Contents.

To Z. Mennell, Esq. My dear Mennell, It has been my fortune to see something of the practice of the art of healing under widely different conditions, and I know none who better represents the most humane and most exacting of all professions than yourself. The good doctor of this story—the born surgeon and healer, the ever young and alert, the self-forgetful, the faithful friend, gifted with "that exquisite charity which can forgive all things"—is studied from you. It is one of the greatest pleasures of my life to inscribe your name on this dedicatory page, and to subscribe myself, Your sincere friend and grateful patient, J. Maclaren Cobban. London, November 1889.

Chapter I.

Julius Courtney.

The Hyacinth Club has the reputation of selecting its members from among the freshest and most active spirits in literature, science, and art. That is in a sense true, but activity in one or another of those fields is not a condition of membership; for, just as the listening Boswell was the necessary complement of the talking Johnson, so in the Hyacinth Club there is an indispensable contingent of passive members who find their liveliest satisfaction in hearing and looking on, rather than in speaking and doing. Something of the home principle of male and female is necessary for the completeness even of a club.

The Hyacinth Club-house looks upon Piccadilly and the Green Park. The favourite place of concourse of its members is the magnificent smoking-room on the first floor, the bow-windows of which command a view up and down the fashionable thoroughfare, and over the trees and the undulating sward of the Park to the gates of Buckingham Palace. On a Monday afternoon in the beginning of May, the bow-windows were open, and several men sat in leather lounges (while one leaned against a window-sash), luxuriously smoking, and noting the warm, palpitating life of the world without. A storm which had been silently and doubtfully glooming and gathering the night before had burst and poured in the morning, and it was such a spring afternoon as thrills the heart with new life and suffuses the soul with expectation—such an afternoon as makes all women appear beautiful and all men handsome. The south-west wind blew soft and balmy, and all nature rejoiced as the bride in the presence of the bridegroom. The trees in the Park were full of sap, and their lusty

buds were eagerly opening to the air and the light. The robin sang with a note almost as rich and sensuous as that of the thrush; and the shrill and restless sparrows chirped and chattered about the houses and among the horses' feet, and were as full of the joy of life as the men and women who thronged the pavements or reclined in their carriages in the sumptuous ease of wealth and beauty.

Of the men who languidly gazed upon the gay and splendid scene from the windows of the Club, none seemed so interested as the man who leaned against the window-frame. He appeared more than interested—absorbed, indeed—in the world without, and he looked bright and handsome enough, and charged enough with buoyant health, to be the ideal bridegroom of Nature in her springtide.

He was a dark man, tall and well built, with clear brown eyes. His black hair (which was not cropped short, as is the fashion) had a lustrous softness, and at the same time an elastic bushiness, which nothing but the finest-tempered health can give; and his complexion, though tanned by exposure, had yet much of the smoothness of youth, save where the razor had passed upon his beard. Thus seen, a little way off, he appeared a young man in his rosy twenties; on closer view and acquaintance, however, that superficial impression was contradicted by the set expression of his mouth and the calm observation and understanding of his eye, which spoke of ripe experience rather than of green hope. He bore a very good English name—Courtney; and he was believed to be rich. There was no member of whom the Hyacinth Club was prouder than of him: though he had done nothing, it was commonly believed he could do anything he chose. No other was listened to with such attention, and there was nothing on which he could not throw a fresh and fascinating light. He was a constant spring of

surprise and interest. While others were striving after income and reputation, he calmly and modestly, without obtrusion or upbraiding, held on his own way, with unsurpassable curiosity, to the discovery of all which life might have to reveal. It was this, perhaps, as much as the charm of his manner and conversation, that made him so universal a favourite; for how could envy or malice touch a man who competed at no point with his fellows?

His immediate neighbours, as he thus stood by the window, were a pair of journalists, several scientific men, and an artist.

"Have you seen any of the picture-shows, Julius?" asked the painter, Kew.

Courtney slowly abstracted his gaze from without, and turned on his shoulder with the lazy, languid grace of a cat.

"No," said he, in a half-absent tone; "I have just come up, and I've not thought of looking into picture-galleries yet."

"Been in the country?" asked Kew.

"Yes, I've been in the country," said Courtney, still as if his attention was elsewhere.

"It must be looking lovely," said Kew.

"It is—exquisite!" said Courtney, waking up at length to a full glow of interest. "That's why I don't want to go and stare at pictures. In the spring, to see the fresh, virginal, delicious green of a bush against an old dry brick wall, gives a keener pleasure than the best picture that ever was painted."

"I thought," said Kew, "you had a taste for Art; I thought you enjoyed it."

"So I do, my dear fellow, but not now,—not at this particular present. When I feel the warm sun on my back and breathe the soft air, I want no more; they are more than Art can give—they are Nature, and, of course, it goes without saying that Art can never compete with Nature in creating human pleasure. I mean no disparagement of your work, Kew, or any artist's work; but I can't endure Art except in winter, when everything (almost) must be artificial to be endurable. A winter may come in one's life—I wonder if it will?—when one would rather look at the picture of a woman than at the woman herself. Meantime I no more need pictures than I need fires; I warm both hands and heart at the fire of life."

"Ah!" said Kew, with a wistful lack of comprehension.

"That's why I believe," said Courtney, with a sudden turn of reflection, "there is in warm countries no Art of our small domestic kind."

"Just so," said Kew; while Dingley Dell, the Art critic, made a note of Courtney's words.

"Look here!" exclaimed Dr. Embro, an old scientific man of Scottish extraction, who, in impatience with such transcendental talk, had taken up 'The St. James's Gazette.' "What do you make of this queer case at the Hôtel-Dieu in Paris? I see it's taken from 'The Daily Telegraph;'" and he began to read it.

"Oh," said Kew, "we all read that this morning."

"Dr. Embro," said Courtney, again looking idly out of window, "is like a French journal: full of the news of the day before yesterday."

"Have you read it yourself, Julius?" asked Embro, amid the laughter of his neighbours.

"No," said Julius carelessly; "and if it's a hospital case I don't want to read it."

"What!" said Embro, with heavy irony. "You say that? You, a pupil of the great Dubois and the greater Charbon! But here comes a greater than Charbon—the celebrated Dr. Lefevre himself. Come now, Lefevre, you tell us what you think of this Paris hospital case."

"Presently, Embro," said Lefevre, who had just perceived his friend Courtney. "Ha, Julius!" said he, crossing to him and taking his hand; "you're looking uncommonly well."

"Yes," said Julius, "I am well."

"And where have you been all this while?" asked the doctor.

"Oh," said Julius, turning his gaze again out of window, "I have been rambling everywhere, between Dan and Beersheba."

"And all is vanity, eh?" said the doctor.

"Well," said Julius, looking at him, "that depends—that very much depends. But can there be any question of vanity or vexation in this sweet, glorious sunshine?" and he stretched out his hands as if he burgeoned forth to welcome it.

"Perhaps not," said Lefevre. "Come and sit down and let us talk."

They were retiring from the window when Embro's voice again sounded at Lefevre's elbow—"Come now, Lefevre; what's the meaning of that Paris case?"

"What Paris case?"

Embro answered by handing him the paper. He took it, and read as follows:—

"About a month ago a strange case of complete mental collapse was received into the Hôtel-Dieu. A fresh healthy girl, of the working class, about twenty years of age, and comfortably dressed, presented herself at a police-station near the Odéon and asked for shelter. As she did not appear to be in full possession of her mental faculties, she was sent to the Hôtel-Dieu, where she remained in a semi-comatose condition. Her memory did not go farther back than the hour of her application at the police-station. She was entirely ignorant of her previous history, and had even forgotten her name. The minds of the medical staff of the Hôtel-Dieu were very much exercised with her condition; but it was not till about a week ago that they succeeded in restoring to any extent her mental consciousness and her memory. She then remembered the events immediately preceding her application to the police. It had come on to rain, she said, and she was hurrying along to escape from it, when a gentleman in a cloak came to her side and politely offered to give her the shelter

of his umbrella. She accepted; the gentleman seemed old and ill. He asked her to take his arm. She did so, and very soon she felt as if her strength had gone from her; a cold shiver crept over her; she trembled and tottered; but with all that she did not find her sensations disagreeable exactly or alarming; so little so, indeed, that she never thought of letting go the gentleman's arm. Her head buzzed, and a kind of darkness came over her. Then all seemed to clear, and she found herself alone near the police-station, remembering nothing. Being asked to further describe the gentleman, she said he was tall and dark, with a pleasant voice and wonderful eyes, that made you feel you must do whatever he wished. The police have made inquiries, but after such a lapse of time it is not surprising that no trace of him can be found."

"Well?" asked Embro, when Lefevre had raised his eyes from the paper. "What do you think of it?"

"Curious," said Lefevre. "I can't say more, since I know nothing of it but this. Have you read it, Julius?"

"No," said Julius; "I hate what people call news; and when I take up a paper, it's only to look at the Weather Forecasts." Lefevre handed him the paper, which he took with an unconcealed look of repulsion. "If it's some case of disease," said he, "it will make me ill."

"Oh no," said Lefevre; "it's not painful, but it's curious;" and so Julius set himself to read it.

"But come," said Embro, posing the question with his forefinger; "do you believe that story, Lefevre?"

"Though it's French, and from the 'Telegraph,'" said Lefevre, "I see no reason to disbelieve it."

"Come," said Embro, "come—you're shirking the question."

"I confess," said Lefevre, "I've no desire to discuss it. You think me prejudiced in favour of anything of the kind; perhaps I think you prejudiced against it: where, then, is the good of discussion?"

"Well, now," said the unabashed Embro, "I'll tell you what I think. Here's a story"—Julius at that instant handed back the paper to him—"of a healthy young woman mesmerised, hypnotised, or somnambulised, or whatever you like to call it, in the public street, by some man that casually comes up to her, and her brain so affected that her memory goes! I say it's inconceivable!—impossible!" And he slapped the paper down on the table.

The others looked on with grim satisfaction at the prospect of an argument between the two representatives of rival schools; and it was noteworthy that, as they looked, they turned a referring glance on Courtney, as if it were a foregone conclusion that he must be the final arbiter. He, however, sat abstracted, with his eyes on the floor, and with one hand propping his chin and the other drumming on the arm of his chair.

"I'm not a scientific man," said the journalist who was not an Art critic, "and I am not prejudiced either way about this story; but it seems to me, Embro, that you view the thing through a very ordinary fallacy, and make a double mistake. You confound the relatively inconceivable with the absolutely impossible: this story is relatively inconceivable to you, and therefore you say it is absolutely impossible."

"Is there such a thing as an absolute impossibility?" murmured Julius, who still sat with his chin in his hand, looking as if he considered the "thing" from a long way off as one of a multitude of other things.

"I do not believe there is," said the journalist; "but——"

"Don't let us lose ourselves in metaphysics," broke in Embro. Then, turning to Courtney, whose direct intelligent gaze seemed to disconcert him, he said, "Now, Julius, you've seen, I daresay, a good many things we have not seen,—have you ever seen or known a case like this we're talking about?"

"I can't say I have," said Julius.

"There you are!" quoth Embro, in triumph.

"But," continued Julius, "I don't therefore nail that case down as false."

"Do you mean to say," exclaimed Embro, "that you have lived all your years, and studied science at the Salpétrière,—or what they call science there,—and studied and seen God knows what else besides, and you can't pronounce an opinion from all you know on a case of this sort?"

"Oh yes," said Julius, quietly, "I can pronounce an opinion; but what's the use of that? I think that case is true, but I don't know that it is; and therefore I can't argue about it, for argument should come from knowledge, and I have none. I have a few opinions, and I am always ready to receive impressions; but, besides some schoolboy facts that are common property, the only thing I know—I am certain of—is, as some man says, 'Life's a dream worth dreaming.'"

"You're too high-falutin for me, Julius," said Embro, shaking his head. "But my opinion, founded on my knowledge, is that this story is a hallucination of the young woman's noddle!"

"And how much, Embro," laughed Julius, rising to leave the circle, "is the argument advanced by your ticketing the case with that long word?"

"To say 'hallucination,'" quoth Lefevre, "is a convenient way of giving inquiry the slip."

"My dear Embro," said Julius,—and he spoke with an emphasis, and looked down on Embro with a bright vivacity of eye, which forewarned the circle of one of his eloquent flashes: a smile of expectant enjoyment passed round,—"hallucination is the dust-heap and limbo of the meanly-equipped man of science to-day, just as witchcraft was a few hundred years ago. The poor creature of science long ago, when he came upon any pathological or psychological manifestation he did not understand, used to say, 'Witchcraft! Away with it to the limbo!' To-day he says, 'Hallucination! Away with it to the dust-heap!' It is a pity," said he, with a laugh, "you ever took to science, Embro."

"And why, may I ask?" said Embro.

"Oh, you'd have been great as an orthodox theologian of the Kirk; the cocksureness of theology would have suited you like your own coat. You are not at home in science, for you have no imagination."

It was characteristic of the peculiar regard in which Julius was held that whatever he said or did appeared natural and pleasant,—like the innocent actions and the simple, truthful speech of a child. Not even Embro was offended with these last words of his: the others laughed; Embro smiled, though with a certain sourness.

"Pooh, Julius!" said he; "what are you talking about? Science is the examination of facts, and what has imagination to do with that? Reason, sir, is what you want!"

"My dear Embro," said Julius, "there are several kinds of facts. There are, for instance, big facts and little facts,—clean facts and dirty facts. Imagination raises you and gives you a high and comprehensive view of them all; your mere reason keeps you down in some noisome corner, like the man with the muck-rake."

"Hear, hear!" cried the journalist and the artist heartily.

"You're wrong, Julius," said Embro,—"quite wrong. Keep your imagination for painting and poetry. In science it just leads you the devil's own dance, and fills you with delusions."

Julius paused, and bent on him his peculiar look, which made a man feel he was being seen through and through.

"I am surprised, Embro," said he, "that one can live all your years and not find that the illusions of life are its best part. If you leave me the illusions, I'll give you all the realities. But how can we stay babbling and quibbling here all this delicious afternoon? I must go out and see green things and beasts. Come with me, Lefevre, to the Zoological Gardens; it will do you good."

"I tell you what," said Lefevre, looking at the clock as they moved away; "my mother and sister will call for me with the carriage in less than half an hour: come with us for a drive."

"Oh yes," said Julius; "that's a good idea."

"And I," said Lefevre, "must have a cup of tea in the meantime. Come and sit down, and tell me where you have been."

But when they had sat down, Julius was little inclined to divagate into an account of his travels. His glance swept round and noted everything; he remarked on a soft effect of a shaft of sunshine that lit up the small conservatory, and burnished the green of a certain plant; he perceived a fine black Persian cat, the latest pet of the Club, and exclaimed, "What a beautiful, superb creature!" He called it, and it came, daintily sniffed at his leg, and leaped on his lap, where he stroked and fondled it. And all the while he continued to discuss illusion, while Lefevre poured and drank tea (tea, which Julius would not share: tea, he said, did not agree with him).

"It bothers me," he said, "to imagine how a man like Embro gets any satisfaction out of life, for ever mumbling the bare dry bones of science. Such a life as his might as well be passed in the receiver of an air-pump."

"Still the old Julius!" said the doctor, with a smile. "Still dreaming and wandering, interested in everything, but having nothing to do!"

"Nothing to do, my dear fellow?" said Julius. "I've all the world to enjoy!" and he buried his cheek in the soft fur of the cat.

"A purpose in life, however," said Lefevre, "gives an extraordinary zest to all enjoyment."

"To live," said Julius, "is surely the purpose of life. Any smaller, any more obvious purpose, will spoil life, just as it spoils Art."

"I believe, my boy, you are wrong in both," said Lefevre. "Art without a purpose goes off into all sorts of madness and extravagance, and so does life."

"You really think so?" said Julius, his attention fixed for an instant, and looking as if he had set up the point and regarded it at a distance. "Yes; perhaps it does." But the next moment his attention seemed given to the cat; he fondled it, and talked to it soothingly.

"I am sure of it," said Lefevre. "Just listen to me, Julius. You have wonderful intelligence and penetration in everything. You are fond of science; science needs men like you more than the dull plodders that usually take to it. When you were in Charbon's class you were his favourite and his best pupil,—don't I remember?—and if you liked you could be the greatest physician of the age."

"It is treason to yourself to say such a thing."

"Your fame would soon eclipse mine."

"Fame! fame!" exclaimed Julius, for an instant showing irritation. "I would not give a penny-piece for fame if all the magicians of the East came crying it down the streets! Why should I seek fame? What good would it do me if I had it?"