Who lies so low that he may never rise?
The lowliest may one day win life's prize,
The highest thro' temptation lose his all.
Beaumont was a man who neglected no chance, however small, by which he could benefit himself; consequently thinking if he discovered Squire1 Garsworth's secret it might prove of use to him, he determined2 to find out all about it. He knew perfectly3 well that no power of persuasion4 would lead the madman to divulge5 his thoughts, so the only chance of discovering anything was to reduce him to a mere6 automaton7, perfectly powerless in his hands. This he hoped to do by means of hypnotism, of which curious process he knew a good deal.
While in Germany, some years before, he had by accident come across Heidenheim's book on animal magnetism8, which interested him so much that he pursued the subject. After reading the opinions of Grützner, Berger and Baumler on hypnosis, he turned his attention to French authorities, eagerly following the history of animal magnetism from Mesmer and Puységur downward, and led by such studies to try his hand on subjects, he became quite an adept9 in this strange psychological science. Taking it up at first merely as an amusement, on going deeper into the subject he soon saw that such hypnotic power would be a terrible weapon in the hands of an unscrupulous man, as, by reducing the hypnotised person to the condition of a mere instrument, it enabled him to do acts through such instrument for which he himself could not be held legally responsible.
In a book on the subject by MM. Demarquay and Giraud Teulon, entitled "Recherches sur L'Hypnotism," he had come across a case in which a lady in a condition of hypnotic hallucination began to tell aloud secrets which compromised her exceedingly. Taking this case as an illustration of what could be done during hypnosis, Beaumont determined to throw the Squire into a cataleptic trance, and by questions or suggestions lead him to reveal his secret. This being done, he could restore him to his normal condition, absolutely ignorant of his revelation, and he thought if the secret were worth anything, he could then do what he pleased.
Having thus definitely settled his plan of action, the next step to take was to guard against the possibility of Nestley surprising him in any of his hypnotic experiments, with which, as medical attendant of the Squire, he would have a perfect right to interfere10. Although Nestley had become much more friendly with Beaumont, he still regarded him with a certain amount of suspicion, so the artist's aim was now to reduce him to the state of subjection in which he had been in London five years before.
He knew Nestley was a very clever man, but remarkably11 weak, and likely to be led astray. In London, under the influence of drink, he had been a slave to Beaumont, and here in Garsworth the artist determined to reduce him to a similar state of slavery. Never for a moment did he think of the clever brain he would destroy, or the life he would wreck--all he wanted was the assistance of the young doctor in certain plans beneficial to himself, and, at whatever cost, he determined to carry them out. Beaumont, as a matter of fact, had in him a great deal of the Italian Despot nature as described by Machiavelli, and with cold, relentless12 subtlety13, set himself to work to ruin the unhappy Duncan Nestley body and soul for his own ends.
Nestley was doubtless weak to allow himself to be so dominated, but unhappily it was his nature. If Nature endows a man largely in one way, she generally deprives him of something else in equal proportion, and while Nestley was a brilliant, clever man, who, if left to himself, would have lived an honest and creditable life, yet his morally weak nature placed him at the mercy of any unscrupulous scoundrel who thought fit to play upon his feelings.
Unhappily, circumstances aided Beaumont's nefarious14 plan, for after leaving Una the young doctor walked across the common to the village, hoping to pull himself together by a brisk walk.
At the bridge he found Beaumont leaning over it, looking at the water swirling15 below, and on hearing footsteps, the artist looked up with a gratified smile as he recognised his victim.
"What's the matter, Nestley?" he asked after the first greetings; "you don't look well."
"I'm not well," retorted Nestley abruptly16; "I'm nearly worn out by that old man--morn, noon and night I've got to be beside him--if he's paid me handsomely he's taking his full value out of me."
"Yes, I think he is," replied Beaumont deliberately17, "you look quite thin--not the man of three weeks ago. He must be a kind of medi?val succubus living on the blood of young men. It would be wise for you to leave him."
Nestley leaned his chin on his folded arms, which were resting on the parapet of the bridge, and sighed deeply.
"No--I can't do that."
"Oh! I understand," said Beaumont with a sneer18, beginning to smoke one of his eternal cigarettes.
"What do you understand?"
"Why you won't leave the Grange."
"There's no difficulty in guessing that," retorted Nestley angrily, "my medical---- What the deuce are you grinning at?"
"You, my friend," said Basil smiling, "your medical--what!--honour--knowledge--interest--what you like."
"Don't talk rubbish."
"As you please."
"Look here," said Nestley, turning round with a resolute19 frown on his haggard face, "what is the reason I don't leave the Grange?"
"Not being in your confidence I can't say, but if I may guess, I should think Una Challoner."
Nestley made a gesture of assent20, and turned once more to gaze moodily21 at the grey waters of the river.
"If I only had the courage," he muttered harshly, "I would throw myself into the water and end everything."
"More fool you," remarked Beaumont cynically22; "men have died from time to time, and worms have eaten them, but not for love. Don't give Rosalind's remark the lie."
"I've no doubt she loves someone else," said Nestley bitterly.
"I've no doubt she does," replied Beaumont tranquilly23, "but you seem quite worn out between love and sickness, so come with me to the inn and have something to eat."
"I don't mind," said Nestley listlessly, "but I can't eat a thing."
"Don't give way so easily, my dear fellow," said Beaumont scornfully, as they walked along; "be a man, not a baby."
"You're not in love."
"True, oh king; but I've had the disease badly enough--it's all dead and done with now. I've left Venus for Plutus, and I think Mercury, the god of tricksters, has some of my worship."
Dr. Nestley made no remark, being occupied with his own sad thoughts, so Beaumont said nothing more, and they walked along to the inn silently. On arriving there they went into the parlour, and Nestley took his seat near the window, staring idly out at the dusty road, while Beaumont ordered a slight luncheon24, and a bottle of champagne25.
Job Kossiter's idea of wine was a very vague one, as he himself habitually26 drank beer, but in deference27 to Beaumont's wishes, he sent over to Duxby and obtained a few dozen cases of champagne, whose excellence28 satisfied even the fastidious artist. The table being laid and the luncheon brought in, Beaumont filled two tumblers with champagne, one for himself, and the other he placed by Nestley's plate. The young doctor, being wrapped up in gloomy thought, did not perceive this, and, when he took his seat at the table, had no idea that the glass at his elbow contained wine instead of water. He tried to eat two or three mouthfuls of food, but not succeeding, took up the glass to drink, and so preoccupied29 was he that it was not until he had swallowed a mouthful that he perceived what it was. Replacing the glass on the table immediately, he glared angrily at Beaumont, who, feigning30 not to observe his annoyance31, went on eating his luncheon with great enjoyment32.
"Why did you give me champagne?" asked Nestley harshly. "You know I only drink water."
"I know you're an idiot," retorted Beaumont coolly, "and don't know what's good for you. In your present state of health a glass of champagne will do you no harm."
"You forget the harm drink has done me already."
"Five years ago," said the artist mockingly. "You've been a teetotaller for five years, so I think you are entitled to a little indulgence now. Go on, drink it up like a man."
"No," replied Nestley resolutely33, and he turned his head away. "I will not drink."
"Very well," said Beaumont indifferently. "Please yourself."
His unhappy friend looked again at the amber-coloured wine in the glass, and felt half inclined to yield. After all, he had not touched liquor of any sort for five long years, and did not feel as a rule inclined to take it, but now the nights of watching by the bedside of the old squire had worn him out physically34, and the disdain35 of Una had made him wretched mentally, so he half determined to take this one glass to cheer him up. His good angel, however, came to his aid at this critical moment, and turning his head away with a shudder36, he went on making a pretence37 of eating. Beaumont, who had watched him narrowly all this time, saw the struggle that was going on in the young man's mind, but with true craftiness38, pretended to take no notice, satisfied that his victim was gradually being lured39 into the snare40 so artfully laid.
"So you love Miss Challoner," he said genially41. "Well, I can hardly wonder at that. To tell you the truth, I fell in love with her myself--merely in an artistic42 sense, I assure you," added the astute43 artist with a laugh as he saw the anger in Nestley's face. "She has a lovely face which seems to wear the calm of those old Greek statues. I should like to paint her as Artemis--the inviolate44 Artemis before she loved Endymion--with the serene45 light of chastity on her face and the sweetness of night in her eyes. It would be a wonderful picture."
"I wonder you don't ask her to be your model," growled46 Nestley, sulkily.
"Hardly worth while, for two reasons," replied Beaumont lightly, yet with a suspicion of regret in his tone. "In the first place she would refuse, and in the second, my hand has lost its cunning. One needs to be young and enthusiastic to paint a classical picture. I am of too earthy a nature to have such hopeless visions. Well, are you going to play the part of young Endymion to this moon goddess?"
"No," answered Nestley bitterly, "she won't have anything to do with me."
"Poor Endymion!"
"Don't be a fool, talking such classical stuff! I tell you I'm madly in love with her, and she won't have anything to do with me. Everything is against me. I'm poor, unloved and obscure. Life isn't worth living under such conditions."
He looked again at the sparkling wine, which seemed to invite him to try it as an anodyne47 for his pain. Everything seemed to his distorted imagination to be dull and dark. Wine would at least give him a few hours' respite48 from these torturing thoughts. He was master of himself now. He would drink one glass and no more. After all, seeing that everything was lost, what did it matter if he did fall once more? He had nothing to live for now. A wild despair took possession of his heart, and with a reckless laugh he seized the glass and finished the wine to the last drop.
"Evohé Bacchus," said Beaumont, draining his glass. "There's nothing like wine to cure a broken heart."
The insidious49 wine mounted rapidly to the excitable brain of the young man, and he no longer felt regret at breaking the pledge he had made five years before. The humdrum50 past of struggle and respectability was done with. Wine would solace51 him. Drink! Who cared for such a thing? Anacreon was the head of a glorious band of poets, and praised the wine. Wise Anacreon, he knew the true virtues52 of the grape. The past is dead, the future is uncertain. Live--live only in the present, with wine to make us as gods--Evohé Bacchus.
The stimulating53 wine had performed its work excellently, and the world hitherto so gloomy now appeared of a roseate tint54.
"A broken heart!" he repeated, with a gay laugh. "Pish! hearts don't break so easily. A woman's no means yes. I'll ask again."
"Nothing like perseverance," said Basil, observing with infinite joy the flushed face and bright eyes of the young man. "Have some more wine?"
"Rather!" replied Nestley, holding out his glass, which Beaumont filled. "I was a fool to give up this for water. I'm sick of total abstainers--thin-blooded croakers. Here's confusion to them!" and he drank off the second glass.
Beaumont now saw that his victim was in that obstinate55 stage of recklessness which could not brook56 contradiction, so knew well how to proceed.
"Well, we've finished the bottle," he said brightly. "Suppose we go out for a walk."
"No--no walk," returned Nestley, with an imbecile grin. "You've stood me a bottle. Now it's my turn."
"I don't want any more," said Beaumont indifferently, "and I think you've had enough also."
"I haven't," retorted Nestley defiantly58. "I'm as straight as a die. I suppose you won't drink with me?"
"Oh yes, I will, if you insist upon it."
"I do insist," cried the doctor, bringing his fist down on the table with a bang. "You must drink to show there is no ill-will. We were once friends, Basil."
"And are so still, I trust," said the artist, cordially.
"Your hand," said Nestley, with an outburst of maudlin59 affection. "Give me your hand."
Beaumont suffered his hand to be shaken violently by the doctor, and then that gentleman, now in a hilarious60 state of excitement, walked to the bell, ringing it with unnecessary violence.
Margery appeared in answer, and seemed somewhat astonished at Nestley's state, as he had always been so reserved and quiet in his demeanour.
"Another bottle of champagne," said Nestley in a thick voice, coming close to her. "You are a pretty girl."
He tried to embrace her, but Margery, who was used to seeing the rustics61 in a similar state, pushed him away with a hearty62 laugh, and went off to get the wine.
Nestley resumed his seat at the table, talking rapidly to Beaumont about all sorts of things, and then began to boast about himself.
"I can do anything--anything, I tell you," he said, looking at Beaumont, who was smoking. "My brain's worth a dozen of any other fellows' Don't you believe me?"
"Oh, yes, I believe you," replied Beaumont, as Margery returned with another bottle of champagne; "but, if I were you, I'd take no more wine."
"Won't I!" said Nestley in a defiant57 manner. "You'll see."
Margery retreated, laughing at the maudlin condition of the young man, and filling his tumbler up to the brim with wine, he drank it off with an air of drunken bravado63. Beaumont, with a sneer on his thin lips, sat calmly watching the grotesque64 antics of the man he had brought so low, and only took a little of the second bottle. Dr. Nestley sang and laughed and boasted till his legs began to get shaky, and then he sat down and finished the rest of the bottle, thereby65 reducing himself to a state of hopeless intoxication66.
Finally he fell asleep with his head on the table, whereupon Beaumont, not without some difficulty, woke him up and half led, half dragged him to the sofa. With noisy protests that he was all right, the unhappy young man lay down, and in a few moments fell into a drunken slumber67, while Beaumont, feeling no compunction at having reduced a human being to the level of the beast, stood over him with a sneer.
"I don't think you'll give me much trouble," he said serenely68. "You've started on the downward path once more, and this time I expect you'll never get back again."
He went out, calmly smoking his cigarette, and asked Margery to let no one disturb his friend.
"He's taken more than is good for him," he said apologetically.
"Oh bless you, sir, that's nothing," returned Margery stolidly69. "A sleep will put him all right."
"Will it?" said Beaumont to himself when he was standing70 in the bright sunshine. "A sleep will never put you all right again in this life, Duncan Nestley."
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1
squire
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| n.护卫, 侍从, 乡绅 | |
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determined
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| adj.坚定的；有决心的 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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persuasion
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| n.劝说；说服；持有某种信仰的宗派 | |
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divulge
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| v.泄漏(秘密等)；宣布，公布 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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automaton
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| n.自动机器，机器人 | |
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magnetism
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| n.磁性，吸引力，磁学 | |
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adept
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| adj.老练的，精通的 | |
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interfere
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| v.(in)干涉，干预；(with)妨碍，打扰 | |
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11
remarkably
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| ad.不同寻常地，相当地 | |
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relentless
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| adj.残酷的，不留情的，无怜悯心的 | |
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subtlety
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| n.微妙，敏锐，精巧；微妙之处，细微的区别 | |
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nefarious
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| adj.恶毒的，极坏的 | |
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swirling
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| v.旋转，打旋( swirl的现在分词 ) | |
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abruptly
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| adv.突然地，出其不意地 | |
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deliberately
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| adv.审慎地；蓄意地；故意地 | |
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sneer
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| v.轻蔑；嘲笑；n.嘲笑，讥讽的言语 | |
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resolute
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| adj.坚决的，果敢的 | |
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assent
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| v.批准，认可；n.批准，认可 | |
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moodily
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| adv.喜怒无常地；情绪多变地；心情不稳地；易生气地 | |
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cynically
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| adv.爱嘲笑地，冷笑地 | |
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tranquilly
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| adv. 宁静地 | |
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luncheon
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| n.午宴，午餐，便宴 | |
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champagne
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| n.香槟酒；微黄色 | |
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habitually
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| ad.习惯地，通常地 | |
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deference
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| n.尊重，顺从；敬意 | |
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excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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preoccupied
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| adj.全神贯注的，入神的；被抢先占有的；心事重重的v.占据（某人）思想，使对…全神贯注，使专心于( preoccupy的过去式) | |
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feigning
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| 假装，伪装( feign的现在分词 )； 捏造（借口、理由等） | |
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annoyance
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| n.恼怒，生气，烦恼 | |
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enjoyment
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| n.乐趣；享有；享用 | |
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resolutely
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| adj.坚决地，果断地 | |
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physically
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| adj.物质上，体格上，身体上，按自然规律 | |
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disdain
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| n.鄙视，轻视；v.轻视，鄙视，不屑 | |
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shudder
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| v.战粟，震动，剧烈地摇晃；n.战粟，抖动 | |
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pretence
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| n.假装，作假；借口，口实；虚伪；虚饰 | |
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craftiness
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| 狡猾，狡诈 | |
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lured
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| 吸引，引诱（lure的过去式与过去分词形式） | |
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snare
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| n.陷阱，诱惑，圈套；（去除息肉或者肿瘤的）勒除器；响弦，小军鼓；vt.以陷阱捕获，诱惑 | |
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genially
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| adv.亲切地，和蔼地；快活地 | |
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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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astute
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| adj.机敏的，精明的 | |
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inviolate
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| adj.未亵渎的，未受侵犯的 | |
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serene
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| adj. 安详的，宁静的，平静的 | |
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growled
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| v.（动物）发狺狺声， （雷）作隆隆声( growl的过去式和过去分词 )；低声咆哮着说 | |
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anodyne
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| n.解除痛苦的东西，止痛剂 | |
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respite
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| n.休息，中止，暂缓 | |
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insidious
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| adj.阴险的，隐匿的，暗中为害的，（疾病）不知不觉之间加剧 | |
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humdrum
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| adj.单调的，乏味的 | |
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solace
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| n.安慰；v.使快乐；vt.安慰(物)，缓和 | |
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virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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stimulating
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| adj.有启发性的，能激发人思考的 | |
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54
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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obstinate
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| adj.顽固的，倔强的，不易屈服的，较难治愈的 | |
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brook
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| n.小河，溪；v.忍受，容让 | |
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defiant
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| adj.无礼的，挑战的 | |
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defiantly
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| adv.挑战地，大胆对抗地 | |
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maudlin
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| adj.感情脆弱的，爱哭的 | |
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hilarious
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| adj.充满笑声的，欢闹的；[反]depressed | |
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rustics
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| n.有农村或村民特色的( rustic的名词复数 )；粗野的；不雅的；用粗糙的木材或树枝制作的 | |
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hearty
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| adj.热情友好的；衷心的；尽情的，纵情的 | |
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bravado
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| n.虚张声势，故作勇敢，逞能 | |
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grotesque
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| adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物） | |
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thereby
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| adv.因此，从而 | |
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intoxication
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| n.wild excitement;drunkenness；poisoning | |
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67
slumber
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| n.睡眠，沉睡状态 | |
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68
serenely
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| adv.安详地，宁静地，平静地 | |
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69
stolidly
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| adv.迟钝地，神经麻木地 | |
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70
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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