical alphabet before she knew how to read. Daae's father was a great musician, perhaps without knowing it. Not a fiddler throughout the length and breadth of Scandinavia played as he did. His reputation was widespread and he was always invited to set the couples dancing at weddings and other festivals. His wife died when Christine was entering upon her sixth year. Then the father, who cared only for his daughter and his music, sold his patch of ground and went to Upsala in search of fame and fortune. He found nothing but poverty.

He returned to the country, wandering from fair to fair, strumming his Scandinavian melodies, while his child, who never left his side, listened to him in ecstasy or sang to his playing. One day, at Ljimby Fair, Professor Valerius heard them and took them to Gothenburg. He maintained that the father was the first violinist in the world and that the daughter had the making of a great artist. Her education and instruction were provided for. She made rapid progress and charmed everybody with her prettiness, her grace of manner and her genuine eagerness to please.

When Valerius and his wife went to settle in France, they took Daae and Christine with them. "Mamma" Valerius treated Christine as her daughter. As for Daae, he began to pine away with homesickness. He never went out of doors in Paris, but lived in a sort of dream which he kept up with his violin. For hours at a time, he remained locked up in his bedroom with his daughter, fiddling and singing, very, very softly. Sometimes Mamma Valerius would come and listen behind the door, wipe away a tear and go down-stairs again on tiptoe, sighing for her Scandinavian skies.

Daae seemed not to recover his strength until the summer, when the whole family went to stay at Perros-Guirec, in a far-away corner of Brittany, where the sea was of the same color as in his own country. Often he would play his saddest tunes on the beach and pretend that the sea stopped its roaring to listen to them. And then he induced Mamma Valerius to indulge a queer whim of his. At the time of the "pardons," or Breton pilgrimages, the village festival and dances, he went off with his fiddle, as in the old days, and was allowed to take his daughter with him for a week. They gave the smallest hamlets music to last them for a year and slept at night in a barn, refusing a bed at the inn, lying close together on the straw, as when they were so poor in Sweden. At the same time, they were very neatly dressed, made no collection, refused the halfpence offered them; and the people around could not understand the conduct of this rustic fiddler, who tramped the roads with that pretty child who sang like an angel from Heaven. They followed them from village to village.

One day, a little boy, who was out with his governess, made her take a longer walk than he intended, for he could not tear himself from the little girl whose pure, sweet voice seemed to bind him to her. They came to the shore of an inlet which is still called Trestraou, but which now, I believe, harbors a casino or something of the sort. At that time, there was nothing but sky and sea and a stretch of golden beach. Only, there was also a high wind, which blew Christine's scarf out to sea. Christine gave a cry and put out her arms, but the scarf was already far on the waves. Then she heard a voice say:

"It's all right, I'll go and fetch your scarf out of the sea."

And she saw a little boy running fast, in spite of the outcries and the indignant protests of a worthy lady in black. The little boy ran into the sea, dressed as he was, and brought her back her scarf. Boy and scarf were both soaked through. The lady in black made a great fuss, but Christine laughed merrily and kissed the little boy, who was none other than the Vicomte Raoul de Chagny, staying at Lannion with his aunt.

During the season, they saw each other and played together almost every day. At the aunt's request, seconded by Professor Valerius, Daae consented to give the young viscount some violin lessons. In this way, Raoul learned to love the same airs that had charmed Christine's childhood. They also both had the same calm and dreamy little cast of mind. They delighted in stories, in old Breton legends; and their favorite sport was to go and ask for them at the cottage-doors, like beggars:

"Ma'am ..." or, "Kind gentleman ... have you a little story to tell us, please?"

And it seldom happened that they did not have one "given" them; for nearly every old Breton grandame has, at least once in her life, seen the "korrigans" dance by moonlight on the heather.

But their great treat was, in the twilight, in the great silence of the evening, after the sun had set in the sea, when Daae came and sat down by them on the roadside and, in a low voice, as though fearing lest he should frighten the ghosts whom he evoked, told them the legends of the land of the North. And, the moment he stopped, the children would ask for more.

There was one story that began:

"A king sat in a little boat on one of those deep, still lakes that open like a bright eye in the midst of the Norwegian mountains ..."

And another:

"Little Lotte thought of everything and nothing. Her hair was golden as the sun's rays and her soul as clear and blue as her eyes. She wheedled her mother, was kind to her doll, took great care of her frock and her little red shoes and her fiddle, but most of all loved, when she went to sleep, to hear the Angel of Music."

While the old man told this story, Raoul looked at Christine's blue eyes and golden hair; and Christine thought that Lotte was very lucky to hear the Angel of Music when she went to sleep. The Angel of Music played a part in all Daddy Daae's tales; and he maintained that every great musician, every great artist received a visit from the Angel at least once in his life. Sometimes the Angel leans over their cradle, as happened to Lotte, and that is how there are little prodigies who play the fiddle at six better than men at fifty, which, you must admit, is very wonderful. Sometimes, the Angel comes much later, because the children are naughty and won't learn their lessons or practise their scales. And, sometimes, he does not come at all, because the children have a bad heart or a bad conscience.