The Classic Mystery Collection - Arthur Conan Doyle [695]
"But, hang it all," cried Mallow, "you don't expect us to be able to pardon a vile thing like this?"
"No," said the priest; "but we have to be able to pardon it."
He stood up abruptly and looked round at them.
'"We have to touch such men, not with a bargepole, but with a benediction," he said. "We have to say the word that will save them from hell. We alone are left to deliver them from despair when your human charity deserts them. Go on your own primrose path pardoning all your favourite vices and being generous to your fashionable crimes; and leave us in the darkness, vampires of the night, to console those who really need consolation; who do things really indefensible, things that neither the world nor they themselves can defend; and none but a priest will pardon. Leave us with the men who commit the mean and revolting and real crimes; mean as St. Peter when the cock crew, and yet the dawn came."
"The dawn," repeated Mallow doubtfully. "You mean hope--for him?"
"Yes," replied the other. "Let me ask you one question. You are great ladies and men of honour and secure of yourselves; you would never, you can tell yourselves, stoop to such squalid reason as that. But tell me this. If any of you had so stooped, which of you, years afterwards, when you were old and rich and safe, would have been driven by conscience or confessor to tell such a story of yourself? You say you could not commit so base a crime. Could you confess so base a crime?" The others gathered their possessions together and drifted by twos and threes out of the room in silence. And Father Brown, also in silence, went back to the melancholy castle of Marne.
THE SECRET OF FLAMBEAU
"-the sort of murders in which I played the part of the murderer," said Father Brown, putting down the wineglass. The row of red pictures of crime had passed before him in that moment.
"It is true," he resumed, after a momentary pause, "that somebody else had played the part of the murderer before me and done me out of the actual experience. I was a sort of understudy; always in a state of being ready to act the assassin. I always made it my business, at least, to know the part thoroughly. What I mean is that, when I tried to imagine the state of mind in which such a thing would be done, I always realized that I might have done it myself under certain mental conditions, but not under others; and not generally under the obvious ones. And then, of course, I knew who really had done it; and he was not generally the obvious person.
"For instance, it seemed obvious to say that the revolutionary poet had killed the old judge who saw red about red revolutionaries. But that isn't really a reason for the revolutionary poet killing him. It isn't, if you think what it would really be like to be a revolutionary poet. Now I set myself conscientiously down to be a revolutionary poet. I mean that particular sort of pessimistic anarchial lover of revolt, not as reform, but rather as destruction. I tried to clear my mind of such elements of sanity and constructive common sense as I have had the luck to learn or inherit. I shut down and darkened all the skylights through which comes the good daylight out of heaven; I imagined a mind lit only by a red light from below; a fire rending rocks and cleaving abysses upwards. And even with the vision at its wildest and worst, I could not see why such a visionary should cut short his own career by colliding with a common policeman, for killing one out of a million conventional old fools, as he would have called them. He wouldn't do it; however much he wrote songs of violence. He wouldn't do it, because he wrote songs of violence. A man who can express himself in song need not express himself in suicide. A poem was an event to him; and he would want to have more of them. Then I thought of another sort of heathen; the sort that is not destroying the world but entirely depending on the world.