WIZARD. By Larry M. Harris - https://www.gutenberg.org/cache/epub/24375/pg24375-images.html

There was once a kingdom where mirrors were unknown. They had all been broken and reduced to fragments by order of the queen, and if the tiniest bit of looking-glass had been found in any house, she would not have hesitated to put all the inmates to death with the most frightful tortures. Now for the secret of this extraordinary caprice. The queen was dreadfully ugly, and she did not wish to be exposed to the risk of meeting her own image; and, knowing herself to be hideous, it was a consolation to know that other women at least could not see that they were pretty. You may imagine that the young girls of the country were not at all satisfied. What was the use of being beautiful if you could not admire yourself? They might have used the brooks and lakes for mirrors; but the queen had foreseen that, and had hidden all of them under closely joined flagstones. Water was drawn from wells so deep that it was impossible to see the liquid surface, and shallow basins must be used instead of buckets, because in the latter there might be reflections. Such a dismal state of affairs, especially for the pretty coquettes, who were no more rare in this country than in others. The queen had no compassion, being well content that her subjects should suffer as much annoyance from the lack of a mirror as she felt at the sight of one. However, in a suburb of the city there lived a young girl called Jacinta, who was a little better off than the rest, thanks to her sweetheart, Valentin. For if someone thinks you are beautiful, and loses no chance to tell you so, he is almost as good as a mirror. “Tell me the truth,” she would say; “what is the color of my eyes?” “They are like dewy forget-me-nots.” “And my skin is not quite black?” “You know that your forehead is whiter than freshly fallen snow, and your cheeks are like blush roses.” “How about my lips?” “Cherries are pale beside them.” “And my teeth, if you please?” “Grains of rice are not as white.” “But my ears, should I be ashamed of them?” “Yes, if you would be ashamed of two little pink shells among your pretty curls.” And so on endlessly; she delighted, he still more charmed, for his words came from the depth of his heart and she had the pleasure of hearing herself praised, he the delight of seeing her. So their love grew more deep and tender every hour, and the day that he asked her to marry him she blushed certainly, but it was not with anger. But, unluckily, the news of their happiness reached the wicked queen, whose only pleasure was to torment others, and Jacinta more than anyone else, on account of her beauty. A little while before the marriage Jacinta was walking in the orchard one evening, when an old crone approached, asking for alms, but suddenly jumped back with a shriek as if she had stepped on a toad, crying: “Heavens, what do I see?” “What is the matter, my good woman? What is it you see? Tell me.” “The ugliest creature I ever beheld.” “Then you are not looking at me,” said Jacinta, with innocent vanity. “Alas! yes, my poor child, it is you. I have been a long time on this earth, but never have I met anyone so hideous as you!” “What! am I ugly?” “A hundred times uglier than I can tell you.” “But my eyes—” “They are a sort of dirty gray; but that would be nothing if you had not such an outrageous squint!” “My complexion—” “It looks as if you had rubbed coal-dust on your forehead and cheeks.” “My mouth—” “It is pale and withered, like a faded flower.” “My teeth—” “If the beauty of teeth is to be large and yellow, I never saw any so beautiful as yours.” “But, at least, my ears—” “They are so big, so red, and so misshapen, under your coarse elf-locks, that they are revolting. I am not pretty myself, but I should die of shame if mine were like them.” After this last blow, the old witch, having repeated what the queen had taught her, hobbled off, with a harsh croak of laughter, leaving poor Jacinta dissolved in tears, prone on the ground beneath the apple-trees. Nothing could divert her mind from her grief. “I am ugly—I am ugly,” she repeated constantly. It was in vain that Valentin assured and reassured her with the most solemn oaths. “Let me alone; you are lying out of pity. I understand it all now; you never loved me; you are only sorry for me. The beggar woman had no interest in deceiving me. It is only too true—I am ugly. I do not see how you can endure the sight of me.” To undeceive her, he brought people from far and near; every man declared that Jacinta was created to delight the eyes; even the women said as much, though they were less enthusiastic. But the poor child persisted in her conviction that she was a repulsive object, and when Valentin pressed her to name their wedding-day—“I, your wife!” cried she. “Never! I love you too dearly to burden you with a being so hideous as I am.” You can fancy the despair of the poor fellow so sincerely in love. He threw himself on his knees; he prayed; he supplicated; she answered still that she was too ugly to marry him. What was he to do? The only way to give the lie to the old woman and prove the truth to Jacinta was to put a mirror before her. But there was no such thing in the kingdom, and so great was the terror inspired by the queen that no workman dared make one. “Well, I shall go to Court,” said the lover, in despair. “Harsh as our mistress is, she cannot fail to be moved by the tears and the beauty of Jacinta. She will retract, for a few hours at least, this cruel edict which has caused our trouble.” It was not without difficulty that he persuaded the young girl to let him take her to the palace. She did not like to show herself, and asked of what use would be a mirror, only to impress her more deeply with her misfortune; but when he wept, her heart was moved, and she consented, to please him. “What is all this?” said the wicked queen. “Who are these people? and what do they want?” “Your Majesty, you have before you the most unfortunate lover on the face of the earth.” “Do you consider that a good reason for coming here to annoy me?” “Have pity on me.” “What have I to do with your love affairs?” “If you would permit a mirror——” The queen rose to her feet, trembling with rage. “Who dares to speak to me of a mirror?” she said, grinding her teeth. “Do not be angry, your Majesty, I beg of you, and deign to hear me. This young girl whom you see before you, so fresh and pretty, is the victim of a strange delusion. She imagines that she is ugly.” “Well,” said the queen, with a malicious grin, “she is right. I never saw a more hideous object.” Jacinta, at these cruel words, thought she would die of mortification. Doubt was no longer possible, she must be ugly. Her eyes closed, she fell on the steps of the throne in a deadly swoon. But Valentin was affected very differently. He cried out loudly that her Majesty must be mad to tell such a lie. He had no time to say more. The guards seized him, and at a sign from the queen the headsman came forward. He was always beside the throne, for she might need his services at any moment. “Do your duty,” said the queen, pointing out the man who had insulted her. The executioner raised his gleaming axe just as Jacinta came to herself and opened her eyes. Then two shrieks pierced the air. One was a cry of joy, for in the glittering steel Jacinta saw herself, so charmingly pretty—and the other a scream of anguish, as the wicked soul of the queen took flight, unable to bear the sight of her face in the impromptu mirror.

NO SONS LEFT TO DIE! By Hal Annas - https://www.gutenberg.org/cache/epub/66155/pg66155-images.html

 Could mankind hope to survive a galactic
war that left boys aged cripples in a few short
years? Who would replace them when there were

 

On leaving Porto-Vecchio from the northwest and directing his steps towards the interior of the island, the traveller will notice that the land rises rapidly, and after three hours’ walking over tortuous paths obstructed by great masses of rock and sometimes cut by ravines, he will find himself on the border of a great mâquis. The mâquis is the domain of the Corsican shepherds and of those who are at variance with justice. It must be known that, in order to save himself the trouble of manuring his field, the Corsican husbandman sets fire to a piece of woodland. If the flame spread farther than is necessary, so much the worse! In any case he is certain of a good crop from the land fertilized by the ashes of the trees which grow upon it. He gathers only the heads of his grain, leaving the straw, which it would be unnecessary labor to cut. In the following spring the roots that have remained in the earth without being destroyed send up their tufts of sprouts, which in a few years reach a height of seven or eight feet. It is this kind of tangled thicket that is called a mâquis. They are made up of different kinds of trees and shrubs, so crowded and mingled together at the caprice of nature that only with an axe in hand can a man open a passage through them, and mâquis are frequently seen so thick and bushy that the wild sheep themselves cannot penetrate them. If you have killed a man, go into the mâquis of Porto-Vecchio. With a good gun and plenty of powder and balls, you can live there in safety. Do not forget a brown cloak furnished with a hood, which will serve you for both cover and mattress. The shepherds will give you chestnuts, milk and cheese, and you will have nothing to fear from justice nor the relatives of the dead except when it is necessary for you to descend to the city to replenish your ammunition. When I was in Corsica in 18—, Mateo Falcone had his house half a league from this mâquis. He was rich enough for that country, living in noble style—that is to say, doing nothing—on the income from his flocks, which the shepherds, who are a kind of nomads, lead to pasture here and there on the mountains. When I saw him, two years after the event that I am about to relate, he appeared to me to be about fifty years old or more. Picture to yourself a man, small but robust, with curly hair, black as jet, an aquiline nose, thin lips, large, restless eyes, and a complexion the color of tanned leather. His skill as a marksman was considered extraordinary even in his country, where good shots are so common. For example, Mateo would never fire at a sheep with buckshot; but at a hundred and twenty paces, he would drop it with a ball in the head or shoulder, as he chose. He used his arms as easily at night as during the day. I was told this feat of his skill, which will, perhaps, seem impossible to those who have not travelled in Corsica. A lighted candle was placed at eighty paces, behind a paper transparency about the size of a plate. He would take aim, then the candle would be extinguished, and, at the end of a moment, in the most complete darkness, he would fire and hit the paper three times out of four. With such a transcendent accomplishment, Mateo Falcone had acquired a great reputation. He was said to be as good a friend as he was a dangerous enemy; accommodating and charitable, he lived at peace with all the world in the district of Porto-Vecchio. But it is said of him that in Corte, where he had married his wife, he had disembarrassed himself very vigorously of a rival who was considered as redoubtable in war as in love; at least, a certain gun-shot which surprised this rival as he was shaving before a little mirror hung in his window was attributed to Mateo. The affair was smoothed over and Mateo was married. His wife Giuseppa had given him at first three daughters (which infuriated him), and finally a son, whom he named Fortunato, and who became the hope of his family, the inheritor of the name. The daughters were well married: their father could count at need on the poignards and carbines of his sons-in-law. The son was only ten years old, but he already gave promise of fine attributes. On a certain day in autumn, Mateo set out at an early hour with his wife to visit one of his flocks in a clearing of the mâquis. The little Fortunato wanted to go with them, but the clearing was too far away; moreover, it was necessary some one should stay to watch the house; therefore the father refused: it will be seen whether or not he had reason to repent. He had been gone some hours, and the little Fortunato was tranquilly stretched out in the sun, looking at the blue mountains, and thinking that the next Sunday he was going to dine in the city with his uncle, the Caporal [Note: Civic Official], when he was suddenly interrupted in his meditations by the firing of a musket. He got up and turned to that side of the plain whence the noise came. Other shots followed, fired at irregular intervals, and each time nearer; at last, in the path which led from the plain to Mateo’s house, appeared a man wearing the pointed hat of the mountaineers, bearded, covered with rags, and dragging himself along with difficulty by the support of his gun. He had just received a wound in his thigh. This man was an outlaw, who, having gone to the town by night to buy powder, had fallen on the way into an ambuscade of Corsican light-infantry. After a vigorous defense he was fortunate in making his retreat, closely followed and firing from rock to rock. But he was only a little in advance of the soldiers, and his wound prevented him from gaining the mâquis before being overtaken. He approached Fortunato and said: “You are the son of Mateo Falcone?”—“Yes.” “I am Gianetto Saupiero. I am followed by the yellow-collars [Note: Slang for Gendarmes.]. Hide me, for I can go no farther.” “And what will my father say if I hide you without his permission?” “He will say that you have done well.” “How do you know?” “Hide me quickly; they are coming.” “Wait till my father gets back.” “How can I wait? Malediction! They will be here in five minutes. Come, hide me, or I will kill you.” Fortunato answered him with the utmost coolness: “Your gun is empty, and there are no more cartridges in your belt.” “I have my stiletto.” “But can you run as fast as I can?” He gave a leap and put himself out of reach. “You are not the son of Mateo Falcone! Will you then let me be captured before your house?” The child appeared moved. “What will you give me if I hide you?” said he, coming nearer. The outlaw felt in a leather pocket that hung from his belt, and took out a five-franc piece, which he had doubtless saved to buy ammunition with. Fortunato smiled at the sight of the silver piece; he snatched it, and said to Gianetto: “Fear nothing.” Immediately he made a great hole in a pile of hay that was near the house. Gianetto crouched down in it and the child covered him in such a way that he could breathe without it being possible to suspect that the hay concealed a man. He bethought himself further, and, with the subtlety of a tolerably ingenious savage, placed a cat and her kittens on the pile, that it might not appear to have been recently disturbed. Then, noticing the traces of blood on the path near the house, he covered them carefully with dust, and, that done, he again stretched himself out in the sun with the greatest tranquillity. A few moments afterwards, six men in brown uniforms with yellow collars, and commanded by an Adjutant, were before Mateo’s door. This Adjutant was a distant relative of Falcone’s. (In Corsica the degrees of relationship are followed much further than elsewhere.) His name was Tiodoro Gamba; he was an active man, much dreaded by the outlaws, several of whom he had already entrapped. “Good day, little cousin,” said he, approaching Fortunato; “how tall you have grown. Have you seen a man go past here just now?” “Oh! I am not yet so tall as you, my cousin,” replied the child with a simple air. “You soon will be. But haven’t you seen a man go by here, tell me?” “If I have seen a man go by?” “Yes, a man with a pointed hat of black velvet, and a vest embroidered with red and yellow.” “A man with a pointed hat, and a vest embroidered with red and yellow?” “Yes, answer quickly, and don’t repeat my questions?” “This morning the curé passed before our door on his horse, Piero. He asked me how papa was, and I answered him—” “Ah, you little scoundrel, you are playing sly! Tell me quickly which way Gianetto went? We are looking for him, and I am sure he took this path.” “Who knows?” “Who knows? It is I know that you have seen him.” “Can any one see who passes when they are asleep?” “You were not asleep, rascal; the shooting woke you up.” “Then you believe, cousin, that your guns make so much noise? My father’s carbine has the advantage of them.” “The devil take you, you cursed little scapegrace! I am certain that you have seen Gianetto. Perhaps, even, you have hidden him. Come, comrades, go into the house and see if our man is there. He could only go on one foot, and the knave has too much good sense to try to reach the mâquis limping like that. Moreover, the bloody tracks stop here.” “And what will papa say?” asked Fortunato with a sneer; “what will he say if he knows that his house has been entered while he was away?” “You rascal!” said the Adjutant, taking him by the ear, “do you know that it only remains for me to make you change your tone? Perhaps you will speak differently after I have given you twenty blows with the flat of my sword.” Fortunato continued to sneer. “My father is Mateo Falcone,” said he with emphasis. “You little scamp, you know very well that I can carry you off to Corte or to Bastia. I will make you lie in a dungeon, on straw, with your feet in shackles, and I will have you guillotined if you don’t tell me where Gianetto is.” The child burst out laughing at this ridiculous menace. He repeated: “My father is Mateo Falcone.” “Adjutant,” said one of the soldiers in a low voice, “let us have no quarrels with Mateo.” Gamba appeared evidently embarrassed. He spoke in an undertone with the soldiers who had already visited the house. This was not a very long operation, for the cabin of a Corsican consists only of a single square room, furnished with a table, some benches, chests, housekeeping utensils and those of the chase. In the meantime, little Fortunato petted his cat and seemed to take a wicked enjoyment in the confusion of the soldiers and of his cousin. One of the men approached the pile of hay. He saw the cat, and gave the pile a careless thrust with his bayonet, shrugging his shoulders as if he felt that his precaution was ridiculous. Nothing moved; the boy’s face betrayed not the slightest emotion. The Adjutant and his troop were cursing their luck. Already they were looking in the direction of the plain, as if disposed to return by the way they had come, when their chief, convinced that menaces would produce no impression on Falcone’s son, determined to make a last effort, and try the effect of caresses and presents. “My little cousin,” said he, “you are a very wide-awake little fellow. You will get along. But you are playing a naughty game with me; and if I wasn’t afraid of making trouble for my cousin, Mateo, the devil take me! but I would carry you off with me.” “Bah!” “But when my cousin comes back I shall tell him about this, and he will whip you till the blood comes for having told such lies.” “You don’t say so!” “You will see. But hold on!—be a good boy and I will give you something.” “Cousin, let me give you some advice: if you wait much longer Gianetto will be in the mâquis and it will take a smarter man than you to follow him.” The Adjutant took from his pocket a silver watch worth about ten crowns, and noticing that Fortunato’s eyes sparkled at the sight of it, said, holding the watch by the end; of its steel chain: “Rascal! you would like to have such a watch as that hung around your neck, wouldn’t you, and to walk in the streets of Porto-Vecchio proud as a peacock? People would ask you what time it was, and you would say: ‘Look at my watch.’” “When I am grown up, my uncle, the Caporal, will give me a watch.” “Yes; but your uncle’s little boy has one already; not so fine as this either. But then, he is younger than you.” The child sighed. “Well! Would you like this watch, little cousin?” Fortunato, casting sidelong glances at the watch, resembled a cat that has been given a whole chicken. It feels that it is being made sport of, and does not dare to use its claws; from time to time it turns its eyes away so as not to be tempted, licking its jaws all the while, and has the appearance of saying to its master, “How cruel your joke is!” However, the Adjutant seemed in earnest in offering his watch. Fortunato did not reach out his hand for it, but said with a bitter smile: “Why do you make fun of me?” “Good God! I am not making fun of you. Only tell me where Gianetto is and the watch is yours.” Fortunato smiled incredulously, and fixing his black eyes on those of the Adjutant tried to read there the faith he ought to have had in his words. “May I lose my epaulettes,” cried the Adjutant, “if I do not give you the watch on this condition. These comrades are witnesses; I can not deny it.” While speaking he gradually held the watch nearer till it almost touched the child’s pale face, which plainly showed the struggle that was going on in his soul between covetousness and respect for hospitality. His breast swelled with emotion; he seemed about to suffocate. Meanwhile the watch was slowly swaying and turning, sometimes brushing against his cheek. Finally, his right hand was gradually stretched toward it; the ends of his fingers touched it; then its whole weight was in his hand, the Adjutant still keeping hold of the chain. The face was light blue; the cases newly burnished. In the sunlight it seemed to be all on fire. The temptation was too great. Fortunato raised his left hand and pointed over his shoulder with his thumb at the hay against which he was reclining. The Adjutant understood him at once. He dropped the end of the chain and Fortunato felt himself the sole possessor of the watch. He sprang up with the agility of a deer and stood ten feet from the pile, which the soldiers began at once to overturn. There was a movement in the hay, and a bloody man with a poignard in his hand appeared. He tried to rise to his feet, but his stiffened leg would not permit it and he fell. The Adjutant at once grappled with him and took away his stiletto. He was immediately secured, notwithstanding his resistance. Gianetto, lying on the earth and bound like a fagot, turned his head towards Fortunato, who had approached. “Son of—!” said he, with more contempt than anger. The child threw him the silver piece which he had received, feeling that he no longer deserved it; but the outlaw paid no attention to the movement, and with great coolness said to the Adjutant: “My dear Gamba, I cannot walk; you will be obliged to carry me to the city.” “Just now you could run faster than a buck,” answered the cruel captor; “but be at rest. I am so pleased to have you that I would carry you a league on my back without fatigue. Besides, comrade, we are going to make a litter for you with your cloak and some branches, and at the Crespoli farm we shall find horses.” “Good,” said the prisoner, “You will also put a little straw on your litter that I may be more comfortable.” While some of the soldiers were occupied in making a kind of stretcher out of some chestnut boughs and the rest were dressing Gianetto’s wound, Mateo Falcone and his wife suddenly appeared at a turn in the path that led to the mâquis. The woman was staggering under the weight of an enormous sack of chestnuts, while her husband was sauntering along, carrying one gun in his hands, while another was slung across his shoulders, for it is unworthy of a man to carry other burdens than his arms. At the sight of the soldiers Mateo’s first thought was that they had come to arrest him. But why this thought? Had he then some quarrels with justice? No. He enjoyed a good reputation. He was said to have a particularly good name, but he was a Corsican and a highlander, and there are few Corsican highlanders who, in scrutinizing their memory, can not find some peccadillo, such as a gun-shot, dagger-thrust, or similar trifles. Mateo more than others had a clear conscience; for more than ten years he had not pointed his carbine at a man, but he was always prudent, and put himself into a position to make a good defense if necessary. “Wife,” said he to Giuseppa, “put down the sack and hold yourself ready.” She obeyed at once. He gave her the gun that was slung across his shoulders, which would have bothered him, and, cocking the one he held in his hands, advanced slowly towards the house, walking among the trees that bordered the road, ready at the least hostile demonstration, to hide behind the largest, whence he could fire from under cover. His wife followed closely behind, holding his reserve weapon and his cartridge-box. The duty of a good housekeeper, in case of a fight, is to load her husband’s carbines. On the other side the Adjutant was greatly troubled to see Mateo advance in this manner, with cautious steps, his carbine raised, and his finger on the trigger. “If by chance,” thought he, “Mateo should be related to Gianetto, or if he should be his friend and wish to defend him, the contents of his two guns would arrive amongst us as certainly as a letter in the post; and if he should see me, notwithstanding the relationship!” In this perplexity he took a bold step. It was to advance alone towards Mateo and tell him of the affair while accosting him as an old acquaintance, but the short space that separated him from Mateo seemed terribly long. “Hello! old comrade,” cried he. “How do you do, my good fellow? It is I, Gamba, your cousin.” Without answering a word, Mateo stopped, and in proportion as the other spoke, slowly raised the muzzle of his gun so that it was pointing upward when the Adjutant joined him. “Good-day, brother,” said the Adjutant, holding out his hand. “It is a long time since I have seen you.” “Good-day, brother.” “I stopped while passing, to say good-day to you and to cousin Pepa here. We have had a long journey to-day, but have no reason to complain, for we have captured a famous prize. We have just seized Gianetto Saupiero.” “God be praised!” cried Giuseppa. “He stole a milch goat from us last week.” These words reassured Gamba. “Poor devil!” said Mateo, “he was hungry.” “The villain fought like a lion,” continued the Adjutant, a little mortified. “He killed one of my soldiers, and not content with that, broke Caporal Chardon’s arm; but that matters little, he is only a Frenchman. Then, too, he was so well hidden that the devil couldn’t have found him. Without my little cousin, Fortunato, I should never have discovered him.” “Fortunato!” cried Mateo. “Fortunato!” repeated Giuseppa. “Yes, Gianetto was hidden under the hay-pile yonder, but my little cousin showed me the trick. I shall tell his uncle, the Caporal, that he may send him a fine present for his trouble. Both his name and yours will be in the report that I shall send to the Attorney-general.” “Malediction!” said Mateo in a low voice. They had rejoined the detachment. Gianetto was already lying on the litter ready to set out. When he saw Mateo and Gamba in company he smiled a strange smile, then, turning his head towards the door of the house, he spat on the sill, saying: “House of a traitor.” Only a man determined to die would dare pronounce the word traitor to Falcone. A good blow with the stiletto, which there would be no need of repeating, would have immediately paid the insult. However, Mateo made no other movement than to place his hand on his forehead like a man who is dazed. Fortunato had gone into the house when his father arrived, but now he reappeared with a bowl of milk which he handed with downcast eyes to Gianetto. “Get away from me!” cried the outlaw, in a loud voice. Then, turning to one of the soldiers, he said: “Comrade, give me a drink.” The soldier placed his gourd in his hands, and the prisoner drank the water handed to him by a man with whom he had just exchanged bullets. He then asked them to tie his hands across his breast instead of behind his back. “I like,” said he, “to lie at my ease.” They hastened to satisfy him; then the Adjutant gave the signal to start, said adieu to Mateo, who did not respond, and descended with rapid steps towards the plain. Nearly ten minutes elapsed before Mateo spoke. The child looked with restless eyes, now at his mother, now at his father, who was leaning on his gun and gazing at him with an expression of concentrated rage. “You begin well,” said Mateo at last with a calm voice, but frightful to one who knew the man. “Oh, father!” cried the boy, bursting into tears, and making a forward movement as if to throw himself on his knees. But Mateo cried, “Away from me!” The little fellow stopped and sobbed, immovable, a few feet from his father. Giuseppa drew near. She had just discovered the watch-chain, the end of which was hanging out of Fortunato’s jacket. “Who gave you that watch?” demanded she in a severe tone. “My cousin, the Adjutant.” Falcone seized the watch and smashed it in a thousand pieces against a rock. “Wife,” said he, “is this my child?” Giuseppa’s cheeks turned a brick-red. “What are you saying, Mateo? Do you know to whom you speak?” “Very well, this child is the first of his race to commit treason.” Fortunato’s sobs and gasps redoubled as Falcone kept his lynx-eyes upon him. Then he struck the earth with his gun-stock, shouldered the weapon, and turned in the direction of the mâquis, calling to Fortunato to follow. The boy obeyed. Giuseppa hastened after Mateo and seized his arm. “He is your son,” said she with a trembling voice, fastening her black eyes on those of her husband to read what was going on in his heart. “Leave me alone,” said Mateo, “I am his father.” Giuseppa embraced her son, and bursting into tears entered the house. She threw herself on her knees before an image of the Virgin and prayed ardently. In the meanwhile Falcone walked some two hundred paces along the path and only stopped when he reached a little ravine which he descended. He tried the earth with the butt-end of his carbine, and found it soft and easy to dig. The place seemed to be convenient for his design. “Fortunato, go close to that big rock there.” The child did as he was commanded, then he kneeled. “Say your prayers.” “Oh, father, father, do not kill me!” “Say your prayers!” repeated Mateo in a terrible voice. The boy, stammering and sobbing, recited the Pater and the Credo. At the end of each prayer the father loudly answered, “Amen!” “Are those all the prayers you know?” “Oh! father, I know the Ave Maria and the litany that my aunt taught me.” “It is very long, but no matter.” The child finished the litany in a scarcely audible tone. “Are you finished?” “Oh! my father, have mercy! Pardon me! I will never do so again. I will beg my cousin, the Caporal, to pardon Gianetto.” He was still speaking. Mateo raised his gun, and, taking aim, said: “May God pardon you!” The boy made a desperate effort to rise and grasp his father’s knees, but there was not time. Mateo fired and Fortunato fell dead. Without casting a glance on the body, Mateo returned to the house for a spade with which to bury his son. He had gone but a few steps when he met Giuseppa, who, alarmed by the shot, was hastening hither. “What have you done?” cried she. “Justice.” “Where is he?” “In the ravine. I am going to bury him. He died a Christian. I shall have a mass said for him. Have my son-in-law, Tiodoro Bianchi, sent for to come and live with us.”

And All The Girls Were Nude By Richard Magruder - https://www.gutenberg.org/cache/epub/66432/pg66432-images.html

 

When I submitted the plan of my Inquiry Upon the Age for Love to the editor-in-chief of the Boulevard, the highest type of French literary paper, he seemed astonished that an idea so journalistic—that was his word—should have been evolved from the brain of his most recent acquisition. I had been with him two weeks and it was my first contribution. “Give me some details, my dear Labarthe,” he said, in a somewhat less insolent manner than was his wont. After listening to me for a few moments he continued: “That is good. You will go and interview certain men and women, first upon the age at which one loves the most, next upon the age when one is most loved? Is that your idea? And now to whom will you go first?” “I have prepared a list,” I replied, and took from my pocket a sheet of paper. I had jotted down the names of a number of celebrities whom I proposed to interview on this all-important question, and I began to read over my list. It contained two ex-government officials, a general, a Dominican father, four actresses, two café-concert singers, four actors, two financiers, two lawyers, a surgeon and a lot of literary celebrities. At some of the names my chief would nod his approval, at others he would say curtly, with an affectation of American manners, “Bad; strike it off,” until I came to the name I had kept for the last, that of Pierre Fauchery, the famous novelist. “Strike that off,” he said, shrugging his shoulders. “He is not on good terms with us.” “And yet,” I suggested, “is there any one whose opinion would be of greater interest to reading men as well as to women? I had even thought of beginning with him.” “The devil you had!” interrupted the editor-in-chief. “It is one of Fauchery’s principles not to see any reporters. I have sent him ten if I have one, and he has shown them all the door. The Boulevard does not relish such treatment, so we have given him some pretty hard hits.” “Nevertheless, I will have an interview with Fauchery for the Boulevard,” was my reply. “I am sure of it.” “If you succeed,” he replied, “I’ll raise your salary. That man makes me tired with his scorn of newspaper notoriety. He must take his share of it, like the rest. But you will not succeed. What makes you think you can?” “Permit me to tell you my reason later. In forty-eight hours you will see whether I have succeeded or not.” “Go and do not spare the fellow.” Decidedly. I had made some progress as a journalist, even in my two weeks’ apprenticeship, if I could permit Pascal to speak in this way of the man I most admired among living writers. Since that not far-distant time when, tired of being poor, I had made up my mind to cast my lot with the multitude in Paris, I had tried to lay aside my old self, as lizards do their skins, and I had almost succeeded. In a former time, a former time that was but yesterday, I knew—for in a drawer full of poems, dramas and half-finished tales I had proof of it—that there had once existed a certain Jules Labarthe who had come to Paris with the hope of becoming a great man. That person believed in Literature with a capital “L;” in the Ideal, another capital; in Glory, a third capital. He was now dead and buried. Would he some day, his position assured, begin to write once more from pure love of his art? Possibly, but for the moment I knew only the energetic, practical Labarthe, who had joined the procession with the idea of getting into the front rank, and of obtaining as soon as possible an income of thirty thousand francs a year. What would it matter to this second individual if that vile Pascal should boast of having stolen a march on the most delicate, the most powerful of the heirs of Balzac, since I, the new Labarthe, was capable of looking forward to an operation which required about as much delicacy as some of the performances of my editor-in-chief? I had, as a matter of fact, a sure means of obtaining the interview. It was this: When I was young and simple I had sent some verses and stories to Pierre Fauchery, the same verses and stories the refusal of which by four editors had finally made me decide to enter the field of journalism. The great writer was traveling at this time, but he had replied to me. I had responded by a letter to which he again replied, this time with an invitation to call upon him. I went I did not find him. I went again. I did not find him that time. Then a sort of timidity prevented my returning to the charge. So I had never met him. He knew me only as the young Elia of my two epistles. This is what I counted upon to extort from him the favor of an interview which he certainly would refuse to a mere newspaper man. My plan was simple; to present myself at his house, to be received, to conceal my real occupation, to sketch vaguely a subject for a novel in which there should occur a discussion upon the Age for Love, to make him talk and then when he should discover his conversation in print—here I began to feel some remorse. But I stifled it with the terrible phrase, “the struggle for life,” and also by the recollection of numerous examples culled from the firm with which I now had the honor of being connected. The morning after I had had this very literary conversation with my honorable director, I rang at the door of the small house in the Rue Desbordes-Valmore where Pierre Fauchery lived, in a retired corner of Passy. Having taken up my pen to tell a plain unvarnished tale I do not see how I can conceal the wretched feeling of pleasure which, as I rang the bell, warmed my heart at the thought of the good joke I was about to play on the owner of this peaceful abode. Even after making up one’s mind to the sacrifices I had decided upon, there is always left a trace of envy for those who have triumphed in the melancholy struggle for literary supremacy. It was a real disappointment to me when the servant replied, ill-humoredly, that M. Fauchery was not in Paris. I asked when he would return. The servant did not know. I asked for his address. The servant did not know that. Poor lion, who thought he had secured anonymity for his holiday! A half-hour later I had discovered that he was staying for the present at the Château de Proby, near Nemours. I had merely had to make inquiries of his publisher. Two hours later I bought my ticket at the Gare de Lyon for the little town chosen by Balzac as the scene for his delicious story of Ursule Mirouet. I took a traveling bag and was prepared to spend the night there. In case I failed to see the master that afternoon I had decided to make sure of him the next morning. Exactly seven hours after the servant, faithful to his trust, had declared that he did not know where his master was staying, I was standing in the hall of the château waiting for my card to be sent up. I had taken care to write on it a reminder of our conversation of the year before, and this time, after a ten-minute wait in the hall, during which I noticed with singular curiosity and malice two very elegant and very pretty young women going out for a walk, I was admitted to his presence. “Aha,” I said to myself, “this then is the secret of his exile; the interview promises well!” The novelist received me in a cosy little room, with a window opening onto the park, already beginning to turn yellow with the advancing autumn. A wood fire burned in the fireplace and lighted up the walls which were hung with flowered cretonne and on which could be distinguished several colored English prints representing cross-country rides and the jumping of hedges. Here was the worldly environment with which Fauchery is so often reproached. But the books and papers that littered the table bore witness that the present occupant of this charming retreat remained a substantial man of letters. His habit of constant work was still further attested by his face, which I admit, gave me all at once a feeling of remorse for the trick I was about to play him. If I had found him the snobbish pretender whom the weekly newspapers were in the habit of ridiculing, it would have been a delight to outwit his diplomacy. But no! I saw, as he put down his pen to receive me, a man about fifty-seven years old, with a face that bore the marks of reflection, eyes tired from sleeplessness, a brow heavy with thought, who said as he pointed to an easy chair, “You will excuse me, my dear confrère, for keeping you waiting.” I, his dear confrère! Ah! if he had known! “You see,” and he pointed to the page still wet with ink, “that man cannot be free from the slavery of furnishing copy. One has less facility at my age than at yours. Now, let us speak of yourself. How do you happen to be at Nemours? What have you been doing since the story and the verses you were kind enough to send me?” It is vain to try to sacrifice once for all one’s youthful ideals. When a man has loved literature as I loved it at twenty, he cannot be satisfied at twenty-six to give up his early passion, even at the bidding of implacable necessity. So Pierre Fauchery remembered my poor verses! He had actually read my story! His allusion proved it. Could I tell him at such a moment that since the creation of those first works I had despaired of myself, and that I had changed my gun to the other shoulder? The image of the Boulevard office rose suddenly before me. I heard the voice of the editor-in-chief saying, “Interview Fauchery? You will never accomplish that;” so, faithful to my self-imposed rôle, I replied, “I have retired to Nemours to work upon a novel called The Age for Love, and it is on this subject that I wished to consult you, my dear master.” It seemed to me—it may possibly have been an illusion—that at the announcement of the so-called title of my so-called novel, a smile and a shadow flitted over Fauchery’s eyes and mouth. A vision of the two young women I had met in the hall came back to me. Was the author of so many great masterpieces of analysis about to live a new book before writing it? I had no time to answer this question, for, with a glance at an onyx vase containing some cigarettes of Turkish tobacco, he offered me one, lighted one himself and began first to question, then to reply to me. I listened while he thought aloud and had almost forgotten my Machiavellian combination, so keen was my relish of the joyous intimacy of this communion with a mind I had passionately loved in his works. He was the first of the great writers of our day whom I had thus approached on something like terms of intimacy. As we talked I observed the strange similarity between his spoken and his written words. I admired the charming simplicity with which he abandoned himself to the pleasures of imagination, his superabundant intelligence, the liveliness of his impressions and his total absence of arrogance and of pose. “There is no such thing as an age for love,” he said in substance, “because the man capable of loving—in the complex and modern sense of love as a sort of ideal exaltation—never ceases to love. I will go further; he never ceases to love the same person. You know the experiment that a contemporary physiologist tried with a series of portraits to determine in what the indefinable resemblances called family likeness consisted? He took photographs of twenty persons of the same blood, then he photographed these photographs on the same plate, one over the other. In this way he discovered the common features which determined the type. Well, I am convinced that if we could try a similar experiment and photograph one upon another the pictures of the different women whom the same man has loved or thought he had loved in the course of his life we should discover that all these women resembled one another. The most inconsistent have cherished one and the same being through five or six or even twenty different embodiments. The main point is to find out at what age they have met the woman who approaches nearest to the one whose image they have constantly borne within themselves. For them that would be the age for love. “The age for being loved?” he continued. “The deepest of all the passions I have ever known a man to inspire was in the case of one of my masters, a poet, and he was sixty years old at the time. It is true that he still held himself as erect as a young man, he came and went with a step as light as yours, he conversed like Rivarol, he composed verses as beautiful as De Vigny’s. He was besides very poor, very lonely and very unhappy, having lost one after another, his wife and his children. You remember the words of Shakespeare’s Moor: ‘She loved me for the dangers I had passed, and I loved her that she did pity them.’ “So it was that this great artist inspired in a beautiful, noble and wealthy young Russian woman, a devotion so passionate that because of him she never married. She found a way to take care of him, day and night, in spite of his family, during his last illness, and at the present time, having bought from his heirs all of the poet’s personal belongings, she keeps the apartment where he lived just as it was at the time of his death. That was years ago. In her case she found in a man three times her own age the person who corresponded to a certain ideal which she carried in her heart. Look at Goethe, at Lamartine and at many others! To depict feelings on this high plane, you must give up the process of minute and insignificant observation which is the bane of the artists of to-day. In order that a sixty-year-old lover should appear neither ridiculous nor odious you must apply to him what the elder Corneille so proudly said of himself in his lines to the marquise: “‘Cependant, j’ai quelques charmes Qui sont assez eclatants Pour n’avoir pas trop d’alarmes De ces ravages du temps.’ “Have the courage to analyze great emotions to create characters who shall be lofty and true. The whole art of the analytical novel lies there.” As he spoke the master had such a light of intellectual certainty in his eyes that to me he seemed the embodiment of one of those great characters he had been urging me to describe. It made me feel that the theory of this man, himself almost a sexagenarian, that at any age one may inspire love, was not unreasonable! The contrast between the world of ideas in which he moved and the atmosphere of the literary shop in which for the last few months I had been stifling was too strong. The dreams of my youth were realized in this man whose gifts remained unimpaired after the production of thirty volumes and whose face, growing old, was a living illustration of the beautiful saying: “Since we must wear out, let us wear out nobly.” His slender figure bespoke the austerity of long hours of work; his firm mouth showed his decision of character; his brow, with its deep furrows, had the paleness of the paper over which he so often bent; and yet, the refinement of his hands, so well cared for, the sober elegance of his dress and an aristocratic air that was natural to him showed that the finer professional virtues had been cultivated in the midst of a life of frivolous temptations. These temptations had been no more of a disturbance to his ethical and spiritual nature than the academic honors, the financial successes, the numerous editions that had been his. Withal he was an awfully good fellow, for, after having talked at great length with me, he ended by saying, “Since you are staying in Nemours I hope to see you often, and to-day I cannot let you go without presenting you to my hostess.” What could I say? This was the way in which a mere reporter on the Boulevard found himself installed at a five-o’clock tea-table in the salon of a château, where surely no newspaper man had ever before set foot and was presented as a young poet and novelist of the future to the old Marquise de Proby, whose guest the master was. This amiable white-haired dowager questioned me upon my alleged work and I replied equivocally, with blushes, which the good lady must have attributed to bashful timidity. Then, as though some evil genius had conspired to multiply the witnesses of my bad conduct, the two young women whom I had seen going out, returned in the midst of my unlooked-for visit. Ah, my interview with this student of femininity upon the Age for Love was about to have a living commentary! How it would illumine his words to hear him conversing with these new arrivals! One was a young girl of possibly twenty—a Russian if I rightly understood the name. She was rather tall, with a long face lighted up by two very gentle black eyes, singular in their fire and intensity. She bore a striking resemblance to the portrait attributed to Froncia in the Salon Carré of the Louvre which goes by the name of the “Man in Black,” because the color of his clothes and his mantle. About her mouth and nostrils was that same subdued nervousness, that same restrained feverishness which gives to the portrait its striking qualities. I had not been there a quarter of an hour before I had guessed from the way she watched and listened to Fauchery what a passionate interest the old master inspired in her. When he spoke she paid rapt attention. When she spoke to him, I felt her voice shiver, if I may use the word, and he, he glorious writer, surfeited with triumphs, exhausted by his labors, seemed, as soon as he felt the radiance of her glance of ingenuous idolatry, to recover that vivacity, that elasticity of impression, which is the sovereign grace of youthful lovers. “I understand now why he cited Goethe and the young girl of Marienbad,” said I to myself with a laugh, as my hired carriage sped on toward Nemours. “He was thinking of himself. He is in love with that child, and she is in love with him. We shall hear of his marrying her. There’s a wedding that will call forth copy, and when Pascal hears that I witnessed the courtship—but just now I must think of my interview. Won’t Fauchery be surprised to read it day after to-morrow in his paper? But does he read the papers? It may not be right but what harm will it do him? Besides, it’s a part of the struggle for life.” It was by such reasoning, I remember, the reasoning of a man determined to arrive that I tried to lull to sleep the inward voice that cried, “You have no right to put on paper, to give to the public what this noble writer said to you, supposing that he was receiving a poet, not a reporter.” But I heard also the voice of my chief saying, “You will never succeed.” And this second voice, I am ashamed to confess, triumphed over the other with all the more ease because I was obliged to do something to kill time. I reached Nemours too late for the train which would have brought me back to Paris about dinner time. At the old inn they gave me a room which was clean and quiet, a good place to write, so I spent the evening until bedtime composing the first of the articles which were to form my inquiry. I scribbled away under the vivid impressions of the afternoon, my powers as well as my nerves spurred by a touch of remorse. Yes, I scribbled four pages which would have been no disgrace to the Journal des Goncourts, that exquisite manual of the perfect reporter. It was all there, my journey, my arrival at the chateau, a sketch of the quaint eighteenth century building, with its fringe of trees and its well-kept walks, the master’s room, the master himself and his conversation; the tea at the end and the smile of the old novelist in the midst of a circle of admirers, old and young. It lacked only a few closing lines. “I will add these in the morning,” I thought, and went to bed with a feeling of duty performed, such is the nature of a writer. Under the form of an interview I had done, and I knew it, the best work of my life. What happens while we sleep? Is there, unknown to us, a secret and irresistible ferment of ideas while our senses are closed to the impressions of the outside world? Certain it is that on awakening I am apt to find myself in a state of mind very different from that in which I went to sleep. I had not been awake ten minutes before the image of Pierre Fauchery came up before me, and at the same time the thought that I had taken a base advantage of the kindness of his reception of me became quite unbearable. I felt a passionate longing to see him again, to ask his pardon for my deception. I wished to tell him who I was, with what purpose I had gone to him and that I regretted it. But there was no need of a confession. It would be enough to destroy the pages I had written the night before. With this idea I arose. Before tearing them up, I reread them. And then—any writer will understand me—and then they seemed to me so brilliant that I did not tear them up. Fauchery is so intelligent, so generous, was the thought that crossed my mind. What is there in this interview, after all, to offend him? Nothing, absolutely nothing. Even if I should go to him again this very morning, tell him my story and that upon the success of my little inquiry my whole future as a journalist might depend? When he found that I had had five years of poverty and hard work without accomplishing anything, and that I had had to go onto a paper in order to earn the very bread I ate, he would pardon me, he would pity me and he would say, “Publish your interview.” Yes, but what if he should forbid my publishing it? But no, he would not do that. I passed the morning in considering my latest plan. A certain shyness made it very painful to me. But it might at the same time conciliate my delicate scruples, my “amour-propre” as an ambitious chronicler, and the interests of my pocket-book. I knew that Pascal had the name of being very generous with an interview article if it pleased him. And besides, had he not promised me a reward if I succeeded with Fauchery? In short, I had decided to try my experiment, when, after a hasty breakfast, I saw, on stepping into the carriage I had had the night before, a victoria with coat-of-arms drive rapidly past and was stunned at recognizing Fauchery himself, apparently lost in a gloomy revery that was in singular contrast to his high spirits of the night before. A small trunk on the coachman’s seat was a sufficient indication that he was going to the station. The train for Paris left in twelve minutes, time enough for me to pack my things pell-mell into my valise and hurriedly to pay my bill. The same carriage which was to have taken me to the Château de Proby carried me to the station at full speed, and when the train left I was seated in an empty compartment opposite the famous writer, who was saying to me, “You, too, deserting Nemours? Like me, you work best in Paris.” The conversation begun in this way, might easily have led to the confession I had resolved to make. But in the presence of my unexpected companion I was seized with an unconquerable shyness, moreover he inspired me with a curiosity which was quite equal to my shyness. Any number of circumstances, from a telegram from a sick relative to the most commonplace matter of business, might have explained his sudden departure from the château where I had left him so comfortably installed the night before. But that the expression of his face should have changed as it had, that in eighteen hours he should have become the careworn, discouraged being he now seemed, when I had left him so pleased with life, so happy, so assiduous in his attentions to that pretty girl. Mademoiselle de Russaie, who loved him and whom he seemed to love, was a mystery which took complete possession of me, this time without any underlying professional motive. He was to give me the key before we reached Paris. At any rate I shall always believe that part of his conversation was in an indirect way a confidence. He was still unstrung by the unexpected incident which had caused both his hasty departure and the sudden metamorphosis in what he himself, if he had been writing, would have called his “intimate heaven.” The story he told me was “per sfogarsi,” as Bayle loved to say; his idea was that I would not discover the real hero. I shall always believe that it was his own story under another name, and I love to believe it because it was so exactly his way of looking at things. It was apropos of the supposed subject of my novel—oh, irony!—apropos of the real subject of my interview that he began. “I have been thinking about our conversation and about your book, and I am afraid that I expressed myself badly yesterday. When I said that one may love and be loved at any age I ought to have added that sometimes this love comes too late. It comes when one no longer has the right to prove to the loved one how much she is loved, except by love’s sacrifice. I should like to share with you a human document, as they say to-day, which is in itself a drama with a dénouement. But I must ask you not to use it, for the secret is not my own.” With the assurance of my discretion he went on: “I had a friend, a companion of my own age, who, when he was twenty, had loved a young girl. He was poor, she was rich. Her family separated them. The girl married some one else and almost immediately afterward she died. My friend lived. Some day you will know for yourself that it is almost as true to say that one recovers from all things as that there is nothing which does not leave its scar. I had been the confidant of his serious passion, and I became the confidant of the various affairs that followed that first ineffaceable disappointment. He felt, he inspired, other loves. He tasted other joys. He endured other sorrows, and yet when we were alone and when we touched upon those confidences that come from the heart’s depths, the girl who was the ideal of his twentieth year reappeared in his words. How many times he has said to me, ‘In others I have always looked for her and as I have never found her, I have never truly loved any one but her.’” “And had she loved him?” I interrupted. “He did not think so,” replied Fauchery. “At least she had never told him so. Well, you must now imagine my friend at my age or almost there. You must picture him growing gray, tired of life and convinced that he had at last discovered the secret of peace. At this time he met, while visiting some relatives in a country house, a mere girl of twenty, who was the image, the haunting image of her whom he had hoped to marry thirty years before. It was one of those strange resemblances which extend from the color of the eyes to the ‘timbre’ of the voice, from the smile to the thought, from the gestures to the finest feelings of the heart. I could not, in a few disjointed phrases describe to you the strange emotions of my friend. It would take pages and pages to make you understand the tenderness, both present and at the same time retrospective, for the dead through the living; the hypnotic condition of the soul which does not know where dreams and memories end and present feeling begins; the daily commingling of the most unreal thing in the world, the phantom of a lost love, with the freshest, the most actual, the most irresistibly naïve and spontaneous thing in it, a young girl. She comes, she goes, she laughs, she sings, you go about with her in the intimacy of country life, and at her side walks one long dead. After two weeks of almost careless abandon to the dangerous delights of this inward agitation imagine my friend entering by chance one morning one of the less frequented rooms of the house, a gallery, where, among other pictures, hung a portrait of himself, painted when he was twenty-five. He approaches the portrait abstractedly. There had been a fire in the room, so that a slight moisture dimmed the glass which protected the pastel, and on this glass, because of this moisture, he sees distinctly the trace of two lips which had been placed upon the eyes of the portrait, two small delicate lips, the sight of which makes his heart beat. He leaves the gallery, questions a servant, who tells him that no one but the young woman he has in mind has been in the room that morning.” “What then?” I asked, as he paused. “My friend returned to the gallery, looked once more at the adorable imprint of the most innocent, the most passionate of caresses. A mirror hung near by, where he could compare his present with his former face, the man he was with the man he had been. He never told me and I never asked what his feelings were at that moment. Did he feel that he was too culpable to have inspired a passion in a young girl whom he would have been a fool, almost a criminal, to marry? Did he comprehend that through his age which was so apparent, it was his youth which this child loved? Did he remember, with a keenness that was all too sad, that other, who had never given him a kiss like that at a time when he might have returned it? I only know that he left the same day, determined never again to see one whom he could no longer love as he had loved the other, with the hope, the purity, the soul of a man of twenty.” A few hours after this conversation, I found myself once more in the office of the Boulevard, seated in Pascal’s den, and he was saying, “Already? Have you accomplished your interview with Pierre Fauchery?” “He would not even receive me,” I replied, boldly. “What did I tell you?” he sneered, shrugging his big shoulders. “We’ll get even with him on his next volume. But you know, Labarthe, as long as you continue to have that innocent look about you, you can’t expect to succeed in newspaper work.” I bore with the ill-humor of my chief. What would he have said if he had known that I had in my pocket an interview and in my head an anecdote which were material for a most successful story? And he has never had either the interview or the story. Since then I have made my way in the line where he said I should fail. I have lost my innocent look and I earn my thirty thousand francs a year, and more. I have never had the same pleasure in the printing of the most profitable, the most brilliant article that I had in consigning to oblivion the sheets relating my visit to Nemours. I often think that I have not served the cause of letters as I wanted to, since, with all my laborious work I have never written a book. And yet when I recall the irresistible impulse of respect which prevented me from committing toward a dearly loved master a most profitable but infamous indiscretion, I say to myself, “If you have not served the cause of letters, you have not betrayed it.” And this is the reason, now that Fauchery is no longer of this world, that it seems to me that the time has come for me to relate my first interview. There is none of which I am more proud.

The BEACHCOMBER By Damon Knight - https://www.gutenberg.org/cache/epub/65956/pg65956-images.html

 

Alice saw the Beachcomber as a glorious
hunk of man; Maxwell saw him as a super being
from the future. Tragically, he was both!...