Rudyard Kipling: The Phantom Rickshaw

"Have you the paper on you?"

"Ye—es, but what's the use of showing it? It's only a lot of scratches. All the same, we might have 'em reproduced in the book on the front page."

"I'll attend to those details. Show me what your men wrote."

He pulled out of his pocket a sheet of note–paper, with a single line of scratches upon it, and I put this carefully away.

"What is it supposed to mean in English?" I said.

"Oh, I don't know. Perhaps it means 'I'm beastly tired.' It's great nonsence," he repeated, "but all those men in the ship seem as real people to me. Do do something to the notion soon; I should like to see it written and printed."

"But all you've told me would make a long book."

"Make it then. You've only to sit down and write it out."

"Give me a little time. Have you any more notions?"

"Not just now. I'm reading all the books I've bought. They're splendid."

When he had left I looked at the sheet of note–paper with the inscription upon it. Then I took my head tenderly between both hands, to make certain that it was not coming off or turning round. Then… but there seemed to be no interval between quitting my rooms and finding myself arguing with a policeman outside a door marked Private in a corridor of the British Museum. All I demanded, as politely as possible, was "the Greek antiquity man." The policeman knew nothing except the rules of the Museum, and it became necessary to forage through all the houses and offices inside the gates. An elderly gentleman called away from his lunch put an end to my search by holding the note–paper between finger and thumb and sniffing at it scornfully.

"What does this mean? H'mm," said he. "So far as I can ascertain it is an attempt to write extremely corrupt Greek on the part"—here he glared at me with intention—"of an extremely illiterate–ah–person." He read slowly from the paper, "Pollock, Erckman, Tauchnitz, Henniker"—four names familiar to me.

"Can you tell me what the corruption is supposed to mean—the gist of the thing?" I asked.

"I have been—many times—overcome with weariness in this particular employment. That is the meaning." He returned me the paper, and I fled without a word of thanks, explanation, or apology.

I might have been excused for forgetting much. To me of all men had been given the chance to write the most marvelous tale in the world, nothing less than the story of a Greek galley–slave, as told by himself. Small wonder that his dreaming had seemed real to Charlie. The Fates that are so careful to shut the doors of each successive life behind us had, in this case, been neglectful, and Charlie was looking, though that he did not know, where never man had been permitted to look with full knowledge since Time began. Above all he was absolutely ignorant of the knowledge sold to me for five pounds; and he would retain that ignorance, for bank–clerks do not understand metempsychosis, and a sound commercial education does not include Greek. He would supply me—here I capered among the dumb gods of Egypt and laughed in their battered faces—with material to make my tale sure—so sure that the world would hail it as an impudent and vamped fiction. And I—I alone would know that it was absolutely and literally true. I—I alone held this jewel to my hand for the cutting and polishing. Therefore I danced again among the gods till a policeman saw me and took steps in my direction.

It remained now only to encourage Charlie to talk, and here there was no difficulty. But I had forgotten those accursed books of poetry. He came to me time after time, as useless as a surcharged phonograph—drunk on Byron, Shelley, or Keats. Knowing now what the boy had been in his past lives, and desperately anxious not to lose one word of his babble, I could not hide from him my respect and interest. He misconstrued both into respect for the present soul of Charlie Mears, to whom life was as new as it was to Adam, and interest in his readings; and stretched my patience to breaking point by reciting poetry—not his own now, but that of others. I wished every English poet blotted out of the memory of mankind. I blasphemed the mightiest names of song because they had drawn Charlie from the path of direct narrative, and would, later, spur him to imitate them; but I choked down my impatience until the first flood of enthusiasm should have spent itself and the boy returned to his dreams.

"What's the use of my telling you what I think, when these chaps wrote things for the angels to read?" he growled, one evening. "Why don't you write something like theirs?"

"I don't think you're treating me quite fairly," I said, speaking under strong restraint.

"I've given you the story," he said, shortly replunging into "Lara."

"But I want the details."

"The things I make up about that damned ship that you call a galley? They're quite easy. You can just make 'em up yourself. Turn up the gas a little, I want to go on reading."

I could have broken the gas globe over his head for his amazing stupidity. I could indeed make up things for myself did I only know what Charlie did not know that he knew. But since the doors were shut behind me I could only wait his youthful pleasure and strive to keep him in good temper. One minute's want of guard might spoil a priceless revelation: now and again he would toss his books aside—he kept them in my rooms, for his mother would have been shocked at the waste of good money had she seen them—and launched into his sea dreams. Again I cursed all the poets of England. The plastic mind of the bank–clerk had been overlaid, colored and distorted by that which he had read, and the result as delivered was a confused tangle of other voices most like the muttered song through a City telephone in the busiest part of the day.

He talked of the galley—his own galley had he but known it—with illustrations borrowed from the "Bride of Abydos." He pointed the experiences of his hero with quotations from "The Corsair," and threw in deep and desperate moral reflections from "Cain" and "Manfred," expecting me to use them all. Only when the talk turned on Longfellow were the jarring cross–currents dumb, and I knew that Charlie was speaking the truth as he remembered it.

"What do you think of this?" I said one evening, as soon as I understood the medium in which his memory worked best, and, before he could expostulate read him the whole of "The Saga of King Olaf!"

He listened open–mouthed, flushed his hands drumming on the back of the sofa where he lay, till I came to the Songs of Emar Tamberskelver and the verse:

He gasped with pure delight of sound.

"That's better than Byron, a little," I ventured.

"Better? Why it's true! How could he have known?"

I went back and repeated:

"'What was that?' said Olaf, standing

On the quarter–deck,

'Something heard I like the stranding

Of a shattered wreck.'"

"How could he have known how the ships crash and the oars rip out and go z–zzp all along the line? Why only the other night…. But go back please and read 'The Skerry of Shrieks' again."

"No, I'm tired. Let's talk. What happened the other night?"

"I had an awful nightmare about that galley of ours. I dreamed I was drowned in a fight. You see we ran alongside another ship in harbor. The water was dead still except where our oars whipped it up. You know where I always sit in the galley?" He spoke haltingly at first, under a fine English fear of being laughed at.

"No. That's news to me," I answered, meekly, my heart beginning to beat.

"On the fourth oar from the bow on the right side on the upper deck. There were four of us at the oar, all chained. I remember watching the water and trying to get my handcuffs off before the row began. Then we closed up on the other ship, and all their fighting men jumped over our bulwarks, and my bench broke and I was pinned down with the three other fellows on top of me, and the big oar jammed across our backs."