Masterpieces of Mystery Part 1

Masterpieces of Mystery.

by Various.

NOTE

The Editor desires especially to acknowledge a.s.sistance in granting the use of original material, and for helpful advice and suggestion, to Professor Brander Matthews of Columbia University, to Mrs. Anna Katherine Green Rohlfs, to Cleveland Moffett, to Arthur Reeve, creator of "Craig Kennedy," to Wilbur Daniel Steele, to Ralph Adams Cram, to Chester Bailey Fernald, to Brian Brown, to Mrs. Lillian M. Robins of the publisher's office, and to Charles E. Farrington of the Brooklyn Public Library.

FOREWORD

A distinguished American writer of fiction said to me lately: "Did you ever think of the vital American way we live? We are always going after mental gymnastics." Now the mystery story is mental gymnastics. By the time the reader has followed a chain of facts through he has exercised his mind,--given himself a mental breather. But the claims of the true mystery story do not end with the general reader. It is ent.i.tled to the consideration of the discriminating because it indubitably takes its own place as a gauge of mastery in the field of the short story.

The demand was never quite so keen as it is now. The currents of literature as of all things change swiftly these times. This world of ours has become very sophisticated. It has suffered itself to be exploited till there is no external wonder left. Retroactively the demand for mystery, which is the very soul of interest, must find new expression. Thus we turn inward for fresh thrills to the human comedy, and outward to the realm of the supernatural.

The riddle story is the most nave form of the mystery story. It may contain a certain element of the supernatural--be tinged with mysticism--but its motive and the revelation thereof must be frankly materialistic--of the earth, earthy. In this respect it is very closely allied to the detective story. The model riddle story should be utterly mundane in motive--told in direct terms. Here again the genius of that great modern master a.s.serts itself, and in "The Oblong Box" we have an early model of its kind. The stories of this collection cover a wide range and are the choice of reading in several literatures.

JOSEPH LEWIS FRENCH.

MASTERPIECES OF MYSTERY

_RIDDLE STORIES_

THE MYSTERIOUS CARD

CLEVELAND MOFFETT

Courtesy of the Author.

I

Richard Burwell, of New York, will never cease to regret that the French language was not made a part of his education.

This is why:

On the second evening after Burwell arrived in Paris, feeling lonely without his wife and daughter, who were still visiting a friend in London, his mind naturally turned to the theatre. So, after consulting the daily amus.e.m.e.nt calendar, he decided to visit the _Folies Bergere_, which he had heard of as one of the notable sights. During an intermission he went into the beautiful garden, where gay crowds were strolling among the flowers, and lights, and fountains. He had just seated himself at a little three-legged table, with a view to enjoying the novel scene, when his attention was attracted by a lovely woman, gowned strikingly, though in perfect taste, who pa.s.sed near him, leaning on the arm of a gentleman. The only thing that he noticed about this gentleman was that he wore eye-gla.s.ses.

Now Burwell had never posed as a captivator of the fair s.e.x, and could scarcely credit his eyes when the lady left the side of her escort and, turning back as if she had forgotten something, pa.s.sed close by him, and deftly placed a card on his table. The card bore some French words written in purple ink, but, not knowing that language, he was unable to make out their meaning. The lady paid no further heed to him, but, rejoining the gentleman with the eye-gla.s.ses, swept out of the place with the grace and dignity of a princess. Burwell remained staring at the card.

Needless to say, he thought no more of the performance or of the other attractions about him. Everything seemed flat and tawdry compared with the radiant vision that had appeared and disappeared so mysteriously.

His one desire now was to discover the meaning of the words written on the card.

Calling a fiacre, he drove to the Hotel Continental, where he was staying. Proceeding directly to the office and taking the manager aside, Burwell asked if he would be kind enough to translate a few words of French into English. There were no more than twenty words in all.

"Why, certainly," said the manager, with French politeness, and cast his eyes over the card. As he read, his face grew rigid with astonishment, and, looking at his questioner sharply, he exclaimed: "Where did you get this, monsieur?"

Burwell started to explain, but was interrupted by: "That will do, that will do. You must leave the hotel."

"What do you mean?" asked the man from New York, in amazement.

"You must leave the hotel now--to-night--without fail," commanded the manager excitedly.

Now it was Burwell's turn to grow angry, and he declared heatedly that if he wasn't wanted in this hotel there were plenty of others in Paris where he would be welcome. And, with an a.s.sumption of dignity, but piqued at heart, he settled his bill, sent for his belongings, and drove up the Rue de la Paix to the Hotel Bellevue, where he spent the night.

The next morning he met the proprietor, who seemed to be a good fellow, and, being inclined now to view the incident of the previous evening from its ridiculous side, Burwell explained what had befallen him, and was pleased to find a sympathetic listener.

"Why, the man was a fool," declared the proprietor. "Let me see the card; I will tell you what it means." But as he read, his face and manner changed instantly.

"This is a serious matter," he said sternly. "Now I understand why my confrere refused to entertain you. I regret, monsieur, but I shall be obliged to do as he did."

"What do you mean?"

"Simply that you cannot remain here."

With that he turned on his heel, and the indignant guest could not prevail upon him to give any explanation.

"We'll see about this," said Burwell, thoroughly angered.

It was now nearly noon, and the New Yorker remembered an engagement to lunch with a friend from Boston, who, with his family, was stopping at the Hotel de l'Alma. With his luggage on the carriage, he ordered the _cocher_ to drive directly there, determined to take counsel with his countryman before selecting new quarters. His friend was highly indignant when he heard the story--a fact that gave Burwell no little comfort, knowing, as he did, that the man was accustomed to foreign ways from long residence abroad.

"It is some silly mistake, my dear fellow; I wouldn't pay any attention to it. Just have your luggage taken down and stay here. It is a nice, homelike place, and it will be very jolly, all being together. But, first, let me prepare a little 'nerve settler' for you."

After the two had lingered a moment over their Manhattan c.o.c.ktails, Burwell's friend excused himself to call the ladies. He had proceeded only two or three steps when he turned, and said: "Let's see that mysterious card that has raised all this row."

He had scarcely withdrawn it from Burwell's hand when he started back, and exclaimed:--

"Great G.o.d, man! Do you mean to say--this is simply--"

Then, with a sudden movement of his hand to his head, he left the room.

He was gone perhaps five minutes, and when he returned his face was white.

"I am awfully sorry," he said nervously; "but the ladies tell me they--that is, my wife--she has a frightful headache. You will have to excuse us from the lunch."

Instantly realizing that this was only a flimsy pretense, and deeply hurt by his friend's behaviour, the mystified man arose at once and left without another word. He was now determined to solve this mystery at any cost. What could be the meaning of the words on that infernal piece of pasteboard?

Profiting by his humiliating experiences, he took good care not to show the card to any one at the hotel where he now established himself,--a comfortable little place near the Grand Opera House.