You may follow it in your canoe, paddling through the still-waters, dropping down the rapids with your setting-pole, wading and dragging your boat in the shallows, and coming to each lake as a surprise, something distinct and separate and personal. It seems strange that they should be sisters; they are so unlike. But the same stream, rising in unknown springs, and seeking an unknown sea, runs through them all, and lives in them all, and makes them all belong together.
The thread which unites the stories in this book is like that. It is the sign of the unknown quantity, the sense of mystery and strangeness, that runs through human life.
We think we know a great deal more about the processes and laws and conditions of life than men used to know. And probably that is true; though it is not quite certain, for it is hard to say precisely how much those inscrutable old Egyptians and Hebrews and Chaldæans and Hindus knew and did not tell.
But granting that we have gone beyond them, we have not gone very far, we have not come to perfect knowledge. There is still something around us and within that baffles and surprises us. Events happen which are as mysterious after our glib explanations as they were before. Changes for good or ill take place in the heart of man for which his intellect gives no reason. There is the daily miracle of the human will, the power of free choice, for which no one can account, and which sometimes flashes out the strangest things. There is the secret, incalculable influence of one life on another. There is the web of circumstance woven to an unseen pattern. There is the vast, unexplored land of dreams in which we spend one-third of our lives without even remembering most of what befalls us there.
I am not thinking now of the so-called "realm of the occult," nor of those extraordinary occurrences which startle and perplex the world from time to time, nor of those complicated and subtle problems of crime which are set to puzzle us. I am thinking of much more human and familiar things, quite natural and inevitable as it seems, which make us feel that life is threaded through and through by the unknown quantity.
This is the thread that I have followed from one to another of these stories. They are as different as my lakes in the North Country; some larger and some smaller; some brighter and some darker; for that is the way life goes. But most of them end happily, even after sorrow; for that is what I think life means.
Four of the stories have grown out of slight hints, for which I return thanks. For the two Breton legends which appear in "The Wedding-Ring" and "Messengers at the Window," I am indebted to my friend, M. Anatole Le Braz; for an incident which suggested "The Night Call," to my friend, Mrs. Edward Robinson; and for the germ of "The Mansion," to my friend, Mr. W. D. Sammis. If the stories that have come from their hints are different from what my friends thought they would be, that is only another illustration of the theme.
Between the longer stories there are three groups of tales that are told in a briefer and different manner. They are like etchings in which more is suggested than is in the picture. For this reason they are called Half-Told Tales, in the hope that they may mean to the reader more than they say.
Without the unknown quantity life would be easier, perhaps, but certainly less interesting. It is not likely that we shall ever eliminate it. But we can live with it and work with it bravely, hopefully, happily, if we believe that after all it means good—infinite good, passing comprehension—to all who live in love.
Avalon,
June 1, 1912.
ILLUSTRATIONS
| It did people good to buy of her | Frontispiece |
| From a drawing by Charles S. Chapman. | |
| Facing page | |
| The King's Jewel | 82 |
| From a drawing by Garth Jones. | |
| The Music-Lover | 90 |
| From a drawing by Sigismond de Ivanowski. | |
| The Unruly Sprite | 154 |
| From a drawing by Garth Jones. | |
| She flung herself across his knees and put her arms around him | 230 |
| From a drawing by Paul Julien Meylan. | |
| Stronghold | 258 |
| From a drawing by Garth Jones. | |
| So the sad shepherd thanked them for their entertainment | 314 |
| From a drawing by Blendon Campbell. | |
| Title-page, head and end pieces by Garth Jones |
THE WEDDING-RING
Before Toinette Girard made up her mind to marry Prosper Leclère,—you remember the man at Abbéville who had such a brave heart that he was not willing to fight with an old friend,—before Toinette perceived and understood how brave Prosper was, it seemed as if she were very much in doubt whether she did not love some one else more than she loved him, whether he and she really were made for each other, whether, in short, she cared for him enough to give herself entirely to him.
But after they had been married six weeks there was no doubt left in her mind. He was the one man in the world for her. He satisfied her to the core—although by this time she knew most of his faults. It was not so much that she loved him in spite of them, but she simply could not imagine him changed in any way without losing a part of him, and that idea was both intolerable and incredible to her. Just as he was, she clung to him and became one with him.
I know it seems ridiculous to describe a love like that, and it is certainly impossible to explain it. It is not common, nor regular, nor altogether justifiable by precept and authority. Reason is against it; and the doctors of the church have always spoken severely of the indulgence of any human affection that verges on idolatry. But the fact remains that there are a few women in the world who are capable of such a passion.
Capable? No, that is not the word. They are created for it. They cannot help it. It is not a virtue, it is simply a quality. Their whole being depends upon their love. They hang upon it, as a wreath hangs from