The Cruise of the Jasper B. | Page 6

gleams fell upon an astonishing clutter of books and arms. . . .
Stevenson, cavalry sabers, W. Clark Russell, pistols, and Dumas; Jack London, poignards, bowie knives, Stanley Weyman, Captain Marryat, and Dumas; sword canes, Scottish claymores, Cuban machetes, Conan Doyle, Harrison Ainsworth, dress swords, and Dumas; stilettos, daggers, hunting knives, Fenimore Cooper, G. P. R. James, broadswords, Dumas; Gustave Aimard, Rudyard Kipling, dueling swords, Dumas; F. Du Boisgobey, Malay krises, Walter Scott, stick pistols, scimitars, Anthony Hope, single sticks, foils, Dumas; jungles of arms, jumbles of books; arms of all makes and periods; arms on the walls, in the corners, over the fireplace, leaning against the bookshelves, lying in ambush under the bed, peeping out of the wardrobe, propping the windows open, serving as paper weights; pictures, warlike and romantic prints and engravings, pinned to the walls with daggers; in the wardrobe, coats and hats hanging from poignards and stilettos thrust into the wood instead of from nails or hooks. But of all the weapons it was the rapiers, of all the books it was Dumas, that he loved. There was Dumas in French, Dumas in English, Dumas with pictures, Dumas unillustrated, Dumas in cloth, Dumas in leather, Dumas in boards, Dumas in paper covers. Cleggett had been twenty years getting these arms and books together; often he had gone without a dinner in order to make a payment on some blade he fancied. And each weapon was also a book to him; he sensed their stories as he handled them; he felt the personalities of their former owners stirring in him when he picked them up. It was in that room that he dreamed; which is to say, it was in that room that he lived his real life.
Cleggett walked over to his writing desk and pulled out a bulky manuscript. It was his own work. Is it necessary to hint that it was a tale essentially romantic in character?
He flung it into the grate and set fire to it. It represented the labor of two years, but as he watched it burn, stirring the sheets now and then so the flames would catch them more readily, he smiled, unvisited by even the most shadowy second thought of regret.
For why the deuce should a man with $500,000 in his pocket write romances? Why should anyone write anything who is free to live? For the first time in his existence Cleggett was free.
He picked up a sword. It was one of his favorite rapiers. Sometimes people came out of the books--sometimes shadowy forms came back to claim the weapons that had been theirs--and Cleggett fought them. There was not an unscarred piece of furniture in the place. He bent the flexible blade in his hands, tried the point of it, formally saluted, brought the weapon to parade, dallied with his imaginary opponent's sword for an instant. . . .
It seemed as if one of those terrible, but brilliant, duels, with which that room was so familiar, was about to be enacted. . . . But he laid the rapier down. After all, the rapier is scarcely a thing of this century. Cleggett, for the first time, felt a little impatient with the rapier. It is all very well to DREAM with a rapier. But now, he was free; reality was before him; the world of actual adventure called. He had but to choose!
He considered. He tried to look into that bright, adventurous future. Presently he went to the window, and gazed out. Tides of night and mystery, flooding in from the farther, dark, mysterious ocean, all but submerged lower Manhattan; high and beautiful above these waves of shadow, triumphing over them and accentuating them, shone a star from the top of the Woolworth building; flecks of light indicated the noble curve of that great bridge which soars like a song in stone and steel above the shifting waters; the river itself was dotted here and there with moving lights; it was a nocturne waiting for its Whistler; here sea and city met in glamour and beauty and illusion.
But it was not the city which called to Cleggett. It was the sea.
A breeze blew in from the bay and stirred his window curtains; it was salt in his nostrils. . . .And, staring out into the breathing night, he saw a succession of pictures. . . .
Stripped to a pair of cotton trousers, with a dripping cutlass in one hand and a Colt's revolver in the other, an adventurer at the head of a bunch of dogs as desperate as himself fought his way across the reeking decks of a Chinese junk, to close in single combat with a gigantic one-eyed pirate who stood by the helm with a ring of dead men about him and a great two-handed sword upheaved.