up the narrow stairs and along the silent corridor. The tapestry is drawn aside, and the hidden door stands open, and in the room beyond the friend that I loved is kneeling before an open chest, and the glint of the gold is in my eyes.
His back is towards me, and I crawl forward inch by inch. I have a knife in my hand, with a strong, curved blade; and when I am near enough I kill him as he kneels there.
His body falls against the door, and it shuts to with a clang, and I try to open it, and cannot. I beat my hands against its iron nails, and scream, and the dead man grins at me. The light streams in through the chink beneath the massive door, and fades, and comes again, and fades again, and I gnaw at the oaken lids of the iron-bound chests, for the madness of hunger is climbing into my brain.
Then I awake, and find that I really am hungry, and remember that in consequence of a headache I did not eat any dinner. So I slip on a few clothes, and go down to the kitchen on a foraging expedition.
It is said that dreams are momentary conglomerations of thought, centring round the incident that awakens us, and, as with most scientific facts, this is occasionally true. There is one dream that, with slight variations, is continually recurring to me. Over and over again I dream that I am suddenly called upon to act an important part in some piece at the Lyceum. That poor Mr. Irving should invariably be the victim seems unfair, but really it is entirely his own fault. It is he who persuades and urges me. I myself would much prefer to remain quietly in bed, and I tell him so. But he insists on my getting up at once and coming down to the theatre. I explain to him that I can’t act a bit. He seems to consider this unimportant, and says, “Oh, that will be all right.” We argue for a while, but he makes the matter quite a personal one, and to oblige him and get him out of the bedroom I consent, though much against my own judgment. I generally dress the character in my nightshirt, though on one occasion, for Banquo, I wore pyjamas, and I never remember a single word of what I ought to say. How I get through I do not know. Irving comes up afterwards and congratulates me, but whether upon the brilliancy of my performance, or upon my luck in getting off the stage before a brickbat is thrown at me, I cannot say.
Whenever I dream this incident I invariably wake up to find that the bedclothes are on the floor, and that I am shivering with cold; and it is this shivering, I suppose, that causes me to dream I am wandering about the Lyceum stage in nothing but my nightshirt. But still I do not understand why it should always be the Lyceum.
Another dream which I fancy I have dreamt more than once – or, if not, I have dreamt that I dreamt it before, a thing one sometimes does – is one in which I am walking down a very wide and very long road in the East End of London. It is a curious road to find there. Omnibuses and trams pass up and down, and it is crowded with stalls and barrows, beside which men in greasy caps stand shouting; yet on each side it is bordered by a strip of tropical forest. The road, in fact, combines the advantages of Kew and Whitechapel.
Some one is with me, but I cannot see him, and we walk through the forest, pushing our way among the tangled vines that cling about our feet, and every now and then, between the giant tree-trunks, we catch glimpses of the noisy street.
At the end of this road there is a narrow turning, and when I come to it I am afraid, though I do not know why I am afraid. It leads to a house that I once lived in when a child, and now there is some one waiting there who has something to tell me.
I turn to run away. A Blackwall ’bus is passing, and I try to overtake it. But the horses turn into skeletons and gallop away from me, and my feet are like lead, and the thing that is with me, and that I cannot see, seizes me by the arm and drags me back.
It forces me along, and into the house, and the door slams to behind us, and the sound echoes through the lifeless rooms. I recognise the rooms; I laughed and cried in them long ago. Nothing is changed. The chairs stand in their places, empty. My mother’s knitting lies upon the hearthrug, where the kitten, I remember, dragged it, somewhere back in the sixties.
I go up into my own little attic. My cot stands in the corner, and my bricks lie tumbled out upon the floor (I was always an untidy child). An old man enters – an old, bent, withered man – holding a lamp above his head, and I look at his face, and it is my own face. And another enters, and he also is myself. Then more and more, till the room is thronged with faces, and the stair-way beyond, and all the silent house. Some of the faces are old and others young, and some are fair and smile at me, and many are foul and leer at me. And every face is my own face, but no two of them are alike.
I do not know why the sight of myself should alarm me so, but I rush from the house in terror, and the faces follow me; and I run faster and faster, but I know that I shall never leave them behind me.
As a rule one is the hero of one’s own dreams, but at times I have dreamt a dream entirely in the third person – a dream with the incidents of which I have had no connection whatever, except as an unseen and impotent spectator. One of these I have often thought about since, wondering if it could not be worked up into a story. But, perhaps, it would be too painful a theme.
I dreamt I saw a woman’s face among a throng. It is an evil face, but there is a strange beauty in it. The flickering gleams thrown by street lamps flash down upon it, showing the wonder of its evil fairness. Then the lights go out.
I see it next in a place that is very far away, and it is even more beautiful than before, for the evil has gone out of it. Another face is looking down into it, a bright, pure face. The faces meet and kiss, and, as his lips touch hers, the blood mounts to her cheeks and brow. I see the two faces again. But I cannot tell where they are or how long a time has passed. The man’s face has grown a little older, but it is still young and fair, and when the woman’s eyes rest upon it there comes a glory into her face so that it is like the face of an angel. But at times the woman is alone, and then I see the old evil look struggling back.
Then I see clearer. I see the room in which they live. It is very poor. An old-fashioned piano stands in one corner, and beside it is a table on which lie scattered a tumbled mass of papers round an ink-stand. An empty chair waits before the table. The woman sits by the open window.
From far below there rises the sound of a great city. Its lights throw up faint beams into the dark room. The smell of its streets is in the woman’s nostrils.
Every now and again she looks towards the door and listens: then turns to the open window. And I notice that each time she looks towards the door the evil in her face shrinks back; but each time she turns to the window it grows more fierce and sullen.
Suddenly she starts up, and there is a terror in her eyes that frightens me as I dream, and I see great beads of sweat upon her brow. Then, very slowly, her face changes, and I see again the evil creature of the night. She wraps around her an old cloak, and creeps out. I hear her footsteps going down the stairs. They grow fainter and fainter. I hear a door open. The roar of the streets rushes up into the house, and the woman’s footsteps are swallowed up.
Time drifts onward through my dream. Scenes change, take shape, and fade; but all is vague and undefined, until, out of the dimness, there fashions itself a long, deserted street. The lights make glistening circles on the wet pavement. A figure, dressed in gaudy rags, slinks by, keeping close against the wall. Its back is towards me, and I do not see its face. Another figure glides from out the shadows. I look upon its face, and I see it is the face that the woman’s eyes gazed up into and worshipped long ago, when my dream was just begun. But the fairness and the purity are gone from it, and it is old and evil, as the woman’s when I looked upon her last. The figure in the gaudy rags moves slowly on. The second figure follows it, and overtakes it. The two pause, and speak to one another as they draw near. The street is very dark where they have met, and the figure in the gaudy rags keeps its face still turned aside. They walk together in silence, till they come to where a flaring gas-lamp hangs before a tavern; and there the woman turns, and I see that
