I could not but admire the cautious, cool-headed precision with which the traveller stated his case. He did not seem to conceal4 anything, and yet he gave the least possible description of the objects missing. He did not enlarge on the mystery of the case; he seemed to look on it as an ordinary hotel theft. Knowing, as I did, that his one object was to recover the articles before their identity could be obliterated5, I could see the rare intellectual skill with which he gave the necessary matter and held back all else, though without seeming to do so. "Truly," thought I, "this man has learned the lesson of the Eastern bazaars6; and with Western intellect has improved upon his masters!" He quite conveyed his idea to the Detective, who, after thinking the matter over for a few moments, said:
"Pot or scale? that is the question."
"What does that mean?" asked the other, keenly alert.
"An old thieves phrase from Birmingham. I thought that in these days of slang everyone knew that. In old times at Brum, which had a lot of small metal industries, the gold- and silver-smiths used to buy metal from almost anyone who came along. And as metal in small quantities could generally be had cheap when they didn't ask where it came from, it got to be a custom to ask only one thing—whether the customer wanted the goods melted, in which case the buyer made the price, and the melting-pot was always on the fire. If it was to be preserved in its present state at the buyer's option, it went into the scale and fetched standard price for old metal.
"There is a good deal of such work done still, and in other places than Brum. When we're looking for stolen watches we often come across the works, and it's not possible to identify wheels and springs out of a heap; but it's not often that we come across cases that are wanted. Now, in the present instance much will depend on whether the thief is a good man—that's what they call a man who knows his work. A first-class crook7 will know whether a thing is of more value than merely the metal in it; and in such case he would put it with someone who could place it later on—in America or France, perhaps. By the way, do you think anyone but yourself could identify your lamps?"
"No one but myself!"
"Are there others like them?"
"Not that I know of," answered Mr. Corbeck; "though there may be others that resemble them in many particulars." The Detective paused before asking again: "Would any other skilled person—at the British Museum, for instance, or a dealer8, or a collector like Mr. Trelawny, know the value—the artistic9 value—of the lamps?"
"Certainly! Anyone with a head on his shoulders would see at a glance that the things were valuable."
The Detective's face brightened. "Then there is a chance. If your door was locked and the window shut, the goods were not stolen by the chance of a chambermaid or a boots coming along. Whoever did the job went after it special; and he ain't going to part with his swag without his price. This must be a case of notice to the pawnbrokers10. There's one good thing about it, anyhow, that the hue11 and cry needn't be given. We needn't tell Scotland Yard unless you like; we can work the thing privately. If you wish to keep the thing dark, as you told me at the first, that is our chance." Mr. Corbeck, after a pause, said quietly:
"I suppose you couldn't hazard a suggestion as to how the robbery was effected?" The Policeman smiled the smile of knowledge and experience.
"In a very simple way, I have no doubt, sir. That is how all these mysterious crimes turn out in the long-run. The criminal knows his work and all the tricks of it; and he is always on the watch for chances. Moreover, he knows by experience what these chances are likely to be, and how they usually come. The other person is only careful; he doesn't know all the tricks and pits that may be made for him, and by some little oversight12 or other he falls into the trap. When we know all about this case, you will wonder that you did not see the method of it all along!" This seemed to annoy Mr. Corbeck a little; there was decided13 heat in his manner as he answered:
"Look here, my good friend, there is not anything simple about this case—except that the things were taken. The window was closed; the fireplace was bricked up. There is only one door to the room, and that I locked and bolted. There is no transom; I have heard all about hotel robberies through the transom. I never left my room in the night. I looked at the things before going to bed; and I went to look at them again when I woke up. If you can rig up any kind of simple robbery out of these facts you are a clever man. That's all I say; clever enough to go right away and get my things back." Miss Trelawny laid her hand upon his arm in a soothing14 way, and said quietly:
"Do not distress15 yourself unnecessarily. I am sure they will turn up." Sergeant Daw turned to her so quickly that I could not help remembering vividly16 his suspicions of her, already formed, as he said:
"May I ask, miss, on what you base that opinion?"
I dreaded17 to hear her answer, given to ears already awake to suspicion; but it came to me as a new pain or shock all the same:
"I cannot tell you how I know. But I am sure of it!" The Detective looked at her for some seconds in silence, and then threw a quick glance at me.
Presently he had a little more conversation with Mr. Corbeck as to his own movements, the details of the hotel and the room, and the means of identifying the goods. Then he went away to commence his inquiries18, Mr. Corbeck impressing on him the necessity for secrecy19 lest the thief should get wind of his danger and destroy the lamps. Mr. Corbeck promised, when going away to attend to various matters of his own business, to return early in the evening, and to stay in the house.
All that day Miss Trelawny was in better spirits and looked in better strength than she had yet been, despite the new shock and annoyance20 of the theft which must ultimately bring so much disappointment to her father.
We spent most of the day looking over the curio treasures of Mr. Trelawny. From what I had heard from Mr. Corbeck I began to have some idea of the vastness of his enterprise in the world of Egyptian research; and with this light everything around me began to have a new interest. As I went on, the interest grew; any lingering doubts which I might have had changed to wonder and admiration21. The house seemed to be a veritable storehouse of marvels22 of antique art. In addition to the curios, big and little, in Mr. Trelawny's own room—from the great sarcophagi down to the scarabs of all kinds in the cabinets—the great hall, the staircase landings, the study, and even the boudoir were full of antique pieces which would have made a collector's mouth water.
Miss Trelawny from the first came with me, and looked with growing interest at everything. After having examined some cabinets of exquisite23 amulets24 she said to me in quite a naive25 way:
"You will hardly believe that I have of late seldom even looked at any of these things. It is only since Father has been ill that I seem to have even any curiosity about them. But now, they grow and grow on me to quite an absorbing degree. I wonder if it is that the collector's blood which I have in my veins26 is beginning to manifest itself. If so, the strange thing is that I have not felt the call of it before. Of course I know most of the big things, and have examined them more or less; but really, in a sort of way I have always taken them for granted, as though they had always been there. I have noticed the same thing now and again with family pictures, and the way they are taken for granted by the family. If you will let me examine them with you it will be delightful27!"
It was a joy to me to hear her talk in such a way; and her last suggestion quite thrilled me. Together we went round the various rooms and passages, examining and admiring the magnificent curios. There was such a bewildering amount and variety of objects that we could only glance at most of them; but as we went along we arranged that we should take them seriatim, day by day, and examine them more closely. In the hall was a sort of big frame of floriated steel work which Margaret said her father used for lifting the heavy stone lids of the sarcophagi. It was not heavy and could be moved about easily enough. By aid of this we raised the covers in turn and looked at the endless series of hieroglyphic28 pictures cut in most of them. In spite of her profession of ignorance Margaret knew a good deal about them; her year of life with her father had had unconsciously its daily and hourly lesson. She was a remarkably29 clever and acute-minded girl, and with a prodigious30 memory; so that her store of knowledge, gathered unthinkingly bit by bit, had grown to proportions that many a scholar might have envied.
And yet it was all so naive and unconscious; so girlish and simple. She was so fresh in her views and ideas, and had so little thought of self, that in her companionship I forgot for the time all the troubles and mysteries which enmeshed the house; and I felt like a boy again....
The most interesting of the sarcophagi were undoubtedly31 the three in Mr. Trelawny's room. Of these, two were of dark stone, one of porphyry and the other of a sort of ironstone. These were wrought32 with some hieroglyphs33. But the third was strikingly different. It was of some yellow-brown substance of the dominating colour effect of Mexican onyx, which it resembled in many ways, excepting that the natural pattern of its convolutions was less marked. Here and there were patches almost transparent—certainly translucent34. The whole chest, cover and all, was wrought with hundreds, perhaps thousands, of minute hieroglyphics35, seemingly in an endless series. Back, front, sides, edges, bottom, all had their quota36 of the dainty pictures, the deep blue of their colouring showing up fresh and sharply edge in the yellow stone. It was very long, nearly nine feet; and perhaps a yard wide. The sides undulated, so that there was no hard line. Even the corners took such excellent curves that they pleased the eye. "Truly," I said, "this must have been made for a giant!"
"Or for a giantess!" said Margaret.
This sarcophagus stood near to one of the windows. It was in one respect different from all the other sarcophagi in the place. All the others in the house, of whatever material—granite, porphyry, ironstone, basalt, slate37, or wood—were quite simple in form within. Some of them were plain of interior surface; others were engraved38, in whole or part, with hieroglyphics. But each and all of them had no protuberances or uneven39 surface anywhere. They might have been used for baths; indeed, they resembled in many ways Roman baths of stone or marble which I had seen. Inside this, however, was a raised space, outlined like a human figure. I asked Margaret if she could explain it in any way. For answer she said:
"Father never wished to speak about this. It attracted my attention from the first; but when I asked him about it he said: 'I shall tell you all about it some day, little girl—if I live! But not yet! The story is not yet told, as I hope to tell it to you! Some day, perhaps soon, I shall know all; and then we shall go over it together. And a mighty40 interesting story you will find it—from first to last!' Once afterward41 I said, rather lightly I am afraid: 'Is that story of the sarcophagus told yet, Father?' He shook his head, and looked at me gravely as he said: 'Not yet, little girl; but it will be—if I live—if I live!' His repeating that phrase about his living rather frightened me; I never ventured to ask him again."
Somehow this thrilled me. I could not exactly say how or why; but it seemed like a gleam of light at last. There are, I think, moments when the mind accepts something as true; though it can account for neither the course of the thought, nor, if there be more than one thought, the connection between them. Hitherto we had been in such outer darkness regarding Mr. Trelawny, and the strange visitation which had fallen on him, that anything which afforded a clue, even of the faintest and most shadowy kind, had at the outset the enlightening satisfaction of a certainty. Here were two lights of our puzzle. The first that Mr. Trelawny associated with this particular curio a doubt of his own living. The second that he had some purpose or expectation with regard to it, which he would not disclose, even to his daughter, till complete. Again it was to be borne in mind that this sarcophagus differed internally from all the others. What meant that odd raised place? I said nothing to Miss Trelawny, for I feared lest I should either frighten her or buoy42 her up with future hopes; but I made up my mind that I would take an early opportunity for further investigation43.
Close beside the sarcophagus was a low table of green stone with red veins in it, like bloodstone. The feet were fashioned like the paws of a jackal, and round each leg was twined a full-throated snake wrought exquisitely44 in pure gold. On it rested a strange and very beautiful coffer or casket of stone of a peculiar45 shape. It was something like a small coffin46, except that the longer sides, instead of being cut off square like the upper or level part were continued to a point. Thus it was an irregular septahedron, there being two planes on each of the two sides, one end and a top and bottom. The stone, of one piece of which it was wrought, was such as I had never seen before. At the base it was of a full green, the colour of emerald without, of course, its gleam. It was not by any means dull, however, either in colour or substance, and was of infinite hardness and fineness of texture47. The surface was almost that of a jewel. The colour grew lighter48 as it rose, with gradation so fine as to be imperceptible, changing to a fine yellow almost of the colour of "mandarin49" china. It was quite unlike anything I had ever seen, and did not resemble any stone or gem50 that I knew. I took it to be some unique mother-stone, or matrix of some gem. It was wrought all over, except in a few spots, with fine hieroglyphics, exquisitely done and coloured with the same blue-green cement or pigment51 that appeared on the sarcophagus. In length it was about two feet and a half; in breadth about half this, and was nearly a foot high. The vacant spaces were irregularly distributed about the top running to the pointed52 end. These places seemed less opaque53 than the rest of the stone. I tried to lift up the lid so that I might see if they were translucent; but it was securely fixed54. It fitted so exactly that the whole coffer seemed like a single piece of stone mysteriously hollowed from within. On the sides and edges were some odd-looking protuberances wrought just as finely as any other portion of the coffer which had been sculptured by manifest design in the cutting of the stone. They had queer-shaped holes or hollows, different in each; and, like the rest, were covered with the hieroglyphic figures, cut finely and filled in with the same blue-green cement.
On the other side of the great sarcophagus stood another small table of alabaster55, exquisitely chased with symbolic56 figures of gods and the signs of the zodiac. On this table stood a case of about a foot square composed of slabs57 of rock crystal set in a skeleton of bands of red gold, beautifully engraved with hieroglyphics, and coloured with a blue green, very much the tint58 of the figures on the sarcophagus and the coffer. The whole work was quite modern.
But if the case was modern what it held was not. Within, on a cushion of cloth of gold as fine as silk, and with the peculiar softness of old gold, rested a mummy hand, so perfect that it startled one to see it. A woman's hand, fine and long, with slim tapering59 fingers and nearly as perfect as when it was given to the embalmer60 thousands of years before. In the embalming61 it had lost nothing of its beautiful shape; even the wrist seemed to maintain its pliability62 as the gentle curve lay on the cushion. The skin was of a rich creamy or old ivory colour; a dusky fair skin which suggested heat, but heat in shadow. The great peculiarity63 of it, as a hand, was that it had in all seven fingers, there being two middle and two index fingers. The upper end of the wrist was jagged, as though it had been broken off, and was stained with a red-brown stain. On the cushion near the hand was a small scarab, exquisitely wrought of emerald.
"That is another of Father's mysteries. When I asked him about it he said that it was perhaps the most valuable thing he had, except one. When I asked him what that one was, he refused to tell me, and forbade me to ask him anything concerning it. 'I will tell you,' he said, 'all about it, too, in good time—if I live!'"
"If I live!" the phrase again. These three things grouped together, the Sarcophagus, the Coffer, and the Hand, seemed to make a trilogy of mystery indeed!
At this time Miss Trelawny was sent for on some domestic matter. I looked at the other curios in the room; but they did not seem to have anything like the same charm for me, now that she was away. Later on in the day I was sent for to the boudoir where she was consulting with Mrs. Grant as to the lodgment of Mr. Corbeck. They were in doubt as to whether he should have a room close to Mr. Trelawny's or quite away from it, and had thought it well to ask my advice on the subject. I came to the conclusion that he had better not be too near; for the first at all events, he could easily be moved closer if necessary. When Mrs. Grant had gone, I asked Miss Trelawny how it came that the furniture of this room, the boudoir in which we were, was so different from the other rooms of the house.
"Father's forethought!" she answered. "When I first came, he thought, and rightly enough, that I might get frightened with so many records of death and the tomb everywhere. So he had this room and the little suite64 off it—that door opens into the sitting-room—where I slept last night, furnished with pretty things. You see, they are all beautiful. That cabinet belonged to the great Napoleon."
"There is nothing Egyptian in these rooms at all then?" I asked, rather to show interest in what she had said than anything else, for the furnishing of the room was apparent. "What a lovely cabinet! May I look at it?"
"Of course! with the greatest pleasure!" she answered, with a smile. "Its finishing, within and without, Father says, is absolutely complete." I stepped over and looked at it closely. It was made of tulip wood, inlaid in patterns; and was mounted in ormolu. I pulled open one of the drawers, a deep one where I could see the work to great advantage. As I pulled it, something rattled65 inside as though rolling; there was a tinkle66 as of metal on metal.
"Hullo!" I said. "There is something in here. Perhaps I had better not open it."
"There is nothing that I know of," she answered. "Some of the housemaids may have used it to put something by for the time and forgotten it. Open it by all means!"
There before our eyes lay a number of ancient Egyptian lamps, of various sizes and of strangely varied68 shapes.
We leaned over them and looked closely. My own heart was beating like a trip-hammer; and I could see by the heaving of Margaret's bosom69 that she was strangely excited.
Whilst we looked, afraid to touch and almost afraid to think, there was a ring at the front door; immediately afterwards Mr. Corbeck, followed by Sergeant Daw, came into the hall. The door of the boudoir was open, and when they saw us Mr. Corbeck came running in, followed more slowly by the Detective. There was a sort of chastened joy in his face and manner as he said impulsively70:
"Rejoice with me, my dear Miss Trelawny, my luggage has come and all my things are intact!" Then his face fell as he added, "Except the lamps. The lamps that were worth all the rest a thousand times...." He stopped, struck by the strange pallor of her face. Then his eyes, following her look and mine, lit on the cluster of lamps in the drawer. He gave a sort of cry of surprise and joy as he bent71 over and touched them:
"My lamps! My lamps! Then they are safe—safe—safe! ... But how, in the name of God—of all the Gods—did they come here?"
We all stood silent. The Detective made a deep sound of in-taking breath. I looked at him, and as he caught my glance he turned his eyes on Miss Trelawny whose back was toward him.
There was in them the same look of suspicion which had been there when he had spoken to me of her being the first to find her father on the occasions of the attacks.
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sergeant
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| n.警官，中士 | |
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demur
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| v．表示异议，反对 | |
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privately
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| adv.以私人的身份，悄悄地，私下地 | |
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conceal
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| v.隐藏，隐瞒，隐蔽 | |
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obliterated
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| v.除去( obliterate的过去式和过去分词 )；涂去；擦掉；彻底破坏或毁灭 | |
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bazaars
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| （东方国家的）市场( bazaar的名词复数 )； 义卖； 义卖市场； （出售花哨商品等的）小商品市场 | |
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crook
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| v.使弯曲；n.小偷，骗子，贼；弯曲(处) | |
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dealer
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| n.商人，贩子 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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pawnbrokers
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| n.当铺老板( pawnbroker的名词复数 ) | |
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hue
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| n.色度；色调；样子 | |
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oversight
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| n.勘漏，失察，疏忽 | |
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decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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soothing
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| adj.慰藉的；使人宽心的；镇静的 | |
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distress
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| n.苦恼，痛苦，不舒适；不幸；vt.使悲痛 | |
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vividly
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dreaded
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| adj.令人畏惧的；害怕的v.害怕，恐惧，担心( dread的过去式和过去分词) | |
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inquiries
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| n.调查( inquiry的名词复数 )；疑问；探究；打听 | |
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secrecy
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| n.秘密，保密，隐蔽 | |
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annoyance
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admiration
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| n.钦佩，赞美，羡慕 | |
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marvels
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| n.奇迹( marvel的名词复数 )；令人惊奇的事物（或事例）；不平凡的成果；成就v.惊奇，对…感到惊奇( marvel的第三人称单数 ) | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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amulets
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naive
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| adj.幼稚的，轻信的；天真的 | |
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veins
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| n.纹理；矿脉( vein的名词复数 )；静脉；叶脉；纹理 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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hieroglyphic
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| n.象形文字 | |
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remarkably
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prodigious
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| adj.惊人的，奇妙的；异常的；巨大的；庞大的 | |
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undoubtedly
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wrought
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hieroglyphs
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| n.象形字（如古埃及等所用的）( hieroglyph的名词复数 )；秘密的或另有含意的书写符号 | |
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translucent
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hieroglyphics
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quota
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| n.（生产、进出口等的）配额，（移民的）限额 | |
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slate
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| n.板岩，石板，石片，石板色，候选人名单；adj.暗蓝灰色的，含板岩的；vt.用石板覆盖，痛打，提名，预订 | |
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engraved
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| v.在（硬物）上雕刻（字，画等）( engrave的过去式和过去分词 )；将某事物深深印在（记忆或头脑中） | |
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uneven
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| adj.不平坦的，不规则的，不均匀的 | |
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mighty
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| adj.强有力的；巨大的 | |
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afterward
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| adv.后来；以后 | |
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buoy
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investigation
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| n.调查，调查研究 | |
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exquisitely
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| adv.精致地；强烈地；剧烈地；异常地 | |
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peculiar
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coffin
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texture
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| n.(织物)质地；(材料)构造；结构；肌理 | |
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lighter
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| n.打火机，点火器；驳船；v.用驳船运送；light的比较级 | |
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Mandarin
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| n.中国官话，国语，满清官吏；adj.华丽辞藻的 | |
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gem
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| n.宝石，珠宝；受爱戴的人 [同]jewel | |
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pigment
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| n.天然色素，干粉颜料 | |
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pointed
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| adj.尖的，直截了当的 | |
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opaque
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| adj.不透光的；不反光的，不传导的；晦涩的 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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55
alabaster
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| adj.雪白的；n.雪花石膏；条纹大理石 | |
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symbolic
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| adj.象征性的，符号的，象征主义的 | |
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slabs
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| n.厚板，平板，厚片( slab的名词复数 )；厚胶片 | |
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tint
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| n.淡色，浅色；染发剂；vt.着以淡淡的颜色 | |
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59
tapering
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| adj.尖端细的 | |
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60
embalmer
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| 尸体防腐者 | |
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embalming
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| v.保存（尸体）不腐( embalm的现在分词 )；使不被遗忘；使充满香气 | |
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pliability
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| n.柔韧性；可弯性 | |
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peculiarity
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| n.独特性，特色；特殊的东西；怪癖 | |
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suite
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| n.一套(家具)；套房；随从人员 | |
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rattled
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| 慌乱的，恼火的 | |
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66
tinkle
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| vi.叮当作响；n.叮当声 | |
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amazement
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| n.惊奇，惊讶 | |
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varied
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| adj.多样的，多变化的 | |
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bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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impulsively
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| adv.冲动地 | |
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bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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