Rudyard Kipling: 440+ Short Stories in One Edition (Illustrated). Редьярд Джозеф Киплинг

had gone wrong. Regula Baddun's owner, waiting by the two bricks, gave one deep sigh of relief, and cantered back to the stand. He had won, in lotteries and bets, about fifteen thousand.

      It was a broken-link Handicap with a vengeance. It broke nearly all the men concerned, and nearly broke the heart of Shackles' owner.

      He went down to interview Brunt. The boy lay, livid and gasping with fright, where he had tumbled off. The sin of losing the race never seemed to strike him. All he knew was that Whalley had "called" him, that the "call" was a warning; and, were he cut in two for it, he would never get up again. His nerve had gone altogether, and he only asked his master to give him a good thrashing, and let him go. He was fit for nothing, he said. He got his dismissal, and crept up to the paddock, white as chalk, with blue lips, his knees giving way under him. People said nasty things in the paddock; but Brunt never heeded. He changed into tweeds, took his stick and went down the road, still shaking with fright, and muttering over and over again:—"God ha' mercy, I'm done for!" To the best of my knowledge and belief he spoke the truth.

      So now you know how the Broken-Link Handicap was run and won. Of course you don't believe it. You would credit anything about Russia's designs on India, or the recommendations of the Currency Commission; but a little bit of sober fact is more than you can stand!

Beyond the Pale

       Table of Contents

      "Love heeds not caste nor sleep a broken bed. I went in search of

       love and lost myself."

       Hindu Proverb.

      A man should, whatever happens, keep to his own caste, race and breed. Let the White go to the White and the Black to the Black.

      Then, whatever trouble falls is in the ordinary course of things—neither sudden, alien, nor unexpected.

      This is the story of a man who wilfully stepped beyond the safe limits of decent every-day society, and paid for it heavily.

      He knew too much in the first instance; and he saw too much in the second. He took too deep an interest in native life; but he will never do so again.

      Deep away in the heart of the City, behind Jitha Megji's bustee, lies Amir Nath's Gully, which ends in a dead-wall pierced by one grated window. At the head of the Gully is a big cow-byre, and the walls on either side of the Gully are without windows. Neither Suchet Singh nor Gaur Chand approved of their women-folk looking into the world. If Durga Charan had been of their opinion, he would have been a happier man today, and little Bisesa would have been able to knead her own bread. Her room looked out through the grated window into the narrow dark Gully where the sun never came and where the buffaloes wallowed in the blue slime. She was a widow, about fifteen years old, and she prayed the Gods, day and night, to send her a lover; for she did not approve of living alone.

      One day the man—Trejago his name was—came into Amir Nath's Gully on an aimless wandering; and, after he had passed the buffaloes, stumbled over a big heap of cattle food.

      Then he saw that the Gully ended in a trap, and heard a little laugh from behind the grated window. It was a pretty little laugh, and Trejago, knowing that, for all practical purposes, the old Arabian Nights are good guides, went forward to the window, and whispered that verse of "The Love Song of Har Dyal" which begins:

      Can a man stand upright in the face of the naked Sun;

       or a Lover in the Presence of his Beloved?

       If my feet fail me, O Heart of my Heart, am I to blame,

       being blinded by the glimpse of your beauty?

      There came the faint tchinks of a woman's bracelets from behind the grating, and a little voice went on with the song at the fifth verse:

      Alas! alas! Can the Moon tell the Lotus of her love when the

       Gate of Heaven is shut and the clouds gather for the rains?

       They have taken my Beloved, and driven her with the pack-horses

       to the North.

       There are iron chains on the feet that were set on my heart.

       Call to the bowman to make ready—

      The voice stopped suddenly, and Trejago walked out of Amir Nath's Gully, wondering who in the world could have capped "The Love Song of Har Dyal" so neatly.

      Next morning, as he was driving to the office, an old woman threw a packet into his dog-cart. In the packet was the half of a broken glass bangle, one flower of the blood red dhak, a pinch of bhusa or cattle-food, and eleven cardamoms. That packet was a letter—not a clumsy compromising letter, but an innocent, unintelligible lover's epistle.

      Trejago knew far too much about these things, as I have said. No Englishman should be able to translate object-letters. But Trejago spread all the trifles on the lid of his office-box and began to puzzle them out.

      A broken glass-bangle stands for a Hindu widow all India over; because, when her husband dies a woman's bracelets are broken on her wrists. Trejago saw the meaning of the little bit of the glass.

      The flower of the dhak means diversely "desire," "come," "write," or "danger," according to the other things with it. One cardamom means "jealousy;" but when any article is duplicated in an object-letter, it loses its symbolic meaning and stands merely for one of a number indicating time, or, if incense, curds, or saffron be sent also, place. The message ran then:—"A widow dhak flower and bhusa—at eleven o'clock." The pinch of bhusa enlightened Trejago. He saw—this kind of letter leaves much to instinctive knowledge—that the bhusa referred to the big heap of cattle-food over which he had fallen in Amir Nath's Gully, and that the message must come from the person behind the grating; she being a widow. So the message ran then:—"A widow, in the Gully in which is the heap of bhusa, desires you to come at eleven o'clock."

      Trejago threw all the rubbish into the fireplace and laughed. He knew that men in the East do not make love under windows at eleven in the forenoon, nor do women fix appointments a week in advance.

      So he went, that very night at eleven, into Amir Nath's Gully, clad in a boorka, which cloaks a man as well as a woman. Directly the gongs in the City made the hour, the little voice behind the grating took up "The Love Song of Har Dyal" at the verse where the Panthan girl calls upon Har Dyal to return. The song is really pretty in the Vernacular. In English you miss the wail of it. It runs something like this:—

      Alone upon the housetops, to the North

       I turn and watch the lightning in the sky,—

       The glamour of thy footsteps in the North,

       Come back to me, Beloved, or I die!

       Below my feet the still bazar is laid

       Far, far below the weary camels lie,—

       The camels and the captives of thy raid,

       Come back to me, Beloved, or I die!

       My father's wife is old and harsh with years,

       And drudge of all my father's house am I.—

       My bread is sorrow and my drink is tears,

       Come back to me, Beloved, or I die!

      As the song stopped, Trejago stepped up under the grating and whispered:—"I am here."

      Bisesa was good to look upon.

      That night was the beginning of many strange things, and of a double life so wild that Trejago today sometimes wonders if it were not all a dream. Bisesa or her old handmaiden who had thrown the object-letter had detached the heavy grating from the brick-work of the wall; so that the window slid inside, leaving only a square of raw masonry, into which an active man might climb.

      In the day-time, Trejago drove through his routine of office-work, or put on his calling-clothes and called on the ladies of the Station; wondering