The Last Tribute to His Genius
Tragedy
“I have heard
That guilty creatures sitting at a play,
Have, by the very cunning of the scene,
Been struck so to the soul that presently
They have proclaim’d their malefactions;
For murder, though it have no tongue, will speak With most miraculous organ.”
Shakespeare
The crime had been one of peculiar atrociousness. While the little old man who kept the quaint curiosity-shop down on Linden Street seemed to have few or no friends, he was blessed with a great many acquaintances, especially among the people of the better class, for whom it was quite a fad to visit the dingy, shabby little store, with its assortment of bric-a-brac, mouldy books, articles of virtu, and antiques, genuine or spurious, valuable or worthless, all heaped about in promiscuous confusion.
Indeed, the “Major” was not the least curious object in the collection. Few people knew that the title represented gallant and youthful soldiering in Rebellion days before he shrivelled and dried up in the musty little shop. When, therefore, he was found dead among his raffle of goods, about half after seven on a summer evening, with his brains brutally beaten out by a hammer, which lay by his side, the greatest excitement was manifested everywhere. That a man should be murdered in a store on one of the main thoroughfares of the city at that hour and in that way; that the murderer should make his escape by the front door, which was left open, were in themselves sufficiently remarkable facts to engage widespread attention.
Rewards were offered by the city government; the metropolitan police force, supplemented by the best detectives that could be imported, who were paid by private subscription, worked upon the case in vain. No clew presented itself, nothing whatever was discovered. The contents of the shop were finally sold at auction and the store was closed. The estate, which was surprisingly small, contrary to the general opinion,—which, in fact, consisted merely of the proceeds of the sale of the goods,—was administered in the interests of some distant connections, and the whole affair after a short time was practically forgotten. Yet somewhere on the earth a man wandered with the guilt of murder heavy on his soul.
When it was announced in the advertisements that Sir Henry Irving, the great English actor, was to play The Bells on Thursday night, society—and those not within the charmed circle who could scrape together the unusual price demanded by the elaborate nature of Sir Henry’s staging—anticipated a great intellectual treat. To see the character of Matthias interpreted by such a master of the tragic art could hardly be called entertaining, of course, yet anything which takes us out of the humdrum routine of every-day life and quickens the blood that beats with such commonplace sluggishness ordinarily is most desirable. It is easy, therefore, to understand the avidity with which the opportunity for paying the unusual price for being shocked and terrified was welcomed.
The play, with its damnable iteration of chiming sleigh-bells and its awful portrayal of the struggles of a crime-stained human soul against diabolic memories, proceeded with that wonderful smoothness and effectiveness for which Sir Henry’s productions were famous. After the short intermission at the close of the second act, the audience, most of whom were familiar with the story, settled themselves with delicious thrills of foreboding anticipation to witness the dreadful and harrowing dénouement in which the murderer’s dream—that the crime of years is at last exposed and the brand of guilt is fixed upon his honored brow—is exhibited on the stage in all its terrific realism.
The house, including the stage, was totally dark. A weird, ghastly beam of light thrown from the wings fell fitfully upon the face of Sir Henry,—no, of Matthias himself. The great actor’s identity was lost, merged, forgotten in the character he portrayed. Not another thing could be perceived in the theatre. The gaze of every man and woman and child in that vast assemblage was concentrated upon that beautiful, mobile, terrible face. The silence with which the audience listened to that piercing, shuddering voice out of the darkness was oppressive. Could one’s attention have been distracted from that stage he might have caught the quickening intake of deep breaths, or here and there marked the low, quivering sighs with which nervous people, under the influence of that terrible portrayal of the agony of remorse and apprehension at detected murder, trembled, watched, and waited.
Yet there was nothing actually to be seen in the opera-house but the face of the actor, or sometimes a white, ghastly hand and a dim, dark suggestion of a body writhing in mortal torture, so keen as almost to pass belief, in a tour de force of unwilling confession. The detachment was perfect, the illusion was complete; there before them was a soul in judgment.
As the man was forced, under the influence of a higher power than his own, to describe the murder, the base violation of hospitality, the blow of the axe that killed a guest, by which fifteen years before he had laid the foundation of his fortune; as he was constrained to act again before his judges in hypnotic trance the awful happenings of the tragedy of that Christmas Eve, of which none had suspected him; and when, on being released from the spell, his confession was read to him by the court, and the realization came to him that the fabric of respectability which he had carefully created upon the shifting sand of murder had crashed into nothing,—who, that has seen it, or heard it, will ever forget the fearful anguish and despair of that wrecked soul?
As Matthias fell prostrate at the feet of the judges, moaning in utter desolation and abandonment, the appalling stillness was suddenly broken, and this time the sound came not from the stage. Out of the darkness of the auditorium a thin, high voice, fraught with a note of torture more real and intense, if possible, than that which the marvellous skill of the actor had produced, was hurled into the great vault of the theatre.
“No, no,” it cried; “you are wrong. It was a hammer!”
The surprise of the audience for the moment held them still, while the voice shrieked out in the darkness,—
“It is enough! I’ll confess. Guilty, oh, my God, guilty! It was I! The murder—light, for God’s sake, light!”
A woman screamed suddenly. People rose to their feet. One of those strange, swaying movements which bespeak a panic ran through the crowd. Matthias on the stage rose instantly, faced about, and walked toward the dark footlights, a genuine horror in his soul this time, for no human voice that he had ever heard had carried such mortal pain as that which had just spoken. The theatre was filled with a babel of voices. Confused shouts and cries came from all sides.
“Lights, lights!”
“What is it?”
“Go on with the performance!”
At that instant the lights were turned up. There, in the middle aisle, a few rows from the orchestra rail, a tall, thin man, his haggard face white with emotion, his eyes staring, his teeth clinched ’neath bloodless lips, stood swaying unsteadily to and fro. His hands uplifted as if to ward off a blow, he stood utterly oblivious of everything but Matthias. From the chair beside him a woman with a face scarcely less white, in which were mingled incredulity, surprise, and horror, reached her arms up to him as if to save him.
“I can’t stand it any longer!” cried the man, staring up at Matthias. “You’ve done it. I’ll confess all! It has torn me to pieces!” he screamed, clutching at his throat. “The Major—I beat him to death with his hammer, like you did, for his money. I took it from his person. I knew it was there. I was his friend, his only friend. My God! There was no place to burn his body. He’s always at my feet. He’s staring at me now by you on the stage!”
Sir Henry shrank away involuntarily as the man went on.
“Pity, pity!” he wailed, staggering, stumbling forward, falling upon his knees nearer to Sir Henry. “Mercy!” he whispered at last, yet with such distinctness that they heard him in every corner of the theatre.
He knelt with his hands outstretched toward the stage, waiting for reprieve, sentence, condemnation,—God knows what.
The audience stared likewise with suspended hearts from the great but mimic figure of murder on one side of the footlights to the greater and real figure of murder upon the other. As they gazed the man wavered forward again, sank lower, his hands fell, but before he collapsed completely, an officer of the law, the first to recover his wits in the presence of the catastrophe, ran down the aisle and pounced upon him. Grasping his shoulder, he cried,—
“You’re my prisoner. I arrest you!”
“Too late,” whispered the man; “I’m—going—going—to plead—in another—court.”
He pitched forward and fell on his face—dead. And a woman, dry-eyed with horror, old love surviving honor, respect, righteousness, knelt by his side, took his head in her arms, and strove to kiss away from his brow the mark of Cain.
So the mystery of the Major’s murder was solved at last, and Sir Henry, as he thought it over in his chamber that night, realized that he had received the greatest tribute that mortal man could pay to his acting. His art had been so perfect—he had appeared the incarnation of terror, remorse, and retribution—that to that struggling soul he had been as the voice of conscience,—nay, as the very voice of God. For the man had actually given way, broken down, and confessed a secret crime under the mighty spell of his acting, and, as the criminal in the play, had died in the confession!
Out of the West
“The sun sets fair in that Western land,
Romance rides over the plains;
There hearts are gay at the close of day,—
Man’s duty’s done, God reigns.”
Warren Giles