Rupert of Hentzau E-Book

Anthony Hope

• Herausgeber: Jazzybee Verlag
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch
• Veröffentlichungsjahr: 2015

Seitenzahl: 439

Beschreibung

The many thousands who have read and admired The Prisoner of Zenda will reach eagerly for its sequel, which has been published under the title Rupert of Hentzau. They will not be disappointed. Sequels of successful stories are frequently weaker and somewhat forced, but in this case it must be admitted that Anthony Hope has given us a book as powerful, vigorous and fascinating as the first. It is a cleverly wrought out romance, resplendent with stirring incidents and ingeniously invented adventures, told with the visor which carries the reader swiftly to the end, and which we are accustomed to find in all of Hope's writings. The book will doubtless have as large a sale as The Prisoner of Zenda, and will be gladly welcomed by many a person, who after having been wearied by the daily cares, seeks rest of mind and diversion in a good story.

Leseprobe

Rupert Of Hentzau

From The Memoirs Of Fritz Von Tarlenheim

Anthony Hope

Contents:

Anthony Hope – His Life And Work

Rupert Of Hentzau

Chapter I. The Queen's Good-By

Chapter II. A Station Without A Cab

Chapter III. Again To Zenda

Chapter IV. An Eddy On The Moat

Chapter V. An Audience Of The King

Chapter VI. The Task Of The Queen's Servants

Chapter VII. The Message Of Simon The Huntsman

Chapter VIII. The Temper Of Boris The Hound

Chapter IX. The King In The Hunting Lodge

Chapter X. The King In Strelsau

Chapter XI. What The Chancellor's Wife Saw

Chapter XII. Before Them All!

Chapter XIII. A King Up His Sleeve

Chapter XIV. The News Comes To Strelsau

Chapter XV. A Pastime For Colonel Sapt

Chapter XVI. A Crowd In The Konigstrasse

Chapter XVII. Young Rupert And The Play-Actor

Chapter XVIII. The Triumph Of The King

Chapter XIX. For Our Love And Her Honor

Chapter XX. The Decision Of Heaven

Chapter XXI. The Coming Of The Dream

Jazzybee Verlag Jürgen Beck

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ISBN: 9783849647988

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Anthony Hope – His Life And Work

By Frederick Taber Cooper

It is a sufficiently pleasant task to undertake to write a brief appreciation of Mr. Anthony Hope. The prevailing urbanity of his manner, the sustained sparkle of his wit, the agreeable expectation that he arouses of something stimulating about to happen, largely disarm criticism. Besides, he does not seem to demand to be taken too seriously; he is not a preacher or reformer, he is not trying to revolutionize the world; he is too well pleased with men and women as they actually are, to desire to make them something different. In short, he is a suave and charming public entertainer, and like all wise entertainers he alters the character of his program in accordance with the fluctuations of public taste. And being both versatile and farsighted he is usually in the van of each new movement. The God in the Car, his story of gigantic land speculations in South Africa, with the Herculean figure whom he chooses to disguise under the name of " Juggernaut," appeared in 1894, thus antedating by five years The Colossus, by Morley Roberts. Phroso, with its romantic setting among the islands of modern Greece, anticipated by a year Mr. E. F. Benson's analogous attempts, The Vintage and The Capsina. When the revival of the English historical novel was at its height, he succeeded once more in coming in ahead of his competitors, and Simon Dale, which appeared in 1898 and is a study of Restoration manners, with Nell Gwynn for its central interest, led the way for The Orange Girl by Sir Walter Besant, issued in 1899, and F. Frankfort Moore's Nell Gwynn, Comedian, which was not published until 1900.

But although he so cleverly adapts himself to the trend of public taste, Mr. Anthony Hope is not an innovator; he adapts but does not originate. Yet it is no uncommon thing to hear him erroneously praised for having created two new and widely popular types of fiction, the Zenda type and that of The Dolly Dialogues. Now, The Prisoner of Zenda, as we remember at once when we stop to think, is not the first up-to-date sword and buckler story of an imaginary principality; it was preceded, by nearly a decade, by Stevenson's Prince Otto; and the only reason that it so often gets the credit of being the forerunner of its class is simply because it was done with a defter, lighter touch, a more spontaneous inspiration. Similarly, The Dolly Dialogues are not the first attempt to imitate in English the sparkle and the piquancy of the Gallic dialogue in the form that " Gyp " and Henri Lavedan have made familiar. Although it is quite likely that at that time Anthony Hope had never even heard of it, The Story of the Gadsbys had at least three years the start of The Dolly Dialogues, and even though it was done with a heavier hand, it succeeded in getting a greater effectiveness out of the type.

But, after all, statistics of this sort, while interesting to a person of precise and inquiring mind, have little or no bearing upon the sources of enjoyment which a surprisingly large number of people undoubtedly find in Mr. Hope's writings. And there is variety enough among them to suit all tastes. He began in a spirit of blithe and irresponsible romanticism; he has gradually come, in his later years, to look upon life in a rather matter-of-fact way and to picture, by choice, the more serious problems of life in the social world to which he belongs. Yet his novels, even the most ambitious of them, never suggest the ponderousness of a novel-with-a-purpose; he never forgets what is expected from a conscientious entertainer. And one reason why he so uniformly succeeds is that he is an exceedingly good craftsman; he has mastered the sheer mechanics of his art. It is never wise for a novelist, whatever his literary creed may be, to be wantonly scornful of technique. There are just a few erratic geniuses who, because they have in them certain big thoughts that are struggling for utterance and apparently cannot be uttered in the simple usual way, boldly break the established rules and make new ones to suit their needs. To draw an offhand parallel, they are somewhat in the position of a man who, although untrained in public speaking, is listened to indulgently because of the importance of what he has to say. But your public entertainer enjoys no such license; and the lighter and more irresponsible his theme the more perfect must be his execution. And it is because Mr. Hope possesses that magic touch of the born story teller, that such delightful triflings as The Dolly Dialogues and The Indiscretion of the Duchess seem to linger in the memory with perennial youth, while many another weightier volume has faded out with the passage of years.

Accordingly, Mr. Hope belongs to that order of novelists about whom it is not only more enjoyable but more profitable to gossip genially than to weigh strictly in the balance. It is so easy to become garrulous over volumes that have worn well and afford many a pleasant hour of relaxation. It would be purposeless to take up serially each one of his many volumes, analyze and pigeonhole it according to its relative value. The better and the franker thing to do is to admit that there are certain volumes by Mr. Hope which gave the present writer genuine pleasure, and certain others that gave him no pleasure at all, and that those falling under the first division are the only ones which it seems worth while to discuss. In his earlier period the mere mention of Anthony Hope conjured up scenes of spirited adventure, reckless daring, gallant heroes combining the good breeding, the patrician ease, the assured manner of the better class of young Englishmen possessing the double advantage of birth and education, who, nevertheless, despite their studied reserve and immaculateness of dress, are plunged by a whim of fate into adventures of extraordinary daring and sublime audacity, adventures that would have taxed the prowess of Dumas's Immortal Three. It is a clever formula, this trick of taking certain types of familiar everyday people straight out of prosaic actuality and compelling them, whether they will or no, to perform romantic deeds against a romantic background. This peculiar combination was certainly a happy thought. It appealed to that latent thirst for adventure which we almost all possess; it unconsciously flattered the reader with a new sense of daring, a feeling that he too, if thus suddenly and surprisingly transported into Zendaland, might similarly rise to the occasion and achieve great deeds. There is no purpose served by analyzing once again the story of The Prisoner of Zenda. It is one of those stories the artificiality of which stands out glaringly the moment one starts to lay its bones bare.

Any story which depends upon the chance resemblance of two human beings, a resemblance so close, so misleading, that even the wife of one of the two is at a loss to distinguish them, takes on, when stated briefly, apart from the glamour of the tale itself, an air of palpable falsity to life. And yet the fact remains that tens of thousands of readers have lost themselves, forgotten time and space, in their utter absorption in the dilemma of the Princess Flavia, who finds in Rudolph Rassendyl all the qualities which might have made it possible for her to love her husband, if only he had been as close a replica of Rassendyl morally as he was physically.

I do not mind admitting that personally I revert more frequently to The Dolly Dialogues than to any other volume by Mr. Hope. This is not merely because of the delicate touch and epigrammatic neatness for which they have been so universally praised. Superficially considered they are a series of encounters between a sparkling and fascinating little lady and a sedate and nimble-witted gentleman, whom it is insinuated that the Lady Dolly has jilted. Now, the real fascination about these brilliant exchanges of repartee lies chiefly in the subtle and yet elusive implications that we are always on the point of reading between the lines, and yet never quite get in their entirety. That Mr. Carter has long been a worshiper at the shrine of Lady Dolly, that he has many a time felt a pang of regret that his fortune in life has made him ineligible, that he considers her husband not half grateful enough to Providence and that his own assumed air of sentimental resignation has in it a little touch of genuine regret, all this we get pretty clearly. And yet, we are well aware, all the time, that Mr. Carter, in spite of an occasional twinge of envy, would not change his condition if he could; that, although he may not be precisely aware of it, he is already confirmed in his bachelor habits; that he likes his freedom from responsibility, his harmless, unprofitable daily routine, his favorite corner in his favorite club, his innocent philandering with various young women, married and unmarried. He may, at times, deceive the Lady Dolly into commiserating him and blaming herself as a thoughtless coquette, but never for very long at a time. The whole thing is a sort of grown-up game of make-believe in which the players get a curious transitory, almost illogical enjoyment in feigning broken hearts and blighted lives. And yet there is just enough truth underlying it all to suggest that Mr. Hope was capable of more serious work than he had yet done. There was, for instance, everywhere a pervading suggestion of the infinite number of contradictory motives and impulses that determine every human action, and the impossibility which every man and woman must admit to themselves of deciding just how much gladness and how much regret is entailed in every least little thing that they do.

Almost without warning Mr. Hope proved that the vague promise of more serious work was well founded, by producing what, I think, the sober judgment of posterity will recognize as his most ambitious and most enduring work, Quisante. Alexander Quisante, from whom the volume takes its name, is not an Englishman either by birth or ancestry. He comes of antecedents almost unknown beyond the fact that they are a mixture of French and Spanish. With scanty means he comes, an absolute outsider, preparing to lay siege to the political and social world of London. In every way he finds himself handicapped. The foreordained course of education through which the English ruling classes pass as a matter of course and by which their prejudices and points of view are determined, has not been his privilege. In addition to this he lacks that inborn refinement which sometimes makes up for good breeding and social experience. His taste is often exceedingly bad; his manner is alternately too subservient and too arrogant. Of the higher standards of morality he has no perception; he is the typical adventurer, unscrupulous, insincere, monumentally selfish. But, to offset all this, his intellect is quite extraordinary; his brain is an instrument marvelously under control, and he uses it at his pleasure, to bring the lesser intellects about him under his dominion. Above all, he has the gift of eloquence; and when he chooses to give full rein to his rhetorical powers, he can sway his audience at will, and thrill and sweep them with him through the whole gamut of human emotions. Of the men and women whom he meets, fully one-half are antagonized and repelled; the others give him an unquestioning, almost slavish devotion. But he has a personality which cannot leave negative results; it must breed love or hate.

The other character in the book who shares the central interest is Lady May Gaston, a woman who, by birth and training, participates in all those special privileges of rank and caste, all the traditions of her order from which Quisante is shut out. There is another man, one in her own class, who would be glad to make her his wife. He is in all respects the sort of man whom she is expected to marry; and she is not wholly indifferent to him. But she meets Quisante, and, from the first, comes under the spell of his dominant personality. There is much in him from which she shrinks. His social ineptitude, his faculty for doing the wrong thing, or the right thing at the wrong time, makes her shudder. Although fascinated, she is not blinded. She sees his vulgarities, she questions his sincerity, she even doubts whether he is deserving of her respect. Nevertheless, the spectacular, flamboyant brilliancy of the man dominates her better judgment, and in spite of her relatives' remonstrances, in spite of warnings from a member of Quisante's own family, she marries him, unable to resist the almost hypnotic spell cast over her by this man, who is something of a charlatan and something of a cad. The greater part of the book concerns itself with the story of the married life of this curiously ill-assorted couple; of his success in the public eye; of her gradual disillusionment, which, bitter though it is in its completeness, finds her somewhat apathetic, unable to feel the resentment that she knows she ought, unable to acknowledge that she regrets her choice. This, indeed, is the most interesting aspect of the book, the domination, mentally and morally, of a woman of rare sensitiveness and infinite possibilities by a man with whom companionship inevitably means deterioration.

The next of Mr. Anthony Hope's volumes, which personally appealed to the present writer, is entitled A Servant of the Public, and is enjoyable chiefly because of the tantalizing witchery of its heroine. Ora Pinsent is a young actress, who has taken London by storm. She has a husband somewhere, it is said, " whose name does not matter "; indeed, it matters so little that it does not prevent her from letting Ashley Mead make ardent love to her, one Sunday afternoon, though all the while she " preserves wonderfully the air of not being responsible for the thing, of neither accepting nor rejecting, of being quite passive, of having it just happen to her." Thus with a single pen stroke Mr. Hope has set the woman unmistakably before us. Throughout the book she practices the art of having things just happen to her, the art of dodging responsibility. With Ashley she drifts, dangerously one thinks, at first, until one sees how easily she checks his ardor when she chooses, with a nervous laugh, and a low whispered " Don't, don't make love to me any more now." She talks much solemn nonsense about her duty to the husband whose name does not matter, and about her intention to renounce Ashley, although one realizes that there is really nothing to renounce, nor ever will be. And when the time comes for her company to leave London and start on their American tour, here also she plays the passive role, neither accepting nor rejecting. It is only when the weary months of her absence are over and she comes back as the wife of her leading man, that Ashley begins to see her as she really is; only then that he feels her power over him has ceased; only then that he can say, " I no longer love her, but I wish to God I did! " It is not easy to convey an impression of a woman's charm, when it lies not in what she says, but in the way she says it; not in what she does, but in the way she does it. But this is precisely what Anthony Hope has done triumphantly in his portraiture of Ora Pinsent, Ora, with her upturned face, with its habitual expression of expecting to be kissed, is one of the heroines in contemporary fiction that will not easily be forgotten.

Helena's Path deserves something more than a passing word of commendation, for it is an excellent example of Mr. Hope's deftness in doing a very slight thing extremely well. It has an outward framework of actuality, the atmosphere of present day English country life; yet into this he has infused a certain spirit of old-time chivalry and homage that gives to his whole picture something of the grace and charm of a Watteau landscape. The whole theme of the volume, which is scarcely more than a novelette, concerns itself with a right of way. The hero's estates lie somewhere on the east coast of England; but between his land and the strip of beach where he and his fathers before him have for generations been in the habit of bathing lies the property which the heroine has recently purchased; and, unaware of any right of way, she closes up the gate through which it is his habit to pass for his daily swim. He writes courteously but firmly, insisting on his right. She answers in the same spirit, emphatically denying it. He refuses to be robbed of his legal rights, even by a pretty woman; she refuses to yield, at a command, what she would have graciously granted to a prayer. As neither side chooses to adopt legal measures, a state of mimic war ensues, in which he continues to invade the enemy's territory, while she continues to barricade and entrench. And all the while, although they have not once met face to face, each is quietly falling in love with the other, so that when finally honorable terms of peace are concluded, it is already a foregone conclusion that the whole dainty little comedy will end with oaths of fealty and bestowal of favors worthy of a knight and a lady of the olden times.

With the passage of years, however, the author of The Dotty Dialogues has tended to give us fewer and fewer of these dainty trifles and more and more of his serious and careful social studies. In this class belongs The Great Miss Driver, and there is no exaggeration in saying that since the publication of Quisante it is easily the biggest, best-rounded, and altogether worthiest book he has written. And yet, the first thing you are apt to think of is that the germ idea of the story goes straight back to The Dolly Dialogues; that in a superficial way, yes, and perhaps in a deeper way, too, there is a certain rather absurd similarity between them; just as though the author, having once made a pleasant little comedy out of a certain situation, had ever since been turning over in his mind the possibility of using it in a bigger and more serious way, until eventually he evolved the present volume. Not that Jennie Driver, heiress to Breysgate Priory, bears any close resemblance to Lady Mickleham beyond the very feminine desire for conquest, any more than the Mr. Austin of the one story is a close relative of Mr. Carter in the other. The resemblance lies in this, that both stories are told in the first person by the man who in his secret heart loves the woman of whom he writes, but knows that because he is poor, because he has the natural instinct of an old bachelor, because, also, she has given her heart elsewhere, he must remain content to look upon her joys and sorrows in the capacity of a friend, and not that of a lover. To this extent The Great Miss Driver may be defined as The Dolly Dialogues rendered in a different tempo.

Yet, such a definition gives no hint of the strength, the variety, the vital interest of this story. In the character of Jennie Driver Mr. Hope has given us a woman whose ruling passion is to hold sway, to fascinate and bend to her will every one who comes within her sphere. And because of this desire she can never bear to lose the allegiance of any man, no matter how mean and unworthy he has proved himself; and herein lies the source of her life's tragedy. She is not content to be merely the richest woman in the county, to play the part of Lady Bountiful, and build memorials and endow institutions with fabulous sums; she wants also to be a social leader with undisputed right to take precedence over all the other ladies of the community, and this she could do if she married Lord Fillingford, whom she respects, and who badly needs her fortune; but not if she should marry Leonard Octon, big, brusque, rather brutal, who is cut by the whole county, and whom she happens to love. It is a rather unique situation in fiction for a woman to be forced into publicly slighting the one man on earth that she cares for; still more unique for a woman who is pledged to marry one man to be secretly meeting the other man, and thus atoning for deliberately cutting him whenever they meet in public. And, surely, it was a rather audacious thing for Mr. Hope to attempt to make us feel that in spite of her double-dealing Jennie Driver is a rather big and fine and splendid sort of woman; that she would have kept faith with Fillingford had he been big enough to trust her when appearances were heavily against her; and that in defying convention and scandalizing the little world she lives in by fleeing with Octon to Paris, she is doing the one big, brave, inevitable act. Yet, that is precisely what the author does succeed in making us feel; and when because Fate intervenes and wrecks the last chance of Jennie's happiness through the death of Octon, we not only sympathize with her bitterness toward the narrow-minded social circle that had forced her lover into exile, but we also glory with her in the big, carefully planned and altogether adequate revenge by which she forces the county to pay tardy homage to the name of Octon.

Notwithstanding the statement made at the beginning of this chapter, to the effect that Mr. Anthony Hope does not write problem novels, the volume entitled Mrs. Maxon Protests comes critically near the border-line. Mrs. Maxon is simply one more young woman who has discovered marriage to be something vastly different from what she had imagined; and her difficulty is of the variety which she regards as almost humiliatingly commonplace namely, incompatibility. Her husband happens to be one of those narrow, self-satisfied, dictatorial men, with old-fashioned ideas about women in general and a rooted conviction that a man has a high moral responsibility for his wife's conduct and must mould her in all fashions to his own way of thinking. Mrs. Maxon bears the strain for five years; then she consults a lawyer. She learns that while she cannot get a divorce in England, she can leave her husband and he cannot force her to come back. At the time of their separation, or to be more accurate, her desertion of him for Maxon refuses to take the matter seriously there is no other man in her life; but in the weeks that follow during which she stays at the country home of some friends with lax ideas of life and a houseful of curious and often irregular people, she suddenly surprises herself by falling in love with a certain Godfrey Ledstone and promptly scandalizes society by eloping with him openly and unashamed. The rest of the book traces, with a clear-sightedness that Mr. Hope has not always shown in his books, the subsequent career of a woman who thinks that by the force of her own example she can bring the whole world over to her way of thinking. He does not spare us any of her disillusions, her humiliations, her heartache and loneliness. But through it all she is learning, strangely and cruelly learning, much that is exceedingly good for her. She is learning, for instance, that charity and sympathy and understanding are often found where least expected. She is learning, too, that there are many other standards in this world as well as her own and that they are just as reasonable and perhaps nobler. She learns that one of the best men she has ever had the good fortune to meet, loving her, pitying her, utterly disapproving of her, would nevertheless have made her his wife in spite of the scandal that had preceded and followed her divorce but for one reason: he is an army officer, and a woman with a taint upon her name would lower the social tone of his regiment and be in some degree a menace to the moral tone of the younger set. It is a temptation to analyze at some length the separate episodes of this rather unusual book throughout the years while Mrs. Maxon is slowly finding her way out of the quagmire of her own making into a belated peace and happiness. Yet, after all, what the book stands for is so admirably summed up in the concluding paragraph that one cannot do it a greater service than to close with one brief quotation. It is a satisfaction to find a book written upon this theme which, while recognizing that there is much to be said on both sides, shows neither vindictiveness toward the woman nor a misplaced championship that would exalt her into a martyr.

In the small circle of those with whom she had shared the issues of destiny she had unsettled much; of a certainty she had settled nothing. Things were just as much in solution as ever; the welter was not abated. Man being imperfect, laws must be made. Man being imperfect, laws must be broken or ever new laws will be made. Winnie Maxon had broken a law and asked a question. When thousands do the like, the Giant, after giving the first comers a box on the ear, may at last put his hand to his own and ponderously consider.

Such are the volumes chosen as a matter of personal preference, out of the generous series that Mr. Hope has so industriously turned out, during a score of years. Another reader's choice might be different, and who shall say whether it would not be as well justified? Because, the first duty of a public entertainer is to entertain; and, taking this for a criterion, the most that any one can say of his own knowledge is, such-and-such volumes have entertained me. It is obvious that Mr. Hope's own preference is for his more serious work, that with the passage of years he has grown more willing to allow the books of his romantic period to fade from sight. Yet, by doing this, he challenges a harder competition, a stricter measurement against a host of rivals. There has been no one to give us a second Prisoner of Zenda, excepting Mr. Hope himself, notwithstanding that many another writer has tried his best. But it would be easy to name a dozen contemporary novelists who could give us the annals of another Servant of the People, or chronicle some further Intrusions of Peggy, and one or two who, perhaps, could do it better. Mr. Hope is not one of the great novelists of his generation; but he is never mediocre, and even in his uninspired moments never dull. His Prisoner of Zenda and his Dolly Dialogues were both gems of the first water; his Quisante certainly suffers nothing by comparison with George Gissing's Charlatan, separated from it by barely a year. As a chronicler of English manners he is certainly of rather more importance than Mr. E. F. Benson or Mr. Maarten Maartens, although not in the same class with Galsworthy, Bennett, or W. H. Maxwell. He will be remembered, I think, somewhat as William Black and Marion Crawford are remembered, as having preserved a wholesome optimism, an unshaken belief in human nature, and as having done his part to keep the tone of the modern novel clean and wholesome.

Rupert Of Hentzau

Chapter I. The Queen's Good-By

A man who has lived in the world, marking how every act, although in itself perhaps light and insignificant, may become the source of consequences that spread far and wide, and flow for years or centuries, could scarcely feel secure in reckoning that with the death of the Duke of Strelsau and the restoration of King Rudolf to liberty and his throne, there would end, for good and all, the troubles born of Black Michael's daring conspiracy. The stakes had been high, the struggle keen; the edge of passion had been sharpened, and the seeds of enmity sown. Yet Michael, having struck for the crown, had paid for the blow with his life: should there not then be an end? Michael was dead, the Princess her cousin's wife, the story in safe keeping, and Mr. Rassendyll's face seen no more in Ruritania. Should there not then be an end? So said I to my friend the Constable of Zenda, as we talked by the bedside of Marshal Strakencz. The old man, already nearing the death that soon after robbed us of his aid and counsel, bowed his head in assent: in the aged and ailing the love of peace breeds hope of it. But Colonel Sapt tugged at his gray moustache, and twisted his black cigar in his mouth, saying, "You're very sanguine, friend Fritz. But is Rupert of Hentzau dead? I had not heard it."

Well said, and like old Sapt! Yet the man is little without the opportunity, and Rupert by himself could hardly have troubled our repose. Hampered by his own guilt, he dared not set his foot in the kingdom from which by rare good luck he had escaped, but wandered to and fro over Europe, making a living by his wits, and, as some said, adding to his resources by gallantries for which he did not refuse substantial recompense. But he kept himself constantly before our eyes, and never ceased to contrive how he might gain permission to return and enjoy the estates to which his uncle's death had entitled him. The chief agent through whom he had the effrontery to approach the king was his relative, the Count of Luzau-Rischenheim, a young man of high rank and great wealth who was devoted to Rupert. The count fulfilled his mission well: acknowledging Rupert's heavy offences, he put forward in his behalf the pleas of youth and of the predominant influence which Duke Michael had exercised over his adherent, and promised, in words so significant as to betray Rupert's own dictation, a future fidelity no less discreet than hearty. "Give me my price and I'll hold my tongue," seemed to come in Rupert's off-hand accents through his cousin's deferential lips. As may be supposed, however, the king and those who advised him in the matter, knowing too well the manner of man the Count of Hentzau was, were not inclined to give ear to his ambassador's prayer. We kept firm hold on Master Rupert's revenues, and as good watch as we could on his movements; for we were most firmly determined that he should never return to Ruritania. Perhaps we might have obtained his extradition and hanged him on the score of his crimes; but in these days every rogue who deserves no better than to be strung up to the nearest tree must have what they call a fair trial; and we feared that, if Rupert were handed over to our police and arraigned before the courts at Strelsau, the secret which we guarded so sedulously would become the gossip of all the city, ay, and of all Europe. So Rupert went unpunished except by banishment and the impounding of his rents.

Yet Sapt was in the right about him. Helpless as he seemed, he did not for an instant abandon the contest. He lived in the faith that his chance would come, and from day to day was ready for its coming. He schemed against us as we schemed to protect ourselves from him; if we watched him, he kept his eye on us. His ascendency over Luzau-Rischenheim grew markedly greater after a visit which his cousin paid to him in Paris. From this time the young count began to supply him with resources. Thus armed, he gathered instruments round him and organized a system of espionage that carried to his ears all our actions and the whole position of affairs at court. He knew, far more accurately than anyone else outside the royal circle, the measures taken for the government of the kingdom and the considerations that dictated the royal policy. More than this, he possessed himself of every detail concerning the king's health, although the utmost reticence was observed on this subject. Had his discoveries stopped there, they would have been vexatious and disquieting, but perhaps of little serious harm. They went further. Set on the track by his acquaintance with what had passed during Mr. Rassendyll's tenure of the throne, he penetrated the secret which had been kept successfully from the king himself. In the knowledge of it he found the opportunity for which he had waited; in its bold use he discerned his chance. I cannot say whether he were influenced more strongly by his desire to reestablish his position in the kingdom or by the grudge he bore against Mr. Rassendyll. He loved power and money; dearly he loved revenge also. No doubt both motives worked together, and he was rejoiced to find that the weapon put into his hand had a double edge; with one he hoped to cut his own path clear; with the other, to wound the man he hated through the woman whom that man loved. In fine, the Count of Hentzau, shrewdly discerning the feeling that existed between the queen and Rudolf Rassendyll, set his spies to work, and was rewarded by discovering the object of my yearly meetings with Mr. Rassendyll. At least he conjectured the nature of my errand; this was enough for him. Head and hand were soon busy in turning the knowledge to account; scruples of the heart never stood in Rupert's way.

The marriage which had set all Ruritania on fire with joy and formed in the people's eyes the visible triumph over Black Michael and his fellow-conspirators was now three years old. For three years the Princess Flavia had been queen. I am come by now to the age when a man should look out on life with an eye undimmed by the mists of passion. My love-making days are over; yet there is nothing for which I am more thankful to Almighty God than the gift of my wife's love. In storm it has been my anchor, and in clear skies my star. But we common folk are free to follow our hearts; am I an old fool for saying that he is a fool who follows anything else? Our liberty is not for princes. We need wait for no future world to balance the luck of men; even here there is an equipoise. From the highly placed a price is exacted for their state, their wealth, and their honors, as heavy as these are great; to the poor, what is to us mean and of no sweetness may appear decked in the robes of pleasure and delight. Well, if it were not so, who could sleep at nights? The burden laid on Queen Flavia I knew, and know, so well as a man can know it. I think it needs a woman to know it fully; for even now my wife's eyes fill with tears when we speak of it. Yet she bore it, and if she failed in anything, I wonder that it was in so little. For it was not only that she had never loved the king and had loved another with all her heart. The king's health, shattered by the horror and rigors of his imprisonment in the castle of Zenda, soon broke utterly. He lived, indeed; nay, he shot and hunted, and kept in his hand some measure, at least, of government. But always from the day of his release he was a fretful invalid, different utterly from the gay and jovial prince whom Michael's villains had caught in the shooting lodge. There was worse than this. As time went on, the first impulse of gratitude and admiration that he had felt towards Mr. Rassendyll died away. He came to brood more and more on what had passed while he was a prisoner; he was possessed not only by a haunting dread of Rupert of Hentzau, at whose hands he had suffered so greatly, but also by a morbid, half mad jealousy of Mr. Rassendyll. Rudolf had played the hero while he lay helpless. Rudolf's were the exploits for which his own people cheered him in his own capital. Rudolf's were the laurels that crowned his impatient brow. He had enough nobility to resent his borrowed credit, without the fortitude to endure it manfully. And the hateful comparison struck him nearer home. Sapt would tell him bluntly that Rudolf did this or that, set this precedent or that, laid down this or the other policy, and that the king could do no better than follow in Rudolf's steps. Mr. Rassendyll's name seldom passed his wife's lips, but when she spoke of him it was as one speaks of a great man who is dead, belittling all the living by the shadow of his name. I do not believe that the king discerned that truth which his wife spent her days in hiding from him; yet he was uneasy if Rudolf's name were mentioned by Sapt or myself, and from the queen's mouth he could not bear it. I have seen him fall into fits of passion on the mere sound of it; for he lost control of himself on what seemed slight provocation.

Moved by this disquieting jealousy, he sought continually to exact from the queen proofs of love and care beyond what most husbands can boast of, or, in my humble judgment, make good their right to, always asking of her what in his heart he feared was not hers to give. Much she did in pity and in duty; but in some moments, being but human and herself a woman of high temper, she failed; then the slight rebuff or involuntary coldness was magnified by a sick man's fancy into great offence or studied insult, and nothing that she could do would atone for it. Thus they, who had never in truth come together, drifted yet further apart; he was alone in his sickness and suspicion, she in her sorrows and her memories. There was no child to bridge the gulf between them, and although she was his queen and his wife, she grew almost a stranger to him. So he seemed to will that it should be.

Thus, worse than widowed, she lived for three years; and once only in each year she sent three words to the man she loved, and received from him three words in answer. Then her strength failed her. A pitiful scene had occurred in which the king peevishly upbraided her in regard to some trivial matter—the occasion escapes my memory—speaking to her before others words that even alone she could not have listened to with dignity. I was there, and Sapt; the colonel's small eyes had gleamed in anger. "I should like to shut his mouth for him," I heard him mutter, for the king's waywardness had well-nigh worn out even his devotion. The thing, of which I will say no more, happened a day or two before I was to set out to meet Mr. Rassendyll. I was to seek him this time at Wintenberg, for I had been recognized the year before at Dresden; and Wintenberg, being a smaller place and less in the way of chance visitors, was deemed safer. I remember well how she was when she called me into her own room, a few hours after she had left the king. She stood by the table; the box was on it, and I knew well that the red rose and the message were within. But there was more to-day. Without preface she broke into the subject of my errand.

"I must write to him," she said. "I can't bear it, I must write. My dear friend Fritz, you will carry it safely for me, won't you? And he must write to me. And you'll bring that safely, won't you? Ah, Fritz, I know I'm wrong, but I'm starved, starved, starved! And it's for the last time. For I know now that if I send anything, I must send more. So after this time I won't send at all. But I must say good-by to him; I must have his good-by to carry me through my life. This once, then, Fritz, do it for me."

The tears rolled down her cheeks, which to-day were flushed out of their paleness to a stormy red; her eyes defied me even while they pleaded. I bent my head and kissed her hand.

"With God's help I'll carry it safely and bring his safely, my queen," said I.

"And tell me how he looks. Look at him closely, Fritz. See if he is well and seems strong. Oh, and make him merry and happy! Bring that smile to his lips, Fritz, and the merry twinkle to his eyes. When you speak of me, see if he—if he looks as if he still loved me." But then she broke off, crying, "But don't tell him I said that. He'd be grieved if I doubted his love. I don't doubt it; I don't, indeed; but still tell me how he looks when you speak of me, won't you, Fritz? See, here's the letter."

Taking it from her bosom, she kissed it before she gave it to me. Then she added a thousand cautions, how I was to carry her letter, how I was to go and how return, and how I was to run no danger, because my wife Helga loved me as well as she would have loved her husband had Heaven been kinder. "At least, almost as I should, Fritz," she said, now between smiles and tears. She would not believe that any woman could love as she loved.

I left the queen and went to prepare for my journey. I used to take only one servant with me, and I had chosen a different man each year. None of them had known that I met Mr. Rassendyll, but supposed that I was engaged on the private business which I made my pretext for obtaining leave of absence from the king. This time I had determined to take with me a Swiss youth who had entered my service only a few weeks before. His name was Bauer; he seemed a stolid, somewhat stupid fellow, but as honest as the day and very obliging.

He had come to me well recommended, and I had not hesitated to engage him. I chose him for my companion now, chiefly because he was a foreigner and therefore less likely to gossip with the other servants when we returned. I do not pretend to much cleverness, but I confess that it vexes me to remember how that stout, guileless-looking youth made a fool of me. For Rupert knew that I had met Mr. Rassendyll the year before at Dresden; Rupert was keeping a watchful eye on all that passed in Strelsau; Rupert had procured the fellow his fine testimonials and sent him to me, in the hope that he would chance on something of advantage to his employer. My resolve to take him to Wintenberg may have been hoped for, but could scarcely have been counted on; it was the added luck that waits so often on the plans of a clever schemer.

Going to take leave of the king, I found him huddled over the fire. The day was not cold, but the damp chill of his dungeon seemed to have penetrated to the very core of his bones. He was annoyed at my going, and questioned me peevishly about the business that occasioned my journey. I parried his curiosity as I best could, but did not succeed in appeasing his ill-humor. Half ashamed of his recent outburst, half-anxious to justify it to himself, he cried fretfully:

"Business! Yes, any business is a good enough excuse for leaving me! By Heaven, I wonder if a king was ever served so badly as I am! Why did you trouble to get me out of Zenda? Nobody wants me, nobody cares whether I live or die."

To reason with such a mood was impossible. I could only assure him that I would hasten my return by all possible means.

"Yes, pray do," said he. "I want somebody to look after me. Who knows what that villain Rupert may attempt against me? And I can't defend myself can I? I'm not Rudolf Rassendyll, am I?"

Thus, with a mixture of plaintiveness and malice, he scolded me. At last I stood silent, waiting till he should be pleased to dismiss me. At any rate I was thankful that he entertained no suspicion as to my errand. Had I spoken a word of Mr. Rassendyll he would not have let me go. He had fallen foul of me before on learning that I was in communication with Rudolf; so completely had jealousy destroyed gratitude in his breast. If he had known what I carried, I do not think that he could have hated his preserver more. Very likely some such feeling was natural enough; it was none the less painful to perceive.

On leaving the king's presence, I sought out the Constable of Zenda. He knew my errand; and, sitting down beside him, I told him of the letter I carried, and arranged how to apprise him of my fortune surely and quickly. He was not in a good humor that day: the king had ruffled him also, and Colonel Sapt had no great reserve of patience.

"If we haven't cut one another's throats before then, we shall all be at Zenda by the time you arrive at Wintenberg," he said. "The court moves there to-morrow, and I shall be there as long as the king is."

He paused, and then added: "Destroy the letter if there's any danger."

I nodded my head.

"And destroy yourself with it, if there's the only way," he went on with a surly smile. "Heaven knows why she must send such a silly message at all; but since she must, she'd better have sent me with it."

I knew that Sapt was in the way of jeering at all sentiment, and I took no notice of the terms that he applied to the queen's farewell. I contented myself with answering the last part of what he said.

"No, it's better you should be here," I urged. "For if I should lose the letter—though there's little chance of it—you could prevent it from coming to the king."

"I could try," he grinned. "But on my life, to run the chance for a letter's sake! A letter's a poor thing to risk the peace of a kingdom for."

"Unhappily," said I, "it's the only thing that a messenger can well carry."

"Off with you, then," grumbled the colonel. "Tell Rassendyll from me that he did well. But tell him to do something more. Let 'em say good-by and have done with it. Good God, is he going to waste all his life thinking of a woman he never sees?" Sapt's air was full of indignation.

"What more is he to do?" I asked. "Isn't his work here done?"

"Ay, it's done. Perhaps it's done," he answered. "At least he has given us back our good king."

To lay on the king the full blame for what he was would have been rank injustice. Sapt was not guilty of it, but his disappointment was bitter that all our efforts had secured no better ruler for Ruritania. Sapt could serve, but he liked his master to be a man.

"Ay, I'm afraid the lad's work here is done," he said, as I shook him by the hand. Then a sudden light came in his eyes. "Perhaps not," he muttered. "Who knows?"

A man need not, I hope, be deemed uxorious for liking a quiet dinner alone with his wife before he starts on a long journey. Such, at least, was my fancy; and I was annoyed to find that Helga's cousin, Anton von Strofzin, had invited himself to share our meal and our farewell. He conversed with his usual airy emptiness on all the topics that were supplying Strelsau with gossip. There were rumors that the king was ill; that the queen was angry at being carried off to Zenda; that the archbishop meant to preach against low dresses; that the chancellor was to be dismissed; that his daughter was to be married; and so forth. I heard without listening. But the last bit of his budget caught my wandering attention.

"They were betting at the club," said Anton, "that Rupert of Hentzau would be recalled. Have you heard anything about it, Fritz?"

If I had known anything, it is needless to say that I should not have confided it to Anton. But the suggested step was so utterly at variance with the king's intentions that I made no difficulty about contradicting the report with an authoritative air. Anton heard me with a judicial wrinkle on his smooth brow.

"That's all very well," said he, "and I dare say you're bound to say so. All I know is that Rischenheim dropped a hint to Colonel Markel a day or two ago."

"Rischenheim believes what he hopes," said I.

"And where's he gone?" cried Anton, exultantly. "Why has he suddenly left Strelsau? I tell you he's gone to meet Rupert, and I'll bet you what you like he carries some proposal. Ah, you don't know everything, Fritz, my boy?"

It was indeed true that I did not know everything. I made haste to admit as much. "I didn't even know that the count was gone, much less why he's gone," said I.

"You see?" exclaimed Anton. And he added, patronizingly, "You should keep your ears open, my boy; then you might be worth what the king pays you."

"No less, I trust," said I, "for he pays me nothing." Indeed, at this time I held no office save the honorary position of chamberlain to Her Majesty. Any advice the king needed from me was asked and given unofficially.

Anton went off, persuaded that he had scored a point against me. I could not see where. It was possible that the Count of Luzau-Rischenheim had gone to meet his cousin, equally possible that no such business claimed his care. At any rate, the matter was not for me. I had a more pressing affair in hand. Dismissing the whole thing from my mind, I bade the butler tell Bauer to go forward with my luggage and to let my carriage be at the door in good time. Helga had busied herself, since our guest's departure, in preparing small comforts for my journey; now she came to me to say good-by. Although she tried to hide all signs of it, I detected an uneasiness in her manner. She did not like these errands of mine, imagining dangers and risks of which I saw no likelihood. I would not give in to her mood, and, as I kissed her, I bade her expect me back in a few days' time. Not even to her did I speak of the new and more dangerous burden that I carried, although I was aware that she enjoyed a full measure of the queen's confidence.

"My love to King Rudolf, the real King Rudolf," said she. "Though you carry what will make him think little of my love."

"I have no desire he should think too much of it, sweet," said I. She caught me by the hands, and looked up in my face.