Genius Loci (2/2)

I can not be sure whether anything more was said by either of us. I have, however, the impression of a blank silence. After his single exclamation of surprise, Amberville seemed to retreat into an impenetrable abstraction, as if he were no longer conscious of my presence; as if, having identified me, he had forgotten me at once. On my part, I felt a weird and overpowering constraint. That infamous, eerie scene depressed me beyond measure. It seemed that the boggy bottom was trying to drag me down in some intangible way. The boughs of the sick alders beckoned. The pool, over which the bony willow presided like an arboreal death, was wooing me foully with its stagnant waters.

Moreover, apart from the ominous atmosphere of the scene itself, I was painfully aware of a further change in Amberville—a change that was an actual alienation, His recent mood, whatever it was, had strengthened upon him enormously: he had gone deeper into its morbid twilight, and was lost to the blithe and sanguine personality I had known. It was as if an incipient madness had seized him; and the possibility of this terrified me.

In a slow, somnambulistic manner, without giving me a second glance, he began to work at his painting, and I watched him for a while, hardly knowing what to do or say. For long intervals he would stay and peer with dreamy intentness at some feature of the landscape. I conceived the bizarre idea of a growing kinship, a mysterious rapport between Amberville and the meadow. In some intangible way, it seemed as if the place had taken something from his very soul—and had given something of itself in exchange. He wore the air of one who participates in some unholy secret, who has become the acolyte of an unhuman knowledge. In a flash of horrible definitude, I saw the place as an actual vampire, and Amberville as its willing victim.

How long I remained there, I can not say. Finally I stepped over to him and shook him roughly by the shoulder.

‘You’re working too hard,’ I said. ‘Take my advice, and lay off for a day or two.’

He turned to me with the dazed look of one who is lost in some narcotic dream. This, very slowly, gave place to a sullen, evil anger.

‘Oh, go to hell!’ he snarled. ‘Can’t you see that I’m busy?’

I left him then, for there seemed nothing else to do under the circumstances. The mad and spectral nature of the whole affair was enough to make me doubt my own reason. My impressions of the meadow—and of Amberville—were tainted with an insidious horror such as I had ever before felt in any moment of waking life and normal consciousness.

At the bottom of the slope of yellow pine, I turned back with repugnant curiosity for a parting glance. The painter had not moved, he was still confronting the malignant scene like a charmed bird that faces a lethal serpent. Whether or not the impression was a double optic image, I have never been sure: but at that instant I seemed to discern a faint, unholy aura, neither light nor mist, that flowed and wavered about the meadow, preserving the outlines of the willow, the alders, the weeds, the pool Stealthily it appeared to lengthen, reaching towards Amberville like ghostly arms. The whole image was extremely tenuous, and may well have been an illusion; but it sent me shuddering into the shelter of the tall, benignant pines.

The remainder of that day, and, the evening that followed, were tinged with the shadowy horror I had found in Chapman’s meadow. I believe that I spent most of the time in arguing vainly with myself, in trying to convince the rational part of my mind that all I had seen and felt was utterly preposterous. I could arrive at no conclusion, other than a conviction that Amberville’s mental health was endangered by the damnable thing, whatever it was, that inhered in the meadow. The malign personality of the place, the impalpable terror, mystery and lure, were like webs that had been woven upon my brain, and which I could not dissipate by any amount of conscious effort.

I made two resolves, however: one was, that I should write immediately to Amberville’s fiancé, Miss Avis Olcott, and invite her to visit me as a fellow-guest of the artist during the remainder of his stay at Bowman. Her influence, I thought, might help to counteract whatever was affecting him so perniciously. Since I knew her fairly well, the invitation would not seem out of the way. I decided to say nothing about it to Amberville: the element of surprise, I hoped, would be especially beneficial.

My second resolve was, that I should not again visit the meadow myself, if I could avoid it. Indirectly—for I knew the folly of trying to combat a mental obsession openly—I should also try to discourage the painter’s interest in the place, and divert his attention to other themes, Trips and entertainments, too, could be devised, at the minor cost of delaying my own work.

The smoky autumn twilight overtook me in such meditations as these; but Amberville did not return. Horrible premonitions, without coherent shape or name, began to torment me as I waited for him. The night darkened; and dinner grew cold on the table. At last, about nine o’clock, when I was nerving myself to go out and hunt for him, he came in hurriedly. He was pale, dishevelled, out of breath; and his eyes held a painful glare, as if everything had frightened him beyond endurance.

He did not apologize for his lateness; nor did he refer to my own visit to the meadow-bottom. Apparently he had forgotten the whole episode—had forgotten his rudeness to me.

‘I’m through!’ he cried. ‘I’ll never go back again—never take another chance. That place is more hellish at night than in the daytime. I can’t tell you what I’ve seen and felt—I must forget it, if I can. There’s an emanation – something that comes out openly in the absence of the sun, but is latent by day. It lures me, it tempted me to remain this evening—and it nearly got me… God! I didn’t believe that such things were possible—that abhorrent compound of–‘ He broke off, and did not finish the sentence. His eyes dilated, as if with the memory of something too awful to be described. At that moment, I recalled the poisonously haunted eyes of old Chapman whom I had sometimes met about the hamlet. He had not interested me particularly, since I had deemed him a common type of rural character, with a tendency to some obscure and unpleasant aberration. Now, when I saw the same look in the eyes of a sensitive artist, I began to wonder, with a shivering speculation, whether Chapman too had been aware of the weird evil that dwelt in his meadow. Perhaps, in some way that was beyond human comprehension, he had been its victim. … He had died there; and his death had not seemed at all mysterious. But perhaps, in the light of all that Amberville and I had perceived, there was more in the matter than any one had suspected.

‘Tell me what you saw,’ I ventured to suggest. At the question, a veil seemed to fall between us, impalpable but terrific. He shook his head morosely and made no reply. The human terror, which perhaps had driven him back towards his normal self, and had made him almost communicative for the nonce, fell away from Amberville. A shadow that was darker than fear, an impenetrable alien umbrage, again submerged him. I felt a sudden chill, of the spirit rather than the flesh; and once more there came to me the outré thought of his growing kinship with the ghoulish meadow. Beside me, in the lamplit room, behind the mask of his humanity, a thing that was not wholly human seemed to sit and wait.

Of the nightmarish days that followed, I shall offer only a summary. It would be impossible to convey the eventless, fantasmal horror in which we dwelt and moved.

I wrote immediately to Miss Olcott, pressing her to pay me a visit during Amberville’s stay, and, in order to insure acceptance, I hinted obscurely at my concern for his health and my need of her coadjutation. In the meanwhile, waiting her answer, I tried to divert the artist by suggesting trips to sundry points of scenic interest in the neighbourhood. These suggestions he declined, with an aloof curtness, an air that was stony and cryptic rather than deliberately rude. Virtually, he ignored my existence, and made it more than plain that he wished me to have him to his own devices. This, in despair, I finally decided to do, pending the arrival of Miss Olcott. He went out early each morning, as usual, with his paints and easel, and returned about sunset or a little later. He did not tell me where he had been; and I refrained from asking.

Miss Olcott came on the third day following my letter, in the afternoon. She was young, lissome, ultra-feminine, and was altogether devoted to Amberville. In fact, I think she was a little in awe of him. I told her as much as I dared, and warned her of the morbid change in her fiancé, which I attributed to nervousness and overwork. I simply could not bring myself to mention Chapman’s meadow and its baleful influence: the whole thing was too unbelievable, too fantasmagoric, to be offered as an explanation to a modern girl. When I saw the somewhat helpless alarm and bewilderment with which she listened to my story, I began to wish that she were of a more wilful and determined type, and were less submissive towards Amberville than I surmised her to be, A stronger woman might have saved him; but even then I began to doubt whether Avis could do anything to combat the imponderable evil that was engulfing him.

A heavy crescent moon was hanging like a blood-dipped horn in the twilight, when he returned. To my immense relief, the presence of Avis appeared to have a highly salutary effect. The very moment that he saw her, Amberville came out of the singular eclipse that had claimed him, as I feared, beyond redemption, and was almost his former affable self, Perhaps it was all make-believe, for an ulterior purpose; but this, at the time, I could not suspect. I began to congratulate myself on having applied a sovereign remedy. The girl, on her part, was plainly relieved; though I saw her eyeing him in a slightly hurt and puzzled way, when he sometimes fell for a short interval into moody abstraction, as if he had temporarily forgotten her. On the whole, however, there was a transformation that appeared no less than magical, in view of his recent gloom and remoteness. After a decent interim, I left the pair together, and retired.

I rose very late the next morning, having overslept. Avis and Amberville I learned, had gone out together, carrying a lunch which my Chinese cook had provided. Plainly he was taking her along on one of his artistic expeditions; and I augured well for his recovery from this. Somehow, it never occurred to me that he had taken her to Chapman’s meadow. The tenuous, malignant shadow of the whole affair had begun to lift from my mind; I rejoiced in a lightened sense of responsibility; and, for the first time in a week, was able to concentrate clearly on the ending of my novel.

The two returned at dusk, and I saw immediately that I had been mistaken on more points than one. Amberville had again retired into a sinister, saturnine reserve. The girl, beside his looming height and massive shoulders, looked very small, forlorn and pitifully bewildered and frightened. It was as if she had encountered something altogether beyond her comprehension something with which she was humanly powerless to cope.

Very little was said by either of them. They did not tell me where they had been; but, for that matter, it was unnecessary to inquire. Amberville’s taciturnity, as usual, seemed due to an absorption in some dark mood or sullen reverie. But Avis gave me the impression of a dual constraint—as if, apart from some enthralling terror, she had been forbidden to speak of the day’s events and experiences. I knew that they had gone to that accursed meadow; but I was far from sure whether Avis had been personally conscious of the weird and baneful entity of the place, or had merely been frightened by the unwholesome change in her lover beneath its influence. In either case, it was obvious that she was wholly subservient to him, I began to damn myself for a fool in having invited her to Bowman—though the true bitterness of my regret was still to come.

A week went by, with the same daily excursions of the painter and his fiancé—the same baffling, sinister estrangement and secrecy in Amberville—the same terror, helplessness, constraint and submissiveness in the girl. How it would all end, I could not imagine; but I feared, from the ominous alteration of his character,’ that Amberville was heading for some form of mental alienation, if nothing worse, My offers of entertainment and scenic journeys were rejected by the pair; and several blunt efforts to question Avis were met by a wall of almost hostile evasion which convinced me that Amberville had enjoined her to secrecy—and had perhaps, in some sleightful manner, misrepresented my own attitude towards him.

‘You don’t understand him,’ she said, repeatedly. ‘He is very temperamental.’

The whole affair was a maddening mystery, but it seemed more and more that the girl herself was being drawn, either directly or indirectly, into the same fantasmal web that had enmeshed the artist.

I surmised that Amberville had done several new pictures of the meadow; but he did not show them to me, nor even mention them, My own impressions of the place, as time went on, assumed an unaccountable vividness that was almost hallucinatory. The incredible idea of some inherent force or personality, malevolent and even vampirish, became an unavowed conviction against my will. The place haunted me like a fantasm, horrible but seductive. I felt an impelling morbid curiosity, an unwholesome desire to visit it again, and fathom, if possible, its enigma. Often I thought of Amberville’s notion about a Genius Loci that dwelt in the meadow, and the hints of a human apparition that was somehow associated with the spot. Also, I wondered what it was that the artist had seen on the one occasion when he had lingered in the meadow after nightfall, and had returned to my house in driven terror. It seemed that he had not ventured to repeat the experiment, in spite of his obvious subjection to the unknown lure.

The end cane, abruptly and without premonition. Business had taken me to the county seat, one afternoon, and I did not return till late in the evening. A full moon was high above the pine-dark hills. I expected to find Avis and the painter in my drawing-room; but they were not there. Li Sing, my factotum, told me that they had returned at dinnertime. An hour later, Amberville had gone out quietly while the girl was in her room. Coming down a few minutes later, Avis had. shown excessive perturbation when she found him absent, and had also left the house, as if to follow him, without telling Li Sing where she was going or when she might return. All this had occurred three hours previously; and neither of the pair had yet reappeared.

A black and subtly chilling intuition of evil seized me as I listened to Li Sing’s account. All too well I surmised that Amberville had yielded to the temptation of a second nocturnal visit to that unholy meadow. An occult attraction, somehow, had overcome the horror of his first experience, whatever it had been. Avis, knowing where he was, and perhaps fearful of his sanity—or safety—had gone out to find him. More and more, I felt an imperative conviction of some peril that threatened them both — some hideous and innominable thing to whose power, perhaps, they had already yielded.

Whatever my previous folly and remissness in the matter, I did not delay now. A few minutes of driving at precipitate speed through the mellow moonlight brought me to the piny edge of the Chapman property. There, as on my former visit, I left the car, and plunged headlong through the shadowy forest, Far down, in the hollow, as I went, I heard a single scream, shrill with terror, and abruptly terminated. I felt sure that the voice was that of Avis; but I did not hear it again.

Running desperately, I emerged in the meadow-bottom, Neither Avis nor Amberville was in sight; and it seemed to me, in my hasty scrutiny, that the place was full of mysteriously coiling and moving vapours that permitted only a partial view of the dead willow and the other vegetation. I ran on towards the scummy pool, and nearing it, was arrested by a sudden and twofold horror.

Avis and Amberville were floating together in the shallow pool, with their bodies half hidden by the mantling masses of algae. The girl was clasped tightly in the painter’s arms, as if he had carried her with him, against her will, to that noisome death. Her face was covered by the evil, greenish scum; and I could not see the face of Amberville, which was averted against her shoulder. It seemed that there had been a struggle; but both were quiet now, and had yielded supinely to their doom.

It was not this spectacle alone, however, that drove me in mad and shuddering flight from the meadow, without making even the most tentative attempt to retrieve the drowned bodies. The true horror lay in the thing, which, from a little distance, I had taken for the coils of a slowly moving and rising mist. It was not vapour, nor anything else that could conceivably exist—that malign, luminous, pallid emanation that enfolded the entire scene before me like a restless and hungrily wavering extension of its outlines—a phantom projection of the pale and deathlike willow, the dying alders, the reeds, the stagnant pool and its suicidal victims. The landscape was visible through it, as through a film; but it seemed to curdle and thicken gradually in places, with some unholy, terrifying activity. Out of these curdlings, as if disgorged by the ambient exhalation, I saw the emergence of three human faces that partook of the same nebulous matter, neither mist nor plasma. One of these faces seemed to detach itself from the bole of the ghostly willow; the second and third swirled upwards from the seething of the phantom pool, with their bodies trailing formlessly among the tenuous boughs. The faces were those of old Chapman, of Francis Amberville, and Avis Olcott.

Behind this eerie, wraith-like projection of itself, the actual landscape leered with the same infernal and vampirish air which it had worn by day. But it seemed now that the place was no longer still—that it seethed with a malignant secret life—that it reached out towards me with its scummy waters, with the bony fingers of its trees, with the spectral faces it had spewed forth from its lethal deadfall.

Even terror was frozen within me for a moment. I stood watching, while the pale, unhallowed exhalation rose higher above the meadow. The three human faces, through a further agitation of the curdling mass, began to approach each other. Slowly, inexpressibly, they merged in one, becoming an androgynous face, neither young nor old, that melted finally into the lengthening phantom boughs of the willow—the hands of the arboreal death, that were reaching out to enfold me. Then, unable to bear the spectacle any longer, I started to run.

There is little more that need be told, for nothing that I could add to this narrative would lessen the abominable mystery of it all in any degree. The meadow—or the thing that dwells in the meadow—has already claimed three victims… and I sometimes wonder if it will have a fourth. I alone, it would seem, among the living, have guessed the secret of Chapman’s death, and the death of Avis and Amberville; and no one else, apparently, has felt the malign genius of the meadow. I have not returned there, since the morning when the bodies of the artist and his fiancée were removed from the pool… nor have I summoned up the resolution to destroy or otherwise dispose of the four oil paintings and two watercolor-drawings of the spot that were made by Amberville. Perhaps… in spite of all that deters me… I shall visit it again.

Clark Ashton Smith, 1948

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