A Modern Aladdin; or, The Wonderful Adventures of Oliver Munier: An Extravaganza in Four Acts — John Shaqi
A Modern Aladdin; or, The Wonderful Adventures of Oliver Munier: An Extravaganza in Four ActsPyle, Howard
History
A Modern Aladdin; or, The Wonderful Adventures of Oliver Munier: An Extravaganza in Four Acts
Pyle, Howard
Alchemists -- Fiction; France -- History -- Louis XV, 1715-1774 -- Fiction; Saint-Germain, comte de, -1784 -- Fiction
Impelled by a sudden impulse of a grotesque curiosity, Oliver, after
a moment's hesitation, crept slowly and stealthily towards that
silent occupant of the silent room, holding his lantern forward at
arm's-length before him.
As the advancing light crept slowly around the figure, Oliver saw first
one thing and then another. First, the quaint and curious costume of a
kind of which be had never seen before, woven of rich and heavy silk,
and rendered still more stiff by the seed-pearls with which it was
embroidered. Then the neck and breast, covered by the folds of a faded
silken scarf. Then, as the light crept still farther around the figure,
he saw it twinkle upon a gold and jewelled object.
Oliver knew very well what it was, and his knees smote together when
he saw it. It was the haft of a dagger, and the blade was driven up to
the guard into the silent bosom. He raised the lantern still farther,
and the light shone full in the face. Oliver gave a piping cry, and,
stumbling backward, nearly let fall the lantern upon the floor. He
had seen the face of a grinning skull gazing with hollow, sightless
sockets, into his own eyes.
[Illustration: "OLIVER GAVE A PIPING CRY."]
For a while Oliver stood in the middle of the room, staring with blank,
stony horror at the silent figure. Then for a second time the voice of
the watcher above breathed through the silence--"Have you found the
water yet?"
Oliver turned stupidly, and with dull, heavy steps passed through the
door-way into the room beyond, holding the lantern before him.
Here, again, were the same rotting, mildewed richness and profusion,
but they were of a different character. A long table in the centre of
the room, covered with the remnant of what had once been a white linen
table-cloth, and set with blackened and tarnished plates and dishes,
and dust-covered goblets, and beakers of ancient cut and crystal-like
glass, showed that it was a dining apartment into which he had now
come. Two richly-carved chairs, with their indented cushions, were
pushed back as though their occupant had but just now quitted them.
Oliver felt a wave of relief; here was no silent figure to frighten him
with its ghostly, voiceless presence.
Upon the other side of this room was another tapestried door-way
similar to that through which he had just entered. Passing through it,
he found himself in a low, narrow passage, barred at the farther end by
a heavy iron-bound door, worm-eaten and red with the stain of rust,
and with great wrought-iron hinges spreading out upon its surface like
twisted fingers. Oliver pressed his foot against it. It was not locked,
and it swung slowly and stiffly open with a dull groaning of the rusty
hinges. Within was a stone-paved apartment, very different from those
which he had just left.
Public-domain text, read in full here on John Shaqi.
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