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Right of Way, The

<h2> CHAPTER XXVI. A SONG, A BOTTLE, AND A GHOST </h2> All day John Brown, ex-clergyman and quack-doctor, harangued the people of Chaudiere from his gaily-painted wagon. He had the perfect gift of the charlatan, and he had discovered his metier. Inclined to the picturesque by nature, melodramatic and empirical, his earlier career had been the due fruit of habit and education. As a dabbler in mines he had been out of his element. He lacked the necessary reticence, and arsenic had not availed him, though it had tempted Billy Wantage to forgery; and because Billy hid himself behind the dismal opportunity of silence, had ruined the name of a dead man called Charley Steele. Since Charley's death John Brown had never seen Billy: he had left the town one woful day an hour after Billy had told him of the discovery Charley had made. From a far corner of the country he had read the story of Charley's death; of the futile trial of the river-drivers afterwards, ending in acquittal, and the subsequent discovery of the theft of the widows' and orphans' trust-moneys. On this St. Jean Baptiste's day he was thinking of anything and everything else but Charley Steele. Nothing could have been a better advertisement for him than the perilous incident at the Red Ravine. Falling backwards when the horse suddenly bolted, his head had struck the medicine-chest, and he had lain insensible till brought back to consciousness by the good offices of the voluble Colonel. He had not, therefore, seen Charley. It was like him that his sense of gratitude to the unknown tailor should be presently lost in exploiting the interest he created in the parish. His piebald horse, his white "plug" hat, his gaily painted wagon, his flamboyant manner, and, above all, the marvellous tale of his escape from death, were more exciting to the people of Chaudiere than the militia, the dancing-bears, the shooting-galleries, or the boat-races. He could sing extremely well—had he not trained his own choir when he was a parson? had not Billy approved his comic songs?—and these comic songs, now sandwiched between his cures and his sales, created much laughter. He cured headaches, toothaches, rheumatism, and all sorts of local ailments "with despatch." He miraculously juggled away pains by what he called his Pain Paint, and he stopped a cough by a laugh and a dose of his Golden Pectoral. In the exuberance of trade, which steadily increased till sundown, he gave no thought to the tailor, to whom, however, he had sent by a messenger a two-dollar bill and two bottles of Pain Paint, with the lordly announcement that he would call in the evening and "present his compliments and his thanks." The messenger left the Pain Paint on the door-step of the tailor-shop, and the two dollars he promptly spent at the Trois Couronnes. Rosalie Evanturel rescued the bottles from the doorstep and awaited Charley's return to his shop, that she might take them over to him, and so have an excuse to speak with him; for to-day her heart and mind were full of him. He had done a brave thing for the medicine-man, and had then fled from public gaze as a brave man should. There was no one to compare with him. Not even the Cure was his superior in ability, and certainly he was a greater man—though seemingly only a tailor—than M. Rossignol. M. Rossignol—she flushed. Who could have believed that the Seigneur would say those words to her this morning—to her, Rosalie Evanturel, who hadn't five hundred dollars to her name? That she should be asked to be Madame Rossignol! Confusion mingled with her simple pride, and she ran out into the street, to where her father sat listening to the medicine-man singing, in doubtful French: "I am a waterman bold, Oh, I'm a waterman bold: But for my lass I have great fear, Yes, in the isles I have great fear, For she is young, and I am old, And she is bien gentille!" It was night now. The militia had departed, their Colonel roaring commands at them out of a little red drill-book; the older people had gone to their homes, but festive youth hovered round the booths and sideshows, the majority enjoying themselves at some expense in the medicine-man's encampment. As Rosalie ran towards the crowd she turned a wistful glance to the tailor-shop. Not a sign of life there! She imagined M'sieu' to be at Vadrome Mountain, until, glancing round the crowd at the quack-doctor's wagon, she saw Jo Portugais gloomily watching the travelling tinker of human bodies. Evidently M'sieu' was not at Vadrome Mountain. He was not far from her. At the side of the road, under a huge maple-tree with wide-spreading branches, Charley stood and watched John Brown performing behind the flaring oil-lights stuck on poles round his wagon, his hat now on, now off; now singing a comic song in English—-'I found Y' in de Honeysuckle Paitch;' now a French chanson—'En Revenant de St. Alban;' now treating a stiff neck or a bent back, or giving momentary help to the palsy of an old man, or again making a speech. Charley was in touch again with the old life, but in a kind of fantasy only—a staring, high-coloured dream. This man—John Brown—had gone down before his old ironical questioning, had been, indirectly, the means of disgracing his name. A step forward to that wagon, a word uttered, a look, and he would have to face again the life he had put by for ever, would have to meet a hard problem and settle it—to what misery and tragedy, who might say? Under this tree he was M. Mallard, the infidel tailor, whose life was slowly entering into the life of this place called Chaudiere, slowly being acted upon by habit, which, automatically repeated, at length becomes character. Out in that red light, before that garish wagon, he would be Charley Steele, barrister, 'flaneur', and fop, who, according to the world, had misused a wife, misled her brother, robbed widows and orphans, squandered a fortune, become drunkard and wastrel, and at last had lost his life in a disorderly tavern at the Cote Dorion. This man before him had contributed to his disgrace; but once he had contributed to John Brown's disgrace; and to-day he had saved John Brown's life. They were even. All the night before, all this morning, he had fought a fierce battle with his past—with a raging thirst. The old appetite had swept over him fiercely. All day he had moved in a fevered conflict, which had lifted him away from the small movements of everyday life into a region where only were himself and one strong foe, who tirelessly strove with him. In his old life he had never had a struggle of any sort. His emotions had been cloaked, his soul masked, there had been a film before his eyes, he had worn an armour of selfishness on a life which had no deep problems, because it had no deep feelings—a life never rising to the intellectual prowess for which it was fitted, save when under the stimulus of liquor. From the moment he had waked from a long seven months' sleep in the hut on Vadrome Mountain, new deep feelings had come to him as he faced problems of life. Fighting had begun from that hour—a fighting which was putting his nature through bitter mortal exercises, yet, too, giving him a sense of being he had never known. He had now the sweetness of earning daily bread by the work of his hands; of giving to the poor, the needy, and the afflicted; of knowing for the first time in his life that he was not alone in the world. Out of the grey dawn of life a woman's voice had called to him; the look of her face had said to him: "Viens ici! Viens ici!"—"Come to me! Come to me!" But with that call there was the answer of his soul, the desolating cry of the dispossessed Lear—"—never—never—never—never!" He had not questioned himself concerning Rosalie—had dared not to do so. But now, as he stood under the great tree, within hand-touch of the old life, in imminent danger of being thrust back into it, the question of Rosalie came upon him with all the force of months of feeling behind it. Thus did he argue with himself: "Do I love her? And if I love her, what is to be done? Marry her, with a wife living? Marry her while charged with a wretched crime? Would that be love? But suppose I never were discovered, and we might live here for ever, I as 'Monsieur Mallard,' in peace and quiet all the days of our life? Would that be love?... Could there be love with a vital secret, like, a cloud between, out of which, at any hour, might spring discovery? Could I build our life upon a silence which must be a lie? Would I not have to face the question, Does any one know cause or just impediment why this woman should not be married to this man? Tell Rosalie all, and let the law separate myself and Kathleen? That would mean Billy's ruin and imprisonment, and Kathleen's shame, and it might not bring Rosalir. She is a Catholic, and her Church would not listen to it. Would I have the right to bring trouble into her life? To wrong one woman should seem enough for one lifetime!" At that instant Rosalie, who had been on the outskirts of the crowd, moved into his line of vision. The glare from the lights fell on her face as she stood by her father's chair, looking curiously at the quack-doctor who, having sold many bottles of his medicines, noy picked up a guitar and began singing an old dialect chanson of Saintonge: "Voici, the day has come When Rosette leaves her home! With fear she walks in the sun, For Raoul is ninety year, And she not twenty-one. La petit' Rosette, She is not twenty-one. "He takes her by the hand, And to the church they go; By parents 'twas well meant, But is Rosette content? 'Tis gold and ninety year She walks in the sun with fear, La petit' Rosette, Not twenty-one as yet!" Charley's eyes, which had watched her these months past, noted the deepening colour of the face, the glow in the eyes, the glances of keen but agitated interest towards the singer. He could not translate her looks; and she, on her part, had she been compelled to do so, could only have set down a confusion of sensations. In Rosette she saw herself, Rosalie Evanturel; in the man "de quatre-vingt-dix ans," who was to marry this Rosette of Saintonge, she saw M. Rossignol. Disconcerting pictures of a possible life with the Seigneur flitted before her mind. She beheld herself, young, fresh-cheeked, with life beating high and all the impulses of youth panting to use, sitting at the head of the seigneury table. She saw herself in the great pew at Mass, stiff with dignity, old in the way of manorial pride—all laughter dead in her, all spring-time joy overshadowed by the grave decorum of the Manor, all the imagination of her dreaming spirit chilled by the presence of age, however kindly and quaint and cheerful. She shuddered, and dropped her eyes upon the ground, as, to the laughter and giggling of old and young gathered round the wagon, the medicine-man sang: "He takes her by the hand, And to her chamber fair—" Then, suddenly turning, she vanished into the night, followed by the feeble inquiry of her father's eyes, the anxious look in Charley's. Charley could not read her tale. He had, however, a hot impulse to follow and ask her if she would vanish from the scene if the medicine-man should sing of Rosette and a man of thirty, not ninety, years. The fight he had had all day with his craving for drink had made him feverish, and all his emotions—unregulated, under the command of his will only—were in high temperature. A reckless feeling seized him. He would go to Rosalie, look into her eyes, and tell her that he loved her, no matter what the penalty of fate. He had never loved a human being, and the sudden impulse to cry out in the new language was driving him to follow the girl whose spirit for ever called to him. He made a step forward to follow her, but stopped short, recalled to caution and his danger by the voice of the medicine-man: "I had a friend once—good fellow, bad fellow, cleverest chap I ever knew. Tremendous fop—ladies loved him—cheeks like roses—tongue like sulphuric acid. Beautiful to look at. Clothes like a fashion-plate—got any fashion-plates in Chaudiere? 'who's your tailor?'" he added, in the slang of the hour, with a loud laugh, then stopped suddenly and took off his hat. "I forgot," he added, with upturned eyes and a dramatic seriousness, "your tailor saved my life to-day-henceforth I am the friend of all tailors. Well, to continue. My friend that was—I call him my friend, though he ruined me and ruined others,—didn't mean to, but he did just the same,—he came to a bad end. But he was a great man while he lived. And what I'm coming to is this, the song he used to sing when, in youthful exuberance, we went on the war-path like our young friend over there"—he pointed to a young habitant farmer, who was trying hard to preserve equilibrium—"Brown's Golden Pectoral will cure that cough, my friend!" he added, as the young man, gloomily ashamed of the laughter of the crowd, hiccoughed and turned away to the tree under which Charley Steele stood. "Well," he went on, "I was going to say that my friend's name was Charley, and the song he used to sing when the roosters waked the morn was called 'Champagne Charlie.' He was called 'Champagne Charlie'—till he came to a bad end." He twanged his guitar, cleared his throat, winked at Maximilian Cour the baker, and began: "The way I gained my title's by a hobby which I've got Of never letting others pay, however long the shot; Whoever drinks at my expense is treated all the same; Whoever calls himself my friend, I make him drink champagne. Some epicures like Burgundy, Hock, Claret, and Moselle, But Moet's vintage only satisfies this champagne swell. What matter if I go to bed and head is muddled thick, A bottle in the morning sets me right then very quick. Champagne Charlie is my name; Champagne Charlie is my name. Who's the man with the heart so young, Who's the man with the ginger tongue? Champagne Charlie is his name!" Under the tree, Charley Steele listened to this jaunty epitaph on his old self. At the first words of the coarse song there rushed on him the dreaded thirst. He felt his veins beating with desire, with anger, disgust, and shame; for there was John Brown, to the applause of the crowd, imitating his old manner, his voice, his very look. He started forward, but the drunken young habitant lurched sideways under the tree and collapsed upon the ground, a bottle of whiskey falling out of his pocket and rolling almost to his own feet. "Champagne Charlie is my name," sang the medicine-man. All Charley's old life surged up in him as dyked water suddenly bursts bounds and spreads destruction. He had an uncontrollable impulse. As a starving animal snatches at the first food offered it, he stooped, with a rattle in his throat, seized the bottle, uncorked it, put it to his lips, and drank—drank—drank. Then he turned and plunged away into the trees. The sound of the song followed him. It came to him, the last refrain, sung loudly to the laughter of the crowd, in imitation of his own voice as it used to be—it had been a different voice during this past year. He turned with headlong intention, and, as the last notes of the song and the applause that followed it, died away, threw back his head and sang out of the darkness: "Champagne Charlie is my name—" With a shrill laugh, like the half-mad cry of an outcast soul, he flung away farther into the trees. There was a sudden silence. The crowd turned with half-apprehensive laughter to the trees. Upon John Brown the effect was startling. His face blanched, his eyes grew large with terror, his mouth opened in helpless agitation. Charley Steele was lying under the waters of the great river, his bones rotting there for a year, yet here was his voice coming out of the night, in response to his own grotesque imitation of the dead man. Seeing his agitation, women turned pale, men felt their flesh creep, imagination gave a thrilling coldness to the air. For a moment the silence was unbroken. Then John Brown stretched out his hand and said, in a hoarse whisper: "It was his voice—Charley's voice, and he's been dead a year!" Within half-an-hour, in utter collapse and fright, he was being driven to the next parish by two young habitants whom he paid to accompany him. <h2> CHAPTER XXVII. OUT ON THE OLD TRAIL. </h2> There was one person in the crowd surrounding the medicine-man's wagon who had none of that superstitious thrill which had scattered the habitants into little awe-stricken groups, and then by twos and threes to their homes; none of that fear which had reduced the quack-doctor to such nervous collapse that he would not spend the night in the village. Jo Portugais had recognised the voice—that of Charley Steele the lawyer who had saved him from hanging years ago. It was little like the voice of M'sieu'! There was that in it which frightened him. He waited until he had seen the quackdoctor start for the next parish, then he went slowly down the street. There were people still about, so he walked on towards the river. When he returned, the street was empty. Keeping in the shadow of the trees, he went to Charley's house. There was a light in a window. He went to the back door and tried it. It was not locked, and, without knocking, he stepped inside the kitchen. Here was no light, and he passed into the hallway and on to a little room opening from the tailorshop. He knocked; then, not waiting for response, opened the door and entered. Charley was standing before a mirror, holding a pair of scissors. He turned abruptly, and said forbiddingly: "I am at my toilet!" Then, turning again to the mirror, with a shrug of the shoulders, he raised the shears to his beard. Before he could use them, Jo's hand was on his arm. "Stop that, M'sieu'!" he said huskily. Charley had drunk nearly a whole bottle of cheap whiskey within an hour. He was intoxicated, but, as had ever been the case with him, his brain was working clearly, his hand was steady; he was in that wide dream of clear-seeing and clear-knowing which, in old days, had given him glimpses of the real life from which, in the egotism of the non-intime, he had been shut out. Looking at Jo now, he was possessed by a composed intoxication like that in which he had moved during that last night at the Cote Dorion. But now, with the baleful crust of egotism gone, with every nerve of life exposed, with conscience struggling to its feet from the torpor of thirty-odd vacant years, he was as two men in one, with different lives and different souls, yet as inseparable in their misery as those poor victims of Gallic tyranny, chained back to back and thrown into the Seine. Jo's words, insistent and eager, suddenly roused in him some old memory, which stayed his hand. "Why should I stop?" he asked quietly, and smiling that smile which had infuriated the river-drivers at the Cote Dorion. "Are you going back, M'sieu?" "Back where?" Charley's eyes were fixed on Jo with a penetrating intensity, heightened to a strange abstraction, as though he saw not Jo alone, but something great distances beyond. Jo did not answer this question directly. "Some one came to-day—he is gone; some one may come to-morrow—and stay," he said meaningly. Charley went over to the fire and sat down on a bench, opening and shutting the scissors mechanically. Jo was in the light, and Charley's eyes again studied him hard. His memory was industriously feeling its way into the baffling distance. "What if some one did come-and stay?" he urged quietly. "You might be recognised without the beard." "What difference would it make?" Charley's memory was creeping close to the hidden door. It was feeling-feeling for the latch. "You know best, M'sieu'." "But what do you know?" Charley's face now had a strained look, and he touched his lips with his tongue. "What John Brown knows, M'sieu'." There flashed across Charley's mind the fatal newspaper he had read on the day he awakened to memory again in the but on Vadrome Mountain. He remembered that he had put it in the fire. But Jo might have read it before it was spread upon the bench-put it there of purpose for him to read. Yet what reason could Jo have for being silent, for hiding his secret? There was silence for a space, in which Charley's eyes were like unmoving sparks of steel. He did not see Jo's face—it was in a mist—he was searching, searching, searching. All at once he felt the latch of the hidden door under his finger; he saw a court-room, a judge and jury, and hundreds of excited faces, himself standing in the midst. He saw twelve men file slowly into the room and take their seats-all save one, who stood still in his place and said: "Not guilty, your Honour!" He saw the prisoner leave the box and step down a free man. He saw himself coming out into the staring summer day. He watched the prisoner come to him and touch his arm, and say: "Thank you, M'sieu'. You have saved my life." He saw himself turn to this man: He roused from his trance, he staggered to his feet, the shears rattled to the floor. Lurching forward, he caught Jo Portugais by the throat, and said, as he had said outside the court-room years ago: "Get out of my sight. You're as guilty as hell!" His grip tightened—tightened on Jo's throat. Jo did not move, though his face grew black. Then, suddenly, the hands relaxed, a bluish paleness swept over the face, and Charley fell sidewise to the floor before Jo could catch him. All night, alone, the murderer struggled with death over the body of the lawyer who had saved his life. <h2> CHAPTER XXVIII. THE SEIGNEUR GIVES A WARNING </h2> Rosalie had watched a shut door for five days—a door from which, for months past, had come all the light and glow of her life. It framed a figure which had come to represent to her all that meant hope and soul and conscience-and love. The morning after St. Jean Baptiste's day she had awaited the opening door, but it had remained closed. Ensued watchful hours, and then from Jo Portugais she had learned that M'sieu' had been ill and near to death. She had been told the weird story of the medicine-man and the ghostly voice, and, without reason, she took the incident as a warning, and associated it with the man across the way. She was come of a superstitious race, and she herself had heard and seen things of which she never had been able to speak—the footsteps in the church the night she had screwed the little cross to the door again; the tiny round white light by the door of the church; the hood which had vanished into the unknown. One mystery fed another. It seemed to her as if some dreadful event were forward; and all day she kept her eyes fixed on the tailor's door. Dead—if M'sieu' should die! If M'sieu' should die—it needed all her will to prevent herself from going over and taking things in her own hands, being his nurse, his handmaid, his slave. Duty—to the government, to her father? Her heart cried out that her duty lay where all her life was eddying to one centre. What would the world say? She was not concerned for that, save for him. What, then, would M'sieu' say? That gave her pause. The Seigneur's words the day before had driven her back upon a tide of emotions which carried her far out upon that sea where reason and life's conventions are derelicts, where Love sails with reckless courage down the shoreless main. "If I could only be near him!" she kept saying to herself. "It is my right. I would give my life, my soul for his. I was with him before when his life was in danger. It was my hand that saved him. It was my love that tended him. It was my soul that kept his secret. It was my faith that spoke for him. It was my heart that ached for him. It is my heart that aches for him now as none other in all the world can. No one on earth could care as I care. Who could there be?" Something whispered in her ear, "Kathleen!" The name haunted her, as the little cross had done. Misery and anger possessed her, and she fought on with herself through dark hours. Thus five days had gone, until at last a wagon was brought to the door of the tailor-shop, and M'sieu' came out, leaning on the arm of Jo Portugais. There were several people in the street at the time, and they kept whispering that M'sieu' had been at death's door. He was pale and haggard, with dark hollows under the eyes. Just as he got into the wagon the Cure came up. They shook hands. The Cure looked him earnestly in the face, his lips moved, but no one could have told what he said. As the wagon started, Charley looked across to the post-office. Rosalie was standing a little back from the door, but she stepped forward now. Their eyes met. Her heart beat faster, for there was a look in his eyes she had never seen before—a look of human helplessness, of deep anxiety. It was meant for her—for herself alone. She could not trust herself to go and speak to him. She felt that she must burst into tears. So, with a look of pity and pain, she watched the wagon go down the street. Rat-tat-tat-tat-tat!—the Seigneur's gold-headed cane rattled on the front door of the tailor-shop. It was plain to be seen his business was urgent. Madame Dauphin came hurrying from the postoffice, followed by Maximilian Cour and Filion Lacasse. "Ah, M'sieu', the tailor will not answer. There's no use knocking—not a bit, M'sieu' Rossignol," said Madame. The Seigneur turned querulously upon the Notary's wife, yet with a glint of hard humour in his eye. He had no love for Madame Dauphin. He thought she took unfair advantages of M. Dauphin, whom also he did not love, but whose temperament did him credit. "How should Madame know whether or no the gentleman will answer? Does Madame share the gentleman's confidence, perhaps?" he remarked. Madame did not reply at once. She turned on the saddler and the baker. "I hope you'll learn a lesson," she cried triumphantly. "I've always said the tailor was quite the gentleman; and now you see how your betters call him. No, M'sieu', the gentleman will not answer," she added to the Seigneur. "He is in bed yet, Madame?" "His bed is empty there, M'sieu'," she said, impressively, and pointing. "I suppose I should trust you in this matter; I suppose you should know. But, Dauphin—what does Dauphin say?" The saddler laughed outright. Maximilian Cour suddenly blushed in sympathy with Madame Dauphin, who now saw the drift of the Seigneur's remarks, and was sensibly agitated, as the Seigneur had meant her to be. Had she not turned Dauphin's human sympathies into a crime? Had not the Notary supported the Seigneur in his friendly offices to Paulette Dubois; and had not Madame troubled her husband's life because of it? Madame bridled up now—with discretion, for it was not her cue to offend the Seigneur. "All the village knows his bed's empty there, M'sieu'," she said, with tightening lips. "I am subtracted from the total, then?" he asked drily. "You have been away for the last five days—" "Come, now, how did you know that?" "Everybody knows it. You went away with the Colonel and the soldiers on St. Jean Baptiste's day. Since then M'sieu' the tailor has been ill. I should think Mrs. Flynn would have told you that, M'sieu'." "H'm! Would you? Well, Mrs. Flynn has been away too—and you didn't know that! What is the matter with Monsieur Mallard?" "Some kind of fever. On St. Jean Baptiste's day he was taken ill, and that animal Portugais took care of him all night—I wonder how M'sieu' can have the creature about! That St. Jean Baptiste's night was an awful night. Have you heard of what happened, M'sieu'? Ghost or no ghost—" "Come, come, I want to know about the tailor, not of ghosts," impatiently interrupted the Seigneur. "Tiens! M'sieu', the tailor was ill for three days here, and he would let no one except the Cure and Jo Portugais near him. I went myself to clean up and make some broth, but that toad of a Portugais shut the door in my face. The Cure told us to go home and leave M'sieu' with Portugais. He must be very sick to have that black sheep about him—and no doctor either." The saddler spoke up now. "I took him a bottle of good brandy and some buttermilk-pop and seed cake—I would give him a saddle if he had a horse—he got my thousand dollars for me! Well, he took them, but what do you think? He sent them right off to the shantyman, Gugon, who has a broken leg. Infidel or no, I'm on his side for sure. And God blesses a cheerful giver, I'm told." It was the baker's chance, and he took it. "I played 'The Heart Bowed Down'-it is English-under his window, two nights ago, and he sent word for me to come and play it again in the kitchen. Ah, that is a good song, 'The Heart Bowed Down.'" "You'd be a better baker if you fiddled less," said Madame Dauphin, annoyed at being dropped out of the conversation. "The soul must be fed, Madame," rejoined the baker, with asperity. "Where is the tailor now?" said the Seigneur shortly. "At Portugais's on Vadrome Mountain. They say he looked like a ghost when he went. Rosalie Evanturel saw him, but she has no tongue in her head this morning," added Madame. The Seigneur moved away. "Good-bye to you—I am obliged to you, Madame. Good-bye, Lacasse. Come and fiddle to me some night, Cour." He bowed to the obsequious three, and then bent his steps towards the post-office. They seemed about to follow him, but he stopped them with a look. The men raised their bonnets-rouges, the woman bowed low, and the Seigneur entered the post-office door. From the shadows of the office Rosalie had watched the little group before the door of the tailor-shop. She saw the Seigneur coming across the street. Suddenly she flushed deeply, for there came to her mind the song the quack-doctor sang: "Voila, the day has come When Rosette leaves her home! With fear she walks in the sun, For Raoul is ninety year, And she not twenty-one." As M. Rossignol's figure darkened the doorway, she pretended to be busy behind the wicket, and not to see him. He was not sure, but he thought it quite possible that she had seen him coming, and he put her embarrassment down to shyness. Naturally the poor child was not given the chance every day to receive an offer of marriage from a seigneur. He had made up his mind that she would be sure to accept him if he asked her a second time. "Ah, Ma'm'selle Rosalie," he said gaily, "what have you to say that you should not come before a magistrate at once?" "Nothing, if Monsieur Rossignol is to be the magistrate," she replied, with forced lightness. "Good!" He looked at her quizzically through his gold-handled glass. "I can't frighten you, I see. Well, you must wait a little; you shall be sworn in postmistress in three days." His voice lowered, became more serious. "Tell me," he said, "do you know what is the matter with the gentleman across the way?" Turning, he looked across to the tailor-shop, as though he expected "the gentleman" to appear, and he did not see her turn pale. When his look fell on her again, she was self-controlled. "I do not know, Monsieur." "You have been opposite him here these months past—did you ever see anything not—not as it should be?" "With him, Monsieur? Never." "It is as though the infidel behaved like a good Catholic and a Christian?" "There are good Catholics in Chaudiere who do not behave like Christians." "What would you say, for instance, about his past?" "What should I say about his past, Monsieur? What should I know?" "You should know more than any one else in Chaudiere. The secrets of his breast might well be bared to you." She started and crimsoned. Before her eyes there came a mist obscuring the Seigneur, and for an instant shutting out the world. The secrets of his breast—what did he mean? Did he know that on Monsieur's breast was the red scar which... M. Rossignol's voice seemed coming from an infinite distance, and as it came, the mist slowly passed from her eyes. "You will know, Mademoiselle Rosalie," he was saying, "that while I suggested that the secrets of his breast might well be bared to you, I meant that as an honest lady and faithful postmistress they were not. It was my awkward joke—a stupid gambolling by an old man who ought to know better." She did not answer, and he continued: "You know that you are trusted. Pray accept my apologies." She was herself again. "Monsieur," she said quietly; "I know nothing of his past. I want to know nothing. It does not seem to me that it is my business. The world is free for a man to come and go in, if he keeps the law and does no ill—is it not? But, in any case, I know nothing. Since you have said so much, I shall say this, and betray no 'secrets of his breast'—that he has received no letter through this office since the day he first came from Vadrome Mountain." The Seigneur smiled. "A wonderful tailor! How does he carry on business without writing letters?" "There was a large stock of everything left by Louis Trudel, and not long ago a commercial traveller was here with everything." "You think he has nothing to hide, then?" "Have not we all something to hide—with or without shame?" she asked simply. "You have more sense than any woman in Chaudiere, Mademoiselle." She shook her head, yet she raised her eyes gratefully to him. "I put faith in what you say," he continued. "Now listen. My brother, the Abbe, chaplain to the Archbishop, is coming here. He has heard of 'the infidel' of our parish. He is narrow and intolerant—the Abbe. He is going to stir up trouble against the tailor. We are a peaceful people here, and like to be left alone. We are going on very well as we are. So I wanted to talk to Monsieur to-day. I must make up my own mind how to act. The tailor-shop is the property of the Church. An infidel occupies it, so it is said; the Abbe does not like that. I believe there are other curious suspicions about Monsieur: that he is a robber, or incendiary, or something of the sort. The Abbe may take a stand, and the Cure's position will be difficult. What is more, my brother has friends here, fanatics like himself. He has been writing to them. They are men capable of doing unpleasant things—the Abbe certainly is. It is fair to warn the tailor. Shall I leave it to you? Do not frighten him. But there is no doubt he should be warned—fair play, fair play! I hear nothing but good of him from those whose opinions I value. But, you see, every man's history in this parish and in every parish of the province is known. This man, for us, has no history. The Cure even admits there are some grounds for calling him an infidel, but, as you know, he would keep the man here, not drive him out from among us. I have not told the Cure about the Abbe yet. I wished first to talk with you. The Abbe may come at any moment. I have been away, and only find his letters to-day." "You wish me to tell Monsieur?" interrupted Rosalie, unable to hold silence any longer. More than once during the Seigneur's disclosure she had felt that she must cry out and fiercely repel the base insinuations against the man she loved. "You would do it with discretion. You are friendly with him, are you not?—you talk with him now and then?" She inclined her head. "Very well, Monsieur. I will go to Vadrome Mountain to-morrow," she said quietly. Anger, apprehension, indignation, possessed her, but she held herself firmly. The Seigneur was doing a friendly thing; and, in any case, she could have no quarrel with him. There was danger to the man she loved, however, and every faculty was alive. "That's right. He shall have his chance to evade the Abbe if he wishes," answered M. Rossignol. There was silence for a moment, in which she was scarcely conscious of his presence; then he leaned over the counter towards her, and spoke in a low voice. "What I said the other day I meant. I do not change my mind—I am too old for that. Yet I'm young enough to know that you may change yours." "I cannot change, Monsieur," she said tremblingly. "But you will change. I knew your mother well, I know how anxious she was for your future. I told her once that I should keep an eye on you always. Her father was my father's good friend. I knew you when you were in the cradle—a little brown-haired babe. I watched you till you went to the convent. I saw you come back to take up the duties which your mother laid down, alas!—" "Monsieur—!" she said choking, and with a troubled little gesture. "You must let me speak, Rosalie. We got your father this post-office. It is a poor living, but it keeps a roof over your head. You have never failed us you have always fulfilled our hopes. But the best years of your life are going, and your education and your nature have not their chance. Oh, I've not watched you all these years for nothing. I never meant to ask you to marry me. It came to me, though, all at once, and I know that it has been in my mind all these years—far back in my mind. I don't ask you for my own sake alone. Your father may grow very ill—who can tell what may happen!" "I should be postmistress still," she said sadly. "As a young girl you could not have the responsibility here alone. And you should not waste your life it is a fine, full spirit; let the lean, the poor-spirited, go singly. You should be mated. You can't marry any of the young farmers of Chaudiere. 'Tis impossible. I can give you enough for any woman's needs—the world may be yours to see and use to your heart's content. I can give, too"—he drew himself up proudly—"the unused emotions of a lifetime." This struck him as a very fine and important thing to say. "Ah, Monsieur, that is not enough," she responded. "What more can you want?" She looked up with a tearful smile. "I will tell you one day, Monsieur." "What day?" "I have not picked it out in the calendar." "Fix the day, and I will wait till then. I will not open my mouth again till then." "Michaelmas day, then, Monsieur," she answered mechanically and at haphazard, but with an urged gaiety, for a great depression was on her. "Good. Till Michaelmas day, then!" He pulled his long nose, laughing silently.... "I leave the tailor in your hands. Give every man his chance, I say. The Abbe is a hard man, but our hearts are soft—eh, eh, very soft!" He raised his hat and turned to the door. <div style="break-after:column;"></div>

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