A SONG, A BOTTLE, AND A GHOST
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--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.