Project Gutenberg Etext of To Be Read At Dusk by Charles Dickens #28 in our series by Charles Dickens Copyright laws are changing all over the world, be sure to check the copyright laws for your country before posting these files!! Please take a look at the important information in this header. We encourage you to keep this file on your own disk, keeping an electronic path open for the next readers. Do not remove this. **Welcome To The World of Free Plain Vanilla Electronic Texts** **Etexts Readable By Both Humans and By Computers, Since 1971** *These Etexts Prepared By Hundreds of Volunteers and Donations* Information on contacting Project Gutenberg to get Etexts, and further information is included below. We need your donations. To be Read at Dusk by Charles Dickens May, 1997 [Etext #924] Project Gutenberg Etext of To Be Read at Dusk by Charles Dickens *****This file should be named rddsk10.txt or rddsk10.zip****** Corrected EDITIONS of our etexts get a new NUMBER, rddsk11.txt. VERSIONS based on separate sources get new LETTER, rddsk10a.txt. Scanned and proofed by David Price ccx074@coventry.ac.uk We are now trying to release all our books one month in advance of the official release dates, for time for better editing. Please note: neither this list nor its contents are final till midnight of the last day of the month of any such announcement. The official release date of all Project Gutenberg Etexts is at Midnight, Central Time, of the last day of the stated month. A preliminary version may often be posted for suggestion, comment and editing by those who wish to do so. To be sure you have an up to date first edition [xxxxx10x.xxx] please check file sizes in the first week of the next month. Since our ftp program has a bug in it that scrambles the date [tried to fix and failed] a look at the file size will have to do, but we will try to see a new copy has at least one byte more or less. Information about Project Gutenberg (one page) We produce about two million dollars for each hour we work. The fifty hours is one conservative estimate for how long it we take to get any etext selected, entered, proofread, edited, copyright searched and analyzed, the copyright letters written, etc. This projected audience is one hundred million readers. If our value per text is nominally estimated at one dollar then we produce $2 million dollars per hour this year as we release thirty-two text files per month: or 400 more Etexts in 1996 for a total of 800. If these reach just 10% of the computerized population, then the total should reach 80 billion Etexts. The Goal of Project Gutenberg is to Give Away One Trillion Etext Files by the December 31, 2001. [10,000 x 100,000,000=Trillion] This is ten thousand titles each to one hundred million readers, which is only 10% of the present number of computer users. 2001 should have at least twice as many computer users as that, so it will require us reaching less than 5% of the users in 2001. We need your donations more than ever! All donations should be made to "Project Gutenberg/CMU": and are tax deductible to the extent allowable by law. (CMU = Carnegie- Mellon University). For these and other matters, please mail to: Project Gutenberg P. O. Box 2782 Champaign, IL 61825 When all other email fails try our Executive Director: Michael S. Hart We would prefer to send you this information by email (Internet, Bitnet, Compuserve, ATTMAIL or MCImail). ****** If you have an FTP program (or emulator), please FTP directly to the Project Gutenberg archives: [Mac users, do NOT point and click. . .type] ftp uiarchive.cso.uiuc.edu login: anonymous password: your@login cd etext/etext90 through /etext96 or cd etext/articles [get suggest gut for more information] dir [to see files] get or mget [to get files. . .set bin for zip files] GET INDEX?00.GUT for a list of books and GET NEW GUT for general information and MGET GUT* for newsletters. **Information prepared by the Project Gutenberg legal advisor** (Three Pages) ***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN ETEXTS**START*** Why is this "Small Print!" statement here? You know: lawyers. They tell us you might sue us if there is something wrong with your copy of this etext, even if you got it for free from someone other than us, and even if what's wrong is not our fault. So, among other things, this "Small Print!" statement disclaims most of our liability to you. It also tells you how you can distribute copies of this etext if you want to. *BEFORE!* YOU USE OR READ THIS ETEXT By using or reading any part of this PROJECT GUTENBERG-tm etext, you indicate that you understand, agree to and accept this "Small Print!" statement. If you do not, you can receive a refund of the money (if any) you paid for this etext by sending a request within 30 days of receiving it to the person you got it from. If you received this etext on a physical medium (such as a disk), you must return it with your request. ABOUT PROJECT GUTENBERG-TM ETEXTS This PROJECT GUTENBERG-tm etext, like most PROJECT GUTENBERG- tm etexts, is a "public domain" work distributed by Professor Michael S. Hart through the Project Gutenberg Association at Carnegie-Mellon University (the "Project"). Among other things, this means that no one owns a United States copyright on or for this work, so the Project (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth below, apply if you wish to copy and distribute this etext under the Project's "PROJECT GUTENBERG" trademark. To create these etexts, the Project expends considerable efforts to identify, transcribe and proofread public domain works. Despite these efforts, the Project's etexts and any medium they may be on may contain "Defects". Among other things, Defects may take the form of incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other etext medium, a computer virus, or computer codes that damage or cannot be read by your equipment. LIMITED WARRANTY; DISCLAIMER OF DAMAGES But for the "Right of Replacement or Refund" described below, [1] the Project (and any other party you may receive this etext from as a PROJECT GUTENBERG-tm etext) disclaims all liability to you for damages, costs and expenses, including legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT, INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGES. If you discover a Defect in this etext within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending an explanatory note within that time to the person you received it from. If you received it on a physical medium, you must return it with your note, and such person may choose to alternatively give you a replacement copy. If you received it electronically, such person may choose to alternatively give you a second opportunity to receive it electronically. THIS ETEXT IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS TO THE ETEXT OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. Some states do not allow disclaimers of implied warranties or the exclusion or limitation of consequential damages, so the above disclaimers and exclusions may not apply to you, and you may have other legal rights. INDEMNITY You will indemnify and hold the Project, its directors, officers, members and agents harmless from all liability, cost and expense, including legal fees, that arise directly or indirectly from any of the following that you do or cause: [1] distribution of this etext, [2] alteration, modification, or addition to the etext, or [3] any Defect. DISTRIBUTION UNDER "PROJECT GUTENBERG-tm" You may distribute copies of this etext electronically, or by disk, book or any other medium if you either delete this "Small Print!" and all other references to Project Gutenberg, or: [1] Only give exact copies of it. Among other things, this requires that you do not remove, alter or modify the etext or this "small print!" statement. You may however, if you wish, distribute this etext in machine readable binary, compressed, mark-up, or proprietary form, including any form resulting from conversion by word pro- cessing or hypertext software, but only so long as *EITHER*: [*] The etext, when displayed, is clearly readable, and does *not* contain characters other than those intended by the author of the work, although tilde (~), asterisk (*) and underline (_) characters may be used to convey punctuation intended by the author, and additional characters may be used to indicate hypertext links; OR [*] The etext may be readily converted by the reader at no expense into plain ASCII, EBCDIC or equivalent form by the program that displays the etext (as is the case, for instance, with most word processors); OR [*] You provide, or agree to also provide on request at no additional cost, fee or expense, a copy of the etext in its original plain ASCII form (or in EBCDIC or other equivalent proprietary form). [2] Honor the etext refund and replacement provisions of this "Small Print!" statement. [3] Pay a trademark license fee to the Project of 20% of the net profits you derive calculated using the method you already use to calculate your applicable taxes. If you don't derive profits, no royalty is due. Royalties are payable to "Project Gutenberg Association/Carnegie-Mellon University" within the 60 days following each date you prepare (or were legally required to prepare) your annual (or equivalent periodic) tax return. WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO? The Project gratefully accepts contributions in money, time, scanning machines, OCR software, public domain etexts, royalty free copyright licenses, and every other sort of contribution you can think of. Money should be paid to "Project Gutenberg Association / Carnegie-Mellon University". *END*THE SMALL PRINT! FOR PUBLIC DOMAIN ETEXTS*Ver.04.29.93*END* To Be Read Be Dusk by Charles Dickens Scanned and proofed by David Price ccx074@coventry.ac.uk TO BE READ AT DUSK One, two, three, four, five. There were five of them. Five couriers, sitting on a bench outside the convent on the summit of the Great St. Bernard in Switzerland, looking at the remote heights, stained by the setting sun as if a mighty quantity of red wine had been broached upon the mountain top, and had not yet had time to sink into the snow. This is not my simile. It was made for the occasion by the stoutest courier, who was a German. None of the others took any more notice of it than they took of me, sitting on another bench on the other side of the convent door, smoking my cigar, like them, and - also like them - looking at the reddened snow, and at the lonely shed hard by, where the bodies of belated travellers, dug out of it, slowly wither away, knowing no corruption in that cold region. The wine upon the mountain top soaked in as we looked; the mountain became white; the sky, a very dark blue; the wind rose; and the air turned piercing cold. The five couriers buttoned their rough coats. There being no safer man to imitate in all such proceedings than a courier, I buttoned mine. The mountain in the sunset had stopped the five couriers in a conversation. It is a sublime sight, likely to stop conversation. The mountain being now out of the sunset, they resumed. Not that I had heard any part of their previous discourse; for indeed, I had not then broken away from the American gentleman, in the travellers' parlour of the convent, who, sitting with his face to the fire, had undertaken to realise to me the whole progress of events which had led to the accumulation by the Honourable Ananias Dodger of one of the largest acquisitions of dollars ever made in our country. 'My God!' said the Swiss courier, speaking in French, which I do not hold (as some authors appear to do) to be such an all- sufficient excuse for a naughty word, that I have only to write it in that language to make it innocent; 'if you talk of ghosts - ' 'But I DON'T talk of ghosts,' said the German. 'Of what then?' asked the Swiss. 'If I knew of what then,' said the German, 'I should probably know a great deal more.' It was a good answer, I thought, and it made me curious. So, I moved my position to that corner of my bench which was nearest to them, and leaning my back against the convent wall, heard perfectly, without appearing to attend. 'Thunder and lightning!' said the German, warming, 'when a certain man is coming to see you, unexpectedly; and, without his own knowledge, sends some invisible messenger, to put the idea of him into your head all day, what do you call that? When you walk along a crowded street - at Frankfort, Milan, London, Paris - and think that a passing stranger is like your friend Heinrich, and then that another passing stranger is like your friend Heinrich, and so begin to have a strange foreknowledge that presently you'll meet your friend Heinrich - which you do, though you believed him at Trieste - what do you call THAT?' 'It's not uncommon, either,' murmured the Swiss and the other three. 'Uncommon!' said the German. 'It's as common as cherries in the Black Forest. It's as common as maccaroni at Naples. And Naples reminds me! When the old Marchesa Senzanima shrieks at a card- party on the Chiaja - as I heard and saw her, for it happened in a Bavarian family of mine, and I was overlooking the service that evening - I say, when the old Marchesa starts up at the card-table, white through her rouge, and cries, "My sister in Spain is dead! I felt her cold touch on my back!" - and when that sister IS dead at the moment - what do you call that?' 'Or when the blood of San Gennaro liquefies at the request of the clergy - as all the world knows that it does regularly once a-year, in my native city,' said the Neapolitan courier after a pause, with a comical look, 'what do you call that?' 'THAT!' cried the German. 'Well, I think I know a name for that.' 'Miracle?' said the Neapolitan, with the same sly face. The German merely smoked and laughed; and they all smoked and laughed. 'Bah!' said the German, presently. 'I speak of things that really do happen. When I want to see the conjurer, I pay to see a professed one, and have my money's worth. Very strange things do happen without ghosts. Ghosts! Giovanni Baptista, tell your story of the English bride. There's no ghost in that, but something full as strange. Will any man tell me what?' As there was a silence among them, I glanced around. He whom I took to be Baptista was lighting a fresh cigar. He presently went on to speak. He was a Genoese, as I judged. 'The story of the English bride?' said he. 'Basta! one ought not to call so slight a thing a story. Well, it's all one. But it's true. Observe me well, gentlemen, it's true. That which glitters is not always gold; but what I am going to tell, is true.' He repeated this more than once. Ten years ago, I took my credentials to an English gentleman at Long's Hotel, in Bond Street, London, who was about to travel - it might be for one year, it might be for two. He approved of them; likewise of me. He was pleased to make inquiry. The testimony that he received was favourable. He engaged me by the six months, and my entertainment was generous. He was young, handsome, very happy. He was enamoured of a fair young English lady, with a sufficient fortune, and they were going to be married. It was the wedding-trip, in short, that we were going to take. For three months' rest in the hot weather (it was early summer then) he had hired an old place on the Riviera, at an easy distance from my city, Genoa, on the road to Nice. Did I know that place? Yes; I told him I knew it well. It was an old palace with great gardens. It was a little bare, and it was a little dark and gloomy, being close surrounded by trees; but it was spacious, ancient, grand, and on the seashore. He said it had been so described to him exactly, and he was well pleased that I knew it. For its being a little bare of furniture, all such places were. For its being a little gloomy, he had hired it principally for the gardens, and he and my mistress would pass the summer weather in their shade. 'So all goes well, Baptista?' said he. 'Indubitably, signore; very well.' We had a travelling chariot for our journey, newly built for us, and in all respects complete. All we had was complete; we wanted for nothing. The marriage took place. They were happy. I was happy, seeing all so bright, being so well situated, going to my own city, teaching my language in the rumble to the maid, la bella Carolina, whose heart was gay with laughter: who was young and rosy. The time flew. But I observed - listen to this, I pray! (and here the courier dropped his voice) - I observed my mistress sometimes brooding in a manner very strange; in a frightened manner; in an unhappy manner; with a cloudy, uncertain alarm upon her. I think that I began to notice this when I was walking up hills by the carriage side, and master had gone on in front. At any rate, I remember that it impressed itself upon my mind one evening in the South of France, when she called to me to call master back; and when he came back, and walked for a long way, talking encouragingly and affectionately to her, with his hand upon the open window, and hers in it. Now and then, he laughed in a merry way, as if he were bantering her out of something. By-and-by, she laughed, and then all went well again. It was curious. I asked la bella Carolina, the pretty little one, Was mistress unwell? - No. - Out of spirits? - No. - Fearful of bad roads, or brigands? - No. And what made it more mysterious was, the pretty little one would not look at me in giving answer, but WOULD look at the view. But, one day she told me the secret. 'If you must know,' said Carolina, 'I find, from what I have overheard, that mistress is haunted.' 'How haunted?' 'By a dream.' 'What dream?' 'By a dream of a face. For three nights before her marriage, she saw a face in a dream - always the same face, and only One.' 'A terrible face?' 'No. The face of a dark, remarkable-looking man, in black, with black hair and a grey moustache - a handsome man except for a reserved and secret air. Not a face she ever saw, or at all like a face she ever saw. Doing nothing in the dream but looking at her fixedly, out of darkness.' 'Does the dream come back?' 'Never. The recollection of it is all her trouble.' 'And why does it trouble her?' Carolina shook her head. 'That's master's question,' said la bella. 'She don't know. She wonders why, herself. But I heard her tell him, only last night, that if she was to find a picture of that face in our Italian house (which she is afraid she will) she did not know how she could ever bear it.' Upon my word I was fearful after this (said the Genoese courier) of our coming to the old palazzo, lest some such ill-starred picture should happen to be there. I knew there were many there; and, as we got nearer and nearer to the place, I wished the whole gallery in the crater of Vesuvius. To mend the matter, it was a stormy dismal evening when we, at last, approached that part of the Riviera. It thundered; and the thunder of my city and its environs, rolling among the high hills, is very loud. The lizards ran in and out of the chinks in the broken stone wall of the garden, as if they were frightened; the frogs bubbled and croaked their loudest; the sea-wind moaned, and the wet trees dripped; and the lightning - body of San Lorenzo, how it lightened! We all know what an old palace in or near Genoa is - how time and the sea air have blotted it - how the drapery painted on the outer walls has peeled off in great flakes of plaster - how the lower windows are darkened with rusty bars of iron - how the courtyard is overgrown with grass - how the outer buildings are dilapidated - how the whole pile seems devoted to ruin. Our palazzo was one of the true kind. It had been shut up close for months. Months? - years! - it had an earthy smell, like a tomb. The scent of the orange trees on the broad back terrace, and of the lemons ripening on the wall, and of some shrubs that grew around a broken fountain, had got into the house somehow, and had never been able to get out again. There was, in every room, an aged smell, grown faint with confinement. It pined in all the cupboards and drawers. In the little rooms of communication between great rooms, it was stifling. If you turned a picture - to come back to the pictures - there it still was, clinging to the wall behind the frame, like a sort of bat. The lattice-blinds were close shut, all over the house. There were two ugly, grey old women in the house, to take care of it; one of them with a spindle, who stood winding and mumbling in the doorway, and who would as soon have let in the devil as the air. Master, mistress, la bella Carolina, and I, went all through the palazzo. I went first, though I have named myself last, opening the windows and the lattice-blinds, and shaking down on myself splashes of rain, and scraps of mortar, and now and then a dozing mosquito, or a monstrous, fat, blotchy, Genoese spider. When I had let the evening light into a room, master, mistress, and la bella Carolina, entered. Then, we looked round at all the pictures, and I went forward again into another room. Mistress secretly had great fear of meeting with the likeness of that face - we all had; but there was no such thing. The Madonna and Bambino, San Francisco, San Sebastiano, Venus, Santa Caterina, Angels, Brigands, Friars, Temples at Sunset, Battles, White Horses, Forests, Apostles, Doges, all my old acquaintances many times repeated? - yes. Dark, handsome man in black, reserved and secret, with black hair and grey moustache, looking fixedly at mistress out of darkness? - no. At last we got through all the rooms and all the pictures, and came out into the gardens. They were pretty well kept, being rented by a gardener, and were large and shady. In one place there was a rustic theatre, open to the sky; the stage a green slope; the coulisses, three entrances upon a side, sweet-smelling leafy screens. Mistress moved her bright eyes, even there, as if she looked to see the face come in upon the scene; but all was well. 'Now, Clara,' master said, in a low voice, 'you see that it is nothing? You are happy.' Mistress was much encouraged. She soon accustomed herself to that grim palazzo, and would sing, and play the harp, and copy the old pictures, and stroll with master under the green trees and vines all day. She was beautiful. He was happy. He would laugh and say to me, mounting his horse for his morning ride before the heat: 'All goes well, Baptista!' 'Yes, signore, thank God, very well.' We kept no company. I took la bella to the Duomo and Annunciata, to the Cafe, to the Opera, to the village Festa, to the Public Garden, to the Day Theatre, to the Marionetti. The pretty little one was charmed with all she saw. She learnt Italian - heavens! miraculously! Was mistress quite forgetful of that dream? I asked Carolina sometimes. Nearly, said la bella - almost. It was wearing out. One day master received a letter, and called me. 'Baptista!' 'Signore!' 'A gentleman who is presented to me will dine here to-day. He is called the Signor Dellombra. Let me dine like a prince.' It was an odd name. I did not know that name. But, there had been many noblemen and gentlemen pursued by Austria on political suspicions, lately, and some names had changed. Perhaps this was one. Altro! Dellombra was as good a name to me as another. When the Signor Dellombra came to dinner (said the Genoese courier in the low voice, into which he had subsided once before), I showed him into the reception-room, the great sala of the old palazzo. Master received him with cordiality, and presented him to mistress. As she rose, her face changed, she gave a cry, and fell upon the marble floor. Then, I turned my head to the Signor Dellombra, and saw that he was dressed in black, and had a reserved and secret air, and was a dark, remarkable-looking man, with black hair and a grey moustache. Master raised mistress in his arms, and carried her to her own room, where I sent la bella Carolina straight. La bella told me afterwards that mistress was nearly terrified to death, and that she wandered in her mind about her dream, all night. Master was vexed and anxious - almost angry, and yet full of solicitude. The Signor Dellombra was a courtly gentleman, and spoke with great respect and sympathy of mistress's being so ill. The African wind had been blowing for some days (they had told him at his hotel of the Maltese Cross), and he knew that it was often hurtful. He hoped the beautiful lady would recover soon. He begged permission to retire, and to renew his visit when he should have the happiness of hearing that she was better. Master would not allow of this, and they dined alone. He withdrew early. Next day he called at the gate, on horse-back, to inquire for mistress. He did so two or three times in that week. What I observed myself, and what la bella Carolina told me, united to explain to me that master had now set his mind on curing mistress of her fanciful terror. He was all kindness, but he was sensible and firm. He reasoned with her, that to encourage such fancies was to invite melancholy, if not madness. That it rested with herself to be herself. That if she once resisted her strange weakness, so successfully as to receive the Signor Dellombra as an English lady would receive any other guest, it was for ever conquered. To make an end, the signore came again, and mistress received him without marked distress (though with constraint and apprehension still), and the evening passed serenely. Master was so delighted with this change, and so anxious to confirm it, that the Signor Dellombra became a constant guest. He was accomplished in pictures, books, and music; and his society, in any grim palazzo, would have been welcome. I used to notice, many times, that mistress was not quite recovered. She would cast down her eyes and droop her head, before the Signor Dellombra, or would look at him with a terrified and fascinated glance, as if his presence had some evil influence or power upon her. Turning from her to him, I used to see him in the shaded gardens, or the large half-lighted sala, looking, as I might say, 'fixedly upon her out of darkness.' But, truly, I had not forgotten la bella Carolina's words describing the face in the dream. After his second visit I heard master say: 'Now, see, my dear Clara, it's over! Dellombra has come and gone, and your apprehension is broken like glass.' 'Will he - will he ever come again?' asked mistress. 'Again? Why, surely, over and over again! Are you cold?' (she shivered). 'No, dear - but - he terrifies me: are you sure that he need come again?' 'The surer for the question, Clara!' replied master, cheerfully. But, he was very hopeful of her complete recovery now, and grew more and more so every day. She was beautiful. He was happy. 'All goes well, Baptista?' he would say to me again. 'Yes, signore, thank God; very well.' We were all (said the Genoese courier, constraining himself to speak a little louder), we were all at Rome for the Carnival. I had been out, all day, with a Sicilian, a friend of mine, and a courier, who was there with an English family. As I returned at night to our hotel, I met the little Carolina, who never stirred from home alone, running distractedly along the Corso. 'Carolina! What's the matter?' 'O Baptista! O, for the Lord's sake! where is my mistress?' 'Mistress, Carolina?' 'Gone since morning - told me, when master went out on his day's journey, not to call her, for she was tired with not resting in the night (having been in pain), and would lie in bed until the evening; then get up refreshed. She is gone! - she is gone! Master has come back, broken down the door, and she is gone! My beautiful, my good, my innocent mistress!' The pretty little one so cried, and raved, and tore herself that I could not have held her, but for her swooning on my arm as if she had been shot. Master came up - in manner, face, or voice, no more the master that I knew, than I was he. He took me (I laid the little one upon her bed in the hotel, and left her with the chamber-women), in a carriage, furiously through the darkness, across the desolate Campagna. When it was day, and we stopped at a miserable post-house, all the horses had been hired twelve hours ago, and sent away in different directions. Mark me! by the Signor Dellombra, who had passed there in a carriage, with a frightened English lady crouching in one corner. I never heard (said the Genoese courier, drawing a long breath) that she was ever traced beyond that spot. All I know is, that she vanished into infamous oblivion, with the dreaded face beside her that she had seen in her dream. 'What do you call THAT?' said the German courier, triumphantly. 'Ghosts! There are no ghosts THERE! What do you call this, that I am going to tell you? Ghosts! There are no ghosts HERE!' I took an engagement once (pursued the German courier) with an English gentleman, elderly and a bachelor, to travel through my country, my Fatherland. He was a merchant who traded with my country and knew the language, but who had never been there since he was a boy - as I judge, some sixty years before. His name was James, and he had a twin-brother John, also a bachelor. Between these brothers there was a great affection. They were in business together, at Goodman's Fields, but they did not live together. Mr. James dwelt in Poland Street, turning out of Oxford Street, London; Mr. John resided by Epping Forest. Mr. James and I were to start for Germany in about a week. The exact day depended on business. Mr. John came to Poland Street (where I was staying in the house), to pass that week with Mr. James. But, he said to his brother on the second day, 'I don't feel very well, James. There's not much the matter with me; but I think I am a little gouty. I'll go home and put myself under the care of my old housekeeper, who understands my ways. If I get quite better, I'll come back and see you before you go. If I don't feel well enough to resume my visit where I leave it off, why YOU will come and see me before you go.' Mr. James, of course, said he would, and they shook hands - both hands, as they always did - and Mr. John ordered out his old-fashioned chariot and rumbled home. It was on the second night after that - that is to say, the fourth in the week - when I was awoke out of my sound sleep by Mr. James coming into my bedroom in his flannel-gown, with a lighted candle. He sat upon the side of my bed, and looking at me, said: 'Wilhelm, I have reason to think I have got some strange illness upon me.' I then perceived that there was a very unusual expression in his face. 'Wilhelm,' said he, 'I am not afraid or ashamed to tell you what I might be afraid or ashamed to tell another man. You come from a sensible country, where mysterious things are inquired into and are not settled to have been weighed and measured - or to have been unweighable and unmeasurable - or in either case to have been completely disposed of, for all time - ever so many years ago. I have just now seen the phantom of my brother.' I confess (said the German courier) that it gave me a little tingling of the blood to hear it. 'I have just now seen,' Mr. James repeated, looking full at me, that I might see how collected he was, 'the phantom of my brother John. I was sitting up in bed, unable to sleep, when it came into my room, in a white dress, and regarding me earnestly, passed up to the end of the room, glanced at some papers on my writing-desk, turned, and, still looking earnestly at me as it passed the bed, went out at the door. Now, I am not in the least mad, and am not in the least disposed to invest that phantom with any external existence out of myself. I think it is a warning to me that I am ill; and I think I had better be bled.' I got out of bed directly (said the German courier) and began to get on my clothes, begging him not to be alarmed, and telling him that I would go myself to the doctor. I was just ready, when we heard a loud knocking and ringing at the street door. My room being an attic at the back, and Mr. James's being the second-floor room in the front, we went down to his room, and put up the window, to see what was the matter. 'Is that Mr. James?' said a man below, falling back to the opposite side of the way to look up. 'It is,' said Mr. James, 'and you are my brother's man, Robert.' 'Yes, Sir. I am sorry to say, Sir, that Mr. John is ill. He is very bad, Sir. It is even feared that he may be lying at the point of death. He wants to see you, Sir. I have a chaise here. Pray come to him. Pray lose no time.' Mr. James and I looked at one another. 'Wilhelm,' said he, 'this is strange. I wish you to come with me!' I helped him to dress, partly there and partly in the chaise; and no grass grew under the horses' iron shoes between Poland Street and the Forest. Now, mind! (said the German courier) I went with Mr. James into his brother's room, and I saw and heard myself what follows. His brother lay upon his bed, at the upper end of a long bed- chamber. His old housekeeper was there, and others were there: I think three others were there, if not four, and they had been with him since early in the afternoon. He was in white, like the figure - necessarily so, because he had his night-dress on. He looked like the figure - necessarily so, because he looked earnestly at his brother when he saw him come into the room. But, when his brother reached the bed-side, he slowly raised himself in bed, and looking full upon him, said these words: 'JAMES, YOU HAVE SEEN ME BEFORE, TO-NIGHT - AND YOU KNOW IT!' And so died! I waited, when the German courier ceased, to hear something said of this strange story. The silence was unbroken. I looked round, and the five couriers were gone: so noiselessly that the ghostly mountain might have absorbed them into its eternal snows. By this time, I was by no means in a mood to sit alone in that awful scene, with the chill air coming solemnly upon me - or, if I may tell the truth, to sit alone anywhere. So I went back into the convent- parlour, and, finding the American gentleman still disposed to relate the biography of the Honourable Ananias Dodger, heard it all out. End of Project Gutenberg's Etext of To Be Read At Dusk, by Charles Dickens