The Father Brown Megapack. G.K. Chesterton
persons may or may not be of interest to the reader, but the truth is that they were not the only interesting things that were displayed when the front door of the white-and-green house was opened. There are further peculiarities about this house, which must be described to start with, not only that the reader may understand this tragic tale, but also that he may realise what it was that the opening of the door revealed.
The whole house was built upon the plan of a T, but a T with a very long cross piece and a very short tail piece. The long cross piece was the frontage that ran along in face of the street, with the front door in the middle; it was two stories high, and contained nearly all the important rooms. The short tail piece, which ran out at the back immediately opposite the front door, was one story high, and consisted only of two long rooms, the one leading into the other. The first of these two rooms was the study in which the celebrated Mr. Quinton wrote his wild Oriental poems and romances. The farther room was a glass conservatory full of tropical blossoms of quite unique and almost monstrous beauty, and on such afternoons as these glowing with gorgeous sunlight. Thus when the hall door was open, many a passer-by literally stopped to stare and gasp; for he looked down a perspective of rich apartments to something really like a transformation scene in a fairy play: purple clouds and golden suns and crimson stars that were at once scorchingly vivid and yet transparent and far away.
Leonard Quinton, the poet, had himself most carefully arranged this effect; and it is doubtful whether he so perfectly expressed his personality in any of his poems. For he was a man who drank and bathed in colours, who indulged his lust for colour somewhat to the neglect of form—even of good form. This it was that had turned his genius so wholly to eastern art and imagery; to those bewildering carpets or blinding embroideries in which all the colours seem fallen into a fortunate chaos, having nothing to typify or to teach. He had attempted, not perhaps with complete artistic success, but with acknowledged imagination and invention, to compose epics and love stories reflecting the riot of violent and even cruel colour; tales of tropical heavens of burning gold or blood-red copper; of eastern heroes who rode with twelve-turbaned mitres upon elephants painted purple or peacock green; of gigantic jewels that a hundred negroes could not carry, but which burned with ancient and strange-hued fires.
In short (to put the matter from the more common point of view), he dealt much in eastern heavens, rather worse than most western hells; in eastern monarchs, whom we might possibly call maniacs; and in eastern jewels which a Bond Street jeweller (if the hundred staggering negroes brought them into his shop) might possibly not regard as genuine. Quinton was a genius, if a morbid one; and even his morbidity appeared more in his life than in his work. In temperament he was weak and waspish, and his health had suffered heavily from oriental experiments with opium. His wife—a handsome, hard-working, and, indeed, over-worked woman objected to the opium, but objected much more to a live Indian hermit in white and yellow robes, whom her husband insisted on entertaining for months together, a Virgil to guide his spirit through the heavens and the hells of the east.
It was out of this artistic household that Father Brown and his friend stepped on to the door-step; and to judge from their faces, they stepped out of it with much relief. Flambeau had known Quinton in wild student days in Paris, and they had renewed the acquaintance for a week-end; but apart from Flambeau’s more responsible developments of late, he did not get on well with the poet now. Choking oneself with opium and writing little erotic verses on vellum was not his notion of how a gentleman should go to the devil. As the two paused on the door-step, before taking a turn in the garden, the front garden gate was thrown open with violence, and a young man with a billycock hat on the back of his head tumbled up the steps in his eagerness. He was a dissipated-looking youth with a gorgeous red necktie all awry, as if he had slept in it, and he kept fidgeting and lashing about with one of those little jointed canes.
“I say,” he said breathlessly, “I want to see old Quinton. I must see him. Has he gone?”
“Mr. Quinton is in, I believe,” said Father Brown, cleaning his pipe, “but I do not know if you can see him. The doctor is with him at present.”
The young man, who seemed not to be perfectly sober, stumbled into the hall; and at the same moment the doctor came out of Quinton’s study, shutting the door and beginning to put on his gloves.
“See Mr. Quinton?” said the doctor coolly. “No, I’m afraid you can’t. In fact, you mustn’t on any account. Nobody must see him; I’ve just given him his sleeping draught.”
“No, but look here, old chap,” said the youth in the red tie, trying affectionately to capture the doctor by the lapels of his coat. “Look here. I’m simply sewn up, I tell you. I—”
“It’s no good, Mr. Atkinson,” said the doctor, forcing him to fall back; “when you can alter the effects of a drug I’ll alter my decision,” and, settling on his hat, he stepped out into the sunlight with the other two. He was a bull-necked, good-tempered little man with a small moustache, inexpressibly ordinary, yet giving an impression of capacity.
The young man in the billycock, who did not seem to be gifted with any tact in dealing with people beyond the general idea of clutching hold of their coats, stood outside the door, as dazed as if he had been thrown out bodily, and silently watched the other three walk away together through the garden.
“That was a sound, spanking lie I told just now,” remarked the medical man, laughing. “In point of fact, poor Quinton doesn’t have his sleeping draught for nearly half an hour. But I’m not going to have him bothered with that little beast, who only wants to borrow money that he wouldn’t pay back if he could. He’s a dirty little scamp, though he is Mrs. Quinton’s brother, and she’s as fine a woman as ever walked.”
“Yes,” said Father Brown. “She’s a good woman.”
“So I propose to hang about the garden till the creature has cleared off,” went on the doctor, “and then I’ll go in to Quinton with the medicine. Atkinson can’t get in, because I locked the door.”
“In that case, Dr. Harris,” said Flambeau, “we might as well walk round at the back by the end of the conservatory. There’s no entrance to it that way, but it’s worth seeing, even from the outside.”
“Yes, and I might get a squint at my patient,” laughed the doctor, “for he prefers to lie on an ottoman right at the end of the conservatory amid all those blood-red poinsettias; it would give me the creeps. But what are you doing?”
Father Brown had stopped for a moment, and picked up out of the long grass, where it had almost been wholly hidden, a queer, crooked Oriental knife, inlaid exquisitely in coloured stones and metals.
“What is this?” asked Father Brown, regarding it with some disfavour.
“Oh, Quinton’s, I suppose,” said Dr. Harris carelessly; “he has all sorts of Chinese knickknacks about the place. Or perhaps it belongs to that mild Hindoo of his whom he keeps on a string.”
“What Hindoo?” asked Father Brown, still staring at the dagger in his hand.
“Oh, some Indian conjuror,” said the doctor lightly; “a fraud, of course.”
“You don’t believe in magic?” asked Father Brown, without looking up.
“O crickey! magic!” said the doctor.
“It’s very beautiful,” said the priest in a low, dreaming voice; “the colours are very beautiful. But it’s the wrong shape.”
“What for?” asked Flambeau, staring.
“For anything. It’s the wrong shape in the abstract. Don’t you ever feel that about Eastern art? The colours are intoxicatingly lovely; but the shapes are mean and bad—deliberately mean and bad. I have seen wicked things in a Turkey carpet.”
“Mon Dieu!” cried Flambeau, laughing.
“They are letters and symbols in a language I don’t know; but I know they stand for evil words,” went on the priest, his voice growing lower and lower. “The lines go wrong on purpose—like serpents doubling to escape.”
“What