The Arthur Machen MEGAPACK ®. Arthur Machen

years in an extremely dark cell or dungeon might acquire that power; but since the days of Edmond Dantès, where would such a prison be found in Europe? A sailor, who had been immured for a considerable period in some horrible Chinese oubliette, seemed the individual I was in search of, and though it looked improbable, it was not absolutely impossible that a sailor or, let us say, a man employed on shipboard, should be a dwarf. But how to account for my imaginary sailor being in possession of prehistoric arrow-heads? And the possession granted, what was the meaning and object of these mysterious signs of flint, and the almond-shaped eyes? Your theory of a contemplated burglary I saw, nearly from the first, to be quite untenable, and I confess I was utterly at a loss for a working hypothesis. It was a mere accident which put me on the track; we passed poor old Trevor, and your mention of his name and of the disappearance of his daughter, recalled the story which I had forgotten, or which remained unheeded. Here, then, I said to myself, is another problem, uninteresting, it is true, by itself; but what if it prove to be in relation with all these enigmas which torture me? I shut myself in my room, and endeavoured to dismiss all prejudice from my mind, and I went over everything de novo, assuming for theory’s sake that the disappearance of Annie Trevor had some connection with the flint signs and the eyes on the wall. This assumption did not lead me very far, and I was on the point of giving the whole problem up in despair, when a possible significance of the Bowl struck me. As you know there is a ‘Devil’s Punch-bowl’ in Surrey, and I saw that the symbol might refer to some feature in the country. Putting the two extremes together, I determined to look for the Bowl near the path which the lost girl had taken, and you know how I found it. I interpreted the sign by what I knew, and read the first, the Army, thus: ‘there is to be a gathering or assembly at the Bowl in a fortnight (that is the Half-moon) to see the Pyramid or to build the Pyramid.’ The eyes, drawn one by one, day by day, evidently checked off the days, and I knew that there would be fourteen and no more. Thus far the way seemed pretty plain; I would not trouble myself to enquire as to the nature of the assembly, or as to who was to assemble in the loneliest and most dreaded place among these lonely hills. In Ireland or China or the west of America the question would have been easily answered; a muster of the disaffected, the meeting of a secret society, Vigilantes summoned to report: the thing would be simplicity itself; but in this quiet corner of England, inhabited by quiet folk, no such suppositions were possible for a moment. But I knew that I should have an opportunity of seeing and watching the assembly, and I did not care to perplex myself with hopeless research; and in place of reasoning a wild fancy entered into judgment: I remembered what people had said about Annie Trevor’s disappearance, that she had been ‘taken by the fairies.’ I tell you, Vaughan, I am a sane man as you are, my brain is not, I trust, mere vacant space to let to any wild improbability, and I tried my best to thrust the fantasy away. And the hint came of the old name of fairies, ‘the little people,’ and the very probable belief that they represent a tradition of the prehistoric Turanian inhabitants of the country, who were cave dwellers: and then I realised with a shock that I was looking for a being under four feet in height, accustomed to live in darkness, possessing stone instruments, and familiar with the Mongolian cast of features! I say this, Vaughan, that I should be ashamed to hint at such visionary stuff to you, if it were not for that which you saw with your very eyes last night, and I say that I might doubt the evidence of my senses, if they were not confirmed by yours. But you and I cannot look each other in the face and pretend delusion; as you lay on the turf beside me I felt your flesh shrink and quiver, and I saw your eyes in the light of the flame. And so I tell you without any shame what was in my mind last night as we went through the wood and climbed the hill, and lay hidden beneath the rock.

      “There was one thing that should have been most evident that puzzled me to the very last. I told you how I read the sign of the Pyramid; the assembly was to see a pyramid, and the true meaning of the symbol escaped me to the last moment. The old derivation from Greek, fire, though false, should have set me on the track, but it never occurred to me.

      “I think I need say very little more. You know we were quite helpless, even if we had foreseen what was to come. Ah, the particular place where these signs were displayed? Yes, that is a curious question. But this house is, so far as I can judge, in a pretty central situation amongst the hills; and possibly, who can say yes or no, that queer, old limestone pillar by your garden wall was a place of meeting before the Celt set foot in Britain. But there is one thing I must add: I don’t regret our inability to rescue the wretched girl. You saw the appearance of those things that gathered thick and writhed in the Bowl; you may be sure that what lay bound in the midst of them was no longer fit for earth.”

      “So?” said Vaughan.

      “So she passed in the Pyramid of Fire,” said Dyson, “and they passed again to the under-world, to the places beneath the hills.”

      THE INMOST LIGHT

      I

      One evening in autumn, when the deformities of London were veiled in faint blue mist, and its vistas and far-reaching streets seemed splendid, Mr. Charles Salisbury was slowly pacing down Rupert Street, drawing nearer to his favourite restaurant by slow degrees. His eyes were downcast in study of the pavement, and thus it was that as he passed in at the narrow door a man who had come up from the lower end of the street jostled against him.

      “I beg your pardon—wasn’t looking where I was going. Why, it’s Dyson!”

      “Yes, quite so. How are you, Salisbury?”

      “Quite well. But where have you been, Dyson? I don’t think I can have seen you for the last five years?”

      “No; I dare say not. You remember I was getting rather hard up when you came to my place at Charlotte Street?”

      “Perfectly. I think I remember your telling me that you owed five weeks’ rent, and that you had parted with your watch for a comparatively small sum.”

      “My dear Salisbury, your memory is admirable. Yes, I was hard up. But the curious thing is that soon after you saw me I became harder up. My financial state was described by a friend as ‘stone broke.’ I don’t approve of slang, mind you, but such was my condition. But suppose we go in; there might be other people who would like to dine—it’s a human weakness, Salisbury.”

      “Certainly; come along. I was wondering as I walked down whether the corner table were taken. It has a velvet back, you know.”

      “I know the spot; it’s vacant. Yes, as I was saying, I became even harder up.”

      “What did you do then?” asked Salisbury, disposing of his hat, and settling down in the corner of the seat, with a glance of fond anticipation at the menu.

      “What did I do? Why, I sat down and reflected. I had a good classical education, and a positive distaste for business of any kind: that was the capital with which I faced the world. Do you know, I have heard people describe olives as nasty! What lamentable Philistinism! I have often thought, Salisbury, that I could write genuine poetry under the influence of olives and red wine. Let us have Chianti; it may not be very good, but the flasks are simply charming.”

      “It is pretty good here. We may as well have a big flask.”

      “Very good. I reflected, then, on my want of prospects, and I determined to embark in literature.”

      “Really; that was strange. You seem in pretty comfortable circumstances, though.”

      “Though! What a satire upon a noble profession. I am afraid, Salisbury, you haven’t a proper idea of the dignity of an artist. You see me sitting at my desk—or at least you can see me if you care to call—with pen and ink, and simple nothingness before me, and if you come again in a few hours you will (in all probability) find a creation!”

      “Yes, quite so. I had an idea that literature was not remunerative.”

      “You are mistaken; its rewards are great. I may mention, by the way, that shortly after you saw me I succeeded to a small income. An uncle died, and proved unexpectedly generous.”

      “Ah, I see. That must have been convenient.”

      “It was pleasant—undeniably pleasant. I have always considered it in the