The stone dragon and other tragic romancesGilchrist, Murray
General
The stone dragon and other tragic romances
Gilchrist, Murray
Fantasy fiction, English; Paranormal fiction, English; Short stories, English
The striking of a tall clock near the hearth awakened me: I had slept
till midnight. The candles had been removed from the table to the
piano; those in the girandole had guttered out or been extinguished.
A young man sat at the piano on the embroidered stool. His back was
towards me; I saw nothing but high, narrow shoulders and a dome-shaped
head of dishevelled black hair plentifully besprinkled with grey.
From the road outside came a noise of horses whinnying and plunging.
I looked out, and there was a lumbering coach drawn by four stallions
which, black in daylight, shone now like burnished steel.
The would-be musician turned and showed me a long painful face with
glistening eyes and a brow ridged upward like a ruined stair. It was
a face of intense eagerness: the eagerness of a man experimenting and
praying for a result whereon his life depends. Without any prelude he
played a dance of ghosts in an old ball-room: ghosts of men and women
that moved in lavoltas and sarabands; ghosts that laughed at Susanna
in the tapestry; ghosts that loved and hated. When the last chord
had sent them crowding to their graves he turned and listened for a
footstep. None came. He lifted a leather case from the side of the
stool and, unfastening its clasps, took out a necklace which glistened
in the candlelight like a fairy shower of rain and snow. ’Twas of table
diamonds and margarites, the gems as big as filberts. He spread it
across the wires, and after an instant’s reflection began to play. The
carcanet rattled and jangled as he went: it was as an advancing host of
cymbal-women. When he listened again, great tears oozed from his eyes.
He took up the jewel and played a melody vapid at first, but so subtle
in its repetitions that none might doubt its meaning: thus and not
otherwise would sound a lyke-wake sung in a worn voice after a night
of singing. And whilst he played, the door opened silently, and I saw
Dinah, there in her nightgown, holding the posts with her hands. She
took one swift glance, then disappeared again in the darkness, and came
back carrying in her arms a bundle swathed in pure linen and strongly
redolent of aromatic herbs. Holding this to her breast, she approached
the man. Her shadow fell across the keys, and he lifted his head. From
both came a long murmur: his of love and joy and protection, hers of
agony. He rose and would have clasped her, but she drew back and placed
her burden in his outstretched hands.
‘It is the child,’ she said. ‘Three months ago I gave birth to her,
none knew save myself.... She was all that remained of you: all that I
had, and I dared not part with her.... But now--now that I have seen
you again--take her away--leave me--leave me in peace.’
‘Dinah,’ he said proudly, ‘listen to me.’
‘Nay,’ she whispered, ‘not again. If I listen I may forget your
wickedness; I might be weak again. Leave me, Jake.’
Public-domain text, read in full here on John Shaqi.
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