The Gothic Terror MEGAPACK ™: 17 Classic Tales Read online

  On a particular day in her gloomy life a letter, addressed to her as Mrs. Willowes, reached Lady Uplandtowers from an unexpected quarter. A sculptor in Pisa, knowing nothing of her second marriage, informed her that the long-delayed life-size statue of Mr. Willowes, which, when her husband left that city, he had been directed to retain till it was sent for, was still in his studio. As his commission had not wholly been paid, and the statue was taking up room he could ill spare, he should be glad to have the debt cleared off, and directions where to forward the figure. Arriving at a time when the Countess was beginning to have little secrets (of a harmless kind, it is true) from her husband, by reason of their growing estrangement, she replied to this letter without saying a word to Lord Uplandtowers, sending off the balance that was owing to the sculptor, and telling him to despatch the statue to her without delay.

  It was some weeks before it arrived at Knollingwood Hall, and, by a singular coincidence, during the interval she received the first absolutely conclusive tidings of her Edmond’s death. It had taken place years before, in a foreign land, about six months after their parting, and had been induced by the sufferings he had already undergone, coupled with much depression of spirit, which had caused him to succumb to a slight ailment. The news was sent her in a brief and formal letter from some relative of Willowes’s in another part of England.

  Her grief took the form of passionate pity for his misfortunes, and of reproach to herself for never having been able to conquer her aversion to his latter image by recollection of what Nature had originally made him. The sad spectacle that had gone from earth had never been her Edmond at all to her. O that she could have met him as he was at first! Thus Barbara thought. It was only a few days later that a waggon with two horses, containing an immense packing-case, was seen at breakfast-time both by Barbara and her husband to drive round to the back of the house, and by-and-by they were informed that a case labelled “Sculpture” had arrived for her ladyship.

  “What can that be?” said Lord Uplandtowers.

  “It is the statue of poor Edmond, which belongs to me, but has never been sent till now,” she answered.

  “Where are you going to put it?” asked he.

  “I have not decided,” said the Countess. “Anywhere, so that it will not annoy you.”

  “Oh, it won’t annoy me,” says he.

  When it had been unpacked in a back room of the house, they went to examine it. The statue was a full-length figure, in the purest Carrara marble, representing Edmond Willowes in all his original beauty, as he had stood at parting from her when about to set out on his travels; a specimen of manhood almost perfect in every line and contour. The work had been carried out with absolute fidelity.

  “Phoebus-Apollo, sure,” said the Earl of Uplandtowers, who had never seen Willowes, real or represented, till now.

  Barbara did not hear him. She was standing in a sort of trance before the first husband, as if she had no consciousness of the other husband at her side. The mutilated features of Willowes had disappeared from her mind’s eye; this perfect being was really the man she had loved, and not that later pitiable figure; in whom love and truth should have seen this image always, but had not done so.

  It was not till Lord Uplandtowers said roughly, “Are you going to stay here all the morning worshipping him?” that she roused herself.

  Her husband had not till now the least suspicion that Edmond Willowes originally looked thus, and he thought how deep would have been his jealousy years ago if Willowes had been known to him. Returning to the Hall in the afternoon he found his wife in the gallery, whither the statue had been brought.

  She was lost in reverie before it, just as in the morning.

  “What are you doing?” he asked.

  She started and turned. “I am looking at my husb—my statue, to see if it is well done,” she stammered. “Why should I not?”

  “There’s no reason why,” he said. “What are you going to do with the monstrous thing? It can’t stand here for ever.”

  “I don’t wish it,” she said. “I’ll find a place.”

  In her boudoir there was a deep recess, and while the Earl was absent from home for a few days in the following week, she hired joiners from the village, who under her directions enclosed the recess with a panelled door. Into the tabernacle thus formed she had the statue placed, fastening the door with a lock, the key of which she kept in her pocket.

  When her husband returned he missed the statue from the gallery, and, concluding that it had been put away out of deference to his feelings, made no remark. Yet at moments he noticed something on his lady’s face which he had never noticed there before. He could not construe it; it was a sort of silent ecstasy, a reserved beatification. What had become of the statue he could not divine, and growing more and more curious, looked about here and there for it till, thinking of her private room, he went towards that spot. After knocking he heard the shutting of a door, and the click of a key; but when he entered his wife was sitting at work, on what was in those days called knotting. Lord Uplandtowers’ eye fell upon the newly-painted door where the recess had formerly been.

  “You have been carpentering in my absence then, Barbara,” he said carelessly.

  “Yes, Uplandtowers.”

  “Why did you go putting up such a tasteless enclosure as that—spoiling the handsome arch of the alcove?”

  “I wanted more closet-room; and I thought that as this was my own apartment—”

  “Of course,” he returned. Lord Uplandtowers knew now where the statue of young Willowes was.

  One night, or rather in the smallest hours of the morning, he missed the Countess from his side. Not being a man of nervous imaginings he fell asleep again before he had much considered the matter, and the next morning had forgotten the incident. But a few nights later the same circumstances occurred. This time he fully roused himself; but before he had moved to search for her, she entered the chamber in her dressing-gown, carrying a candle, which she extinguished as she approached, deeming him asleep. He could discover from her breathing that she was strangely moved; but not on this occasion either did he reveal that he had seen her. Presently, when she had lain down, affecting to wake, he asked her some trivial questions. “Yes, Edmond,” she replied absently.

  Lord Uplandtowers became convinced that she was in the habit of leaving the chamber in this queer way more frequently than he had observed, and he determined to watch. The next midnight he feigned deep sleep, and shortly after perceived her stealthily rise and let herself out of the room in the dark. He slipped on some clothing and followed. At the farther end of the corridor, where the clash of flint and steel would be out of the hearing of one in the bed-chamber, she struck a light. He stepped aside into an empty room till she had lit a taper and had passed on to her boudoir. In a minute or two he followed. Arrived at the door of the boudoir, he beheld the door of the private recess open, and Barbara within it, standing with her arms clasped tightly round the neck of her Edmond, and her mouth on his. The shawl which she had thrown round her nightclothes had slipped from her shoulders, and her long white robe and pale face lent her the blanched appearance of a second statue embracing the first. Between her kisses, she apostrophized it in a low murmur of infantine tenderness:

  “My only love—how could I be so cruel to you, my perfect one—so good and true—I am ever faithful to you, despite my seeming infidelity! I always think of you—dream of you—during the long hours of the day, and in the night-watches! O Edmond, I am always yours!” Such words as these, intermingled with sobs, and streaming tears, and dishevelled hair, testified to an intensity of feeling in his wife which Lord Uplandtowers had not dreamed of her possessing.

  “Ha, ha!” says he to himself. “This is where we evaporate—this is where my hopes of a successor in the title dissolve—ha, ha! This must be seen to, verily!”

 
; Lord Uplandtowers was a subtle man when once he set himself to strategy; though in the present instance he never thought of the simple stratagem of constant tenderness. Nor did he enter the room and surprise his wife as a blunderer would have done, but went back to his chamber as silently as he had left it. When the Countess returned thither, shaken by spent sobs and sighs, he appeared to be soundly sleeping as usual. The next day he began his countermoves by making inquiries as to the whereabouts of the tutor who had travelled with his wife’s first husband; this gentleman, he found, was now master of a grammar-school at no great distance from Knollingwood. At the first convenient moment Lord Uplandtowers went thither and obtained an interview with the said gentleman. The schoolmaster was much gratified by a visit from such an influential neighbour, and was ready to communicate anything that his lordship desired to know.

  After some general conversation on the school and its progress, the visitor observed that he believed the schoolmaster had once travelled a good deal with the unfortunate Mr. Willowes, and had been with him on the occasion of his accident. He, Lord Uplandtowers, was interested in knowing what had really happened at that time, and had often thought of inquiring. And then the Earl not only heard by word of mouth as much as he wished to know, but, their chat becoming more intimate, the schoolmaster drew upon paper a sketch of the disfigured head, explaining with bated breath various details in the representation.

  “It was very strange and terrible!” said Lord Uplandtowers, taking the sketch in his hand. “Neither nose nor ears!”

  A poor man in the town nearest to Knollingwood Hall, who combined the art of sign-painting with ingenious mechanical occupations, was sent for by Lord Uplandtowers to come to the Hall on a day in that week when the Countess had gone on a short visit to her parents. His employer made the man understand that the business in which his assistance was demanded was to be considered private, and money insured the observance of this request. The lock of the cupboard was picked, and the ingenious mechanic and painter, assisted by the schoolmaster’s sketch, which Lord Uplandtowers had put in his pocket, set to work upon the god-like countenance of the statue under my lord’s direction. What the fire had maimed in the original the chisel maimed in the copy. It was a fiendish disfigurement, ruthlessly carried out, and was rendered still more shocking by being tinted to the hues of life, as life had been after the wreck.

  Six hours after, when the workman was gone, Lord Uplandtowers looked upon the result, and smiled grimly, and said:

  “A statue should represent a man as he appeared in life, and that’s as he appeared. Ha! ha! But ’tis done to good purpose, and not idly.”

  He locked the door of the closet with a skeleton key, and went his way to fetch the Countess home.

  That night she slept, but he kept awake. According to the tale, she murmured soft words in her dream; and he knew that the tender converse of her imaginings was held with one whom he had supplanted but in name. At the end of her dream the Countess of Uplandtowers awoke and arose, and then the enactment of former nights was repeated. Her husband remained still and listened. Two strokes sounded from the clock in the pediment without, when, leaving the chamber-door ajar, she passed along the corridor to the other end, where, as usual, she obtained a light. So deep was the silence that he could even from his bed hear her softly blowing the tinder to a glow after striking the steel. She moved on into the boudoir, and he heard, or fancied he heard, the turning of the key in the closet-door. The next moment there came from that direction a loud and prolonged shriek, which resounded to the farthest corners of the house. It was repeated, and there was the noise of a heavy fall.

  Lord Uplandtowers sprang out of bed. He hastened along the dark corridor to the door of the boudoir, which stood ajar, and, by the light of the candle within, saw his poor young Countess lying in a heap in her nightdress on the floor of the closet. When he reached her side he found that she had fainted, much to the relief of his fears that matters were worse. He quickly shut up and locked in the hated image which had done the mischief; and lifted his wife in his arms, where in a few instants she opened her eyes. Pressing her face to his without saying a word, he carried her back to her room, endeavouring as he went to disperse her terrors by a laugh in her ear, oddly compounded of causticity, predilection, and brutality.

  “Ho—ho—ho!” says he. “Frightened, dear one, hey? What a baby ’tis! Only a joke, sure, Barbara—a splendid joke! But a baby should not go to closets at midnight to look for the ghost of the dear departed! If it do it must expect to be terrified at his aspect—ho—ho—ho!”

  When she was in her bed-chamber, and had quite come to herself; though her nerves were still much shaken, he spoke to her more sternly. “Now, my lady, answer me: do you love him—eh?”

  “No—no!” she faltered, shuddering, with her expanded eyes fixed on her husband. “He is too terrible—no, no!”

  “You are sure?”

  “Quite sure!” replied the poor broken-spirited Countess. But her natural elasticity asserted itself. Next morning he again inquired of her: “Do you love him now?”

  She quailed under his gaze, but did not reply.

  “That means that you do still, by God!” he continued.

  “It means that I will not tell an untruth, and do not wish to incense my lord,” she answered, with dignity.

  “Then suppose we go and have another look at him?” As he spoke, he suddenly took her by the wrist, and turned as if to lead her towards the ghastly closet.

  “No—no! Oh—no!” she cried, and her desperate wriggle out of his hand revealed that the fright of the night had left more impression upon her delicate soul than superficially appeared.

  “Another dose or two, and she will be cured,” he said to himself.

  It was now so generally known that the Earl and Countess were not in accord, that he took no great trouble to disguise his deeds in relation to this matter. During the day he ordered four men with ropes and rollers to attend him in the boudoir. When they arrived, the closet was open, and the upper part of the statue tied up in canvas. He had it taken to the sleeping-chamber. What followed is more or less matter of conjecture. The story, as told to me, goes on to say that, when Lady Uplandtowers retired with him that night, she saw near the foot of the heavy oak four-poster, a tall dark wardrobe, which had not stood there before; but she did not ask what its presence meant.

  “I have had a little whim,” he explained when they were in the dark.

  “Have you?” says she.

  “To erect a little shrine, as it may be called.”

  “A little shrine?”

  “Yes; to one whom we both equally adore—eh? I’ll show you what it contains.”

  He pulled a cord which hung covered by the bed-curtains, and the doors of the wardrobe slowly opened, disclosing that the shelves within had been removed throughout, and the interior adapted to receive the ghastly figure, which stood there as it had stood in the boudoir, but with a wax-candle burning on each side of it to throw the cropped and distorted features into relief. She clutched him, uttered a low scream, and buried her head in the bedclothes. “Oh, take it away—please take it away!” she implored.

  “All in good time namely, when you love me best,” he returned calmly. “You don’t quite yet—eh?”

  “I don’t know—I think—O Uplandtowers, have mercy—I cannot bear it—O, in pity, take it away!”

  “Nonsense; one gets accustomed to anything. Take another gaze.”

  In short, he allowed the doors to remain unclosed at the foot of the bed, and the wax-tapers burning; and such was the strange fascination of the grisly exhibition that a morbid curiosity took possession of the Countess as she lay, and, at his repeated request, she did again look out from the coverlet, shuddered, hid her eyes, and looked again, all the while begging him to take it away, or it would drive her out of her senses. But he
would not do so as yet, and the wardrobe was not locked till dawn.

  The scene was repeated the next night. Firm in enforcing his ferocious correctives, he continued the treatment till the nerves of the poor lady were quivering in agony under the virtuous tortures inflicted by her lord, to bring her truant heart back to faithfulness.

  The third night, when the scene had opened as usual, and she lay staring with immense wild eyes at the horrid fascination, on a sudden she gave an unnatural laugh; she laughed more and more, staring at the image, till she literally shrieked with laughter: then there was silence, and he found her to have become insensible. He thought she had fainted, but soon saw that the event was worse: she was in an epileptic fit. He started up, dismayed by the sense that, like many other subtle personages, he had been too exacting for his own interests. Such love as he was capable of, though rather a selfish gloating than a cherishing solicitude, was fanned into life on the instant. He closed the wardrobe with the pulley, clasped her in his arms, took her gently to the window, and did all he could to restore her.

  It was a long time before the Countess came to herself, and when she did so, a considerable change seemed to have taken place in her emotions. She flung her arms around him, and with gasps of fear abjectly kissed him many times, at last bursting into tears. She had never wept in this scene before.

  “You’ll take it away, dearest—you will!” she begged plaintively.