# The Lost Valley and Other Stories/The Man from the 'Gods'

The Lost Valley and Other Stories pg211
That there was something wrong with all his work Le Maistre well knew. Words and music, as the critics never failed to remind him, “just missed” that nameless “something” which would have made them good⁠—perhaps great. Moreover, he was sane enough to realize that the blame lay not with an uncomprehending public, but simply with himself. The spark of inspiration that was beyond question in all his work never gathered to the flame stage. Thus his productions warmed people, but did not light them. He understood well enough what was lacking⁠—and that no amount of mere painstaking “work” could put it right.
But on one occasion Le Maistre achieved a singular and startling success. As a sober record of fact, concealed by initials, it was reported in the Proceedings of the French Psychological Society for that year; and people who believed in the Subliminal Self, the Higher Ego, and all that consoling teaching about an attainable God within, made great havoc with the facts.
The way it came about, moreover, probably has a profound psychical significance. In any case, the result remains as the very best kind of tangible proof; for it was the only great thing he ever really achieved⁠—this Fairy Play (so called); and its beauty was absolutely arresting.
He was something over fifty when he wrote it in its original form. The central idea came to him with the quick flash of a genuine inspiration; so did most of the music; but, in the working out of both, the fire had become smothered. The spark had never gathered into flame. The result was mediocrity. Yet, like so many artists, he confused what was in his mind and imagination with what he had actually set down upon paper; for, when he went over the score to himself, he heard the original beauty in his thoughts and believed he had transferred into his work his own memory of that beauty. The music and words themselves, however, had not caught it. Thus, those who heard the preliminary recital in his rooms were more or less bored according to their powers of divination.
“It’s fine; it’s original,” they remarked, shaking their heads as they went home after the performance; “but just misses it!”
The transformation that changed the common lead into gold as by some mysterious process of spiritual alchemy came about as follows:⁠—
The little play was finished, and Le Maistre, having his eye upon a certain manager, went to that particular theatre one night in order to study the “feel” of it⁠—to catch the flavour of the house, the size of the stage, and any other details he could. The management had given him a dress circle box, and he saw admirably. It was characteristic of the man, rather, that he put himself to this farfetched kind of trouble. During the performance his mind was keenly at work. Yet he saw nothing of what was going on before his eyes; he had come with a definite purpose; he saw his own play all the time, heard his own music; watched his own creatures come on and go off among his own scenery.
At the same time the music, light and colour provided a stimulus that acted upon his own imagination, and set all the finer machinery of his own creative genius working. Subconsciously he revised his own work, with the illuminating result that a white light shone through his mind and showed up all the flaws, all the places where he had “missed it”; all the passages where he had trailed off into banality. And a tremendous desire went crashing through his being to revise his work in the light of this knowledge. “I felt,” he said, “as though a great prayer had gone out of me⁠—a cry, as it were, to my higher self to come to my assistance. Never in my life have I wished anything so intensely before.”
Then, in that curious fashion with which many artists must be familiar, it all faded again, and the reaction set in. The effort had no doubt exhausted him. He turned his attention to the actual performances on the stage before him, and lost the power to visualize his own piece. But the play⁠—trivial, vulgar and untrue to life⁠—wearied him; and he withdrew into the back of the box, and incontinently⁠—fell asleep upon the little plush sofa!
When a considerable time later he woke up, the entire theatre was dark and empty; the piece was over; the audience had gone home to a man; and the building was deserted.
Le Maistre at once realized what had happened, though he could not understand why the final applause had not waked him, and hurried into his overcoat. A faint glimmer pervaded the vast auditorium, for as he leaned over the edge he could just make out the rows of empty stalls, the scattered white patches where the discarded programmes lay, the music-stands of the orchestra, and the exit doors of glass where the pit began. The air still smelt unpleasantly of a crowd⁠—wraps, furs, stale scent and cigarettes.
Then he struck a match and saw by his watch that it was two o’clock in the morning. He had slept three hours!
He pushed open the door and passed out into the passage, his one idea being how he could get out into the street, or how he would spend the time if he did not get out. He felt hungry, stiff and a trifle chilly. Feeling his way along by the backs of the upper circle seats, he advanced slowly and carefully, his footsteps making no sound upon the soft carpet, and so came at last to the first exit door. It was locked and barred. He tried the next door with the same result. There was no other exit⁠—nothing but that narrow semicircular gangway between the wall and the seats, a box at either end, and pillars at intervals to mark the distance. “Like the exercise-walk in a prison-yard,” he thought to himself, laughing. No single light was left burning anywhere in the building. Even the hall was in darkness. He saw the gilt-framed pictures of actors and actresses on the walls; a faint rumble from the streets reached him too⁠—voices, traffic, footsteps, wind. Then he turned back into the theatre and carefully made his way down the aisle to the front, feeling the steps first with his toe, and peered over into the body of the house. A sea of shadows swam to and fro below him. Here and there certain stalls picked themselves out of the general gloom almost as though they were occupied; he could easily imagine he saw figures still sitting in them⁠ ⁠…
And it was here, just at this point, he said, that he began for the first time to feel a little uneasy. A slight tremor of the nerves passed over him, and sitting down in one of the front-row seats he considered the situation carefully and deliberately. There was not much to consider. He was shut in for the rest of the night; the dress circle seemed to be the limits of his prison; he could get neither up nor down; there was no escape till the morning. The prospect was not pleasant; still, it was not very terrible, and his sense of humour would easily have carried him through with credit, but for one thing⁠—this curiously disturbing sense of something he could not quite define: of something that was going to happen, it seemed.
It was too vague, too remote for him to deal with squarely. His mind, always keenly imaginative and pictorial, preferred to see it in the terms of a picture. He thought of the Thames as he had sometimes seen it from the Chelsea Embankment in the dusk when dark barges, too far for their outline to be defined, come looming up through the mist. In this way thoughts lie in the depths of the mind; in this way they rise gradually before the consciousness; in this way the cause of his present discomfort would presently reach the point where he would recognize it and understand. In similar fashion, he felt this “something” that moved at the back of his mind, coming slowly forward.
A sudden idea came to him⁠—
“If I could climb down to the auditorium floor I might find a door open somewhere, or escape by way of the orchestra, perhaps!
“And the idea of action was pleasant; though how he climbed over the edge of the box in the dark and swarmed down the slippery pillar, landing with a crash upon the rim of the stage box below, he never quite understood. With a plunge he dropped backwards into the dark space, kicking over as he did so a couple of chairs, which fell with a loud clatter and woke resounding echoes all through the empty building. That clatter seemed prodigious. He held his breath for several seconds to listen, standing motionless against the wall with the distinct idea that all this noise would attract attention to himself, and that if, after all, there was anyone watching him⁠—that if among those shadows someone⁠—
“Ah!” he exclaimed quickly. “Now I’ve got it! There is someone watching me in another part of the building. That’s why I felt uneasy⁠—”
That tumble into the box had shaken the thought up to the surface of his mind. The picture had emerged from the mist, and he recognized the cause of his uneasiness. All this time, though none of his senses had yet proved it to him, the mind of another person, perhaps the eyes too, had been focused upon him. He was not alone.
Le Maistre felt no alarm, he said, but rather a definite thrill of exhilaration, as though the idea of this other person came to him with a sense of pleasurable excitement. His first instinct to sit concealed in the corner of the box and await events he dismissed almost at once in favour of some kind of prompt action. Stumbling in the gloom, he made his way down to the orchestra, and while groping cautiously among the crowded easels, his hand touched a tiny knob, and a dozen lights that bent over the music folios, like little heads screened under black bonnets, sprang into brilliance. The first thing he noticed was that the fire curtain was down, closing the cavernous mouth of the stage.
The shaded lights, however, were so carefully arranged that they fell only upon the music, and the main body of the theatre still yawned in comparative darkness behind him. Vast and unfriendly it seemed; charged to the brim with faint shufflings and whispers as though an audience sat there stealthily turning over programmes. The stalls faced him like fixed but living beings; the balconies frowned down upon him; the boxes⁠—especially the upper ones⁠—had an air of concealing people behind their curtains. Far overhead, glimmered a huge skylight; he heard the wind sighing across it like wind in the rigging of a ship. And, more than once, he fancied he caught the faint tread of footsteps moving about among the stalls and gangways.
Regretting that he had turned the lights up (they made himself so conspicuous, so easily visible!), he made an instinctive movement to turn them out again; but he touched the wrong knob, so that a row of lights flashed out up under the roof. In that topmost gallery of all, known as “the gods,” a little line of starry lights leaped into being, and the first thing he noticed as he looked up was the figure of a man leaning over the edge of the railing⁠—watching him.
The same moment he saw that this figure was making a movement of some kind⁠—a gesture. It beckoned to him. So his feeling that someone was in the theatre with him was justified. There had been a man in the gods all the time.
Le Maistre admitted frankly that, in his first surprise, he collapsed backwards upon the stool usually occupied by the second ’cello. But his alarm passed with a strange swiftness, and gave place almost immediately to a peculiar and deep-seated thrill. The instant he perceived this dim figure of a man up there under the roof his heart leaped with an emotion that was partly delight, partly pleasurable anticipation, and partiy⁠—most curious of all⁠—awe. And in a voice that was unlike his own, and that carried across the intervening space, for all its faintness, with perfect ease, he heard the words driven out of him as if by command of some deeper instinct than he understood⁠—yet the very last words that he could have imagined as appropriate⁠—
“You’re up there in the gods!” he called out. “Won’t you come down to me here?”
And then the figure withdrew, and he heard the sound of the footsteps descending the winding passages and stairs behind, as their owner obeyed him and came.
Alarmed, yet curiously exultant, Le Maistre stood up among the music-easels to await his coming. He was extraordinarily alert, prepared. He fumbled again with the little switchboard under the conductor’s desk, for he wished to see the man face to face in full light⁠—not to be gradually approached in darkness. But the only thing that came of the button he pressed was a creaking noise behind him, and when he turned quickly to examine, lo and behold, he saw the huge fire-curtain rising slowly and majestically into the air. And, as it rose, revealing the stage beyond, he got the distinct impression that this very stage, now empty, had a moment before been crowded with a throng of living people, and that even now they were there concealed among the wings within a few feet of where he stood, waiting the summons to appear.
Moreover, this discovery, far from causing him the kind of amazement that might have been expected, only communicated, for the second time within the space of a few minutes, another thrill of delight. Again this lightning sense of exhilaration swept him from head to foot.
The footsteps, meanwhile, came nearer; sometimes disappearing behind a thickness of walls that rendered them inaudible, and at other times starting suddenly into greater clearness as they came down from floor to floor. Le Maistre, unable to endure the suspense any longer, felt impelled to go forward and meet them halfway. An intense desire to see this stranger face to face came upon him. He climbed awkwardly over the orchestra railing and made his way past the first rows of the stalls. Already the steps sounded upon the same floor as himself. Hardly a dozen yards, to judge by the fall of these oddly cushioned footsteps, could now separate them. He moved more slowly, and the stranger moved more slowly too entering at last the gangway in which he stood.
“And it is from this point,” to use the words of the report he afterwards wrote for the society, “that my memory begins to fade somewhat, or rather, that the sense of bewilderment grew so astonishingly disturbing that I find it difficult to look back and recall with accuracy the true sequence of what followed. My normal measurement of the passage of time changed too, I think; all went so swiftly, almost as in a dream, though at the time it did not appear to me to be short or hurried. But⁠—describe the sense of glory, wonder and happiness that enveloped me as in a cloud, I simply cannot. As well might a hashish-eater attempt during the dullness of next morning to reconstruct the phantasmal wonder of all he experienced the night before. Only, this was no fantasy; it was real and actual, and more palpitatingly vivid than any other experience of my life.
“I stood waiting in the gangway while this other person⁠—the stranger⁠—came towards me along the narrow space between the wall and the main body of seats. The footsteps were unhurried and regular. It was very dark; all I could see were two faint patches of light where the exit doors of the pit glimmered beyond. First one patch of light, then the other, was temporarily obscured as he passed in front of these doors. Down he moved steadily towards me through the gloom, and at the barrier of velvet rope that separated the stalls from the pit, he stopped⁠—just near enough for me to distinguish the head and shoulders of a man about my own height and about my own size. He stood facing me there, some ten or twelve feet away.
“For a few seconds there was complete silence⁠—like the silence in a mine, I remember thinking and I instinctively clenched my fists, almost expecting something violent to happen. But the next instant the man spoke; and the moment I heard his voice all traces of fear left me, and I felt nothing but this peculiarly delightful sense of exhilaration I have already mentioned. It ran through me like the flush of a generous wine, rousing all my faculties, critical and imaginative, to their highest possible power, yet at the same time so bewildering me for the moment that I scarcely realized what I was saying, doing, or thinking. From this point I went through the whole scene without hesitation or dismay⁠—certainly without a thought of disobeying. I mean, it was a pleasure to me to help it all forward, rather than to seek to prevent.
“‘Here I am,’ said the man in a voice wholly wonderful. ‘You called me down, and I have come!’
“‘You have come from up there⁠—from the gods,’ I heard myself reply.
“‘I have come from up there⁠—from the gods,’ he answered; and his sentence seemed to mean so much more than mine did, although we used identical words.
“I held on to the back of the stall nearest to me. I could think for the moment of nothing further to say. The idea of what was coming thrilled me inexpressibly, though I could only hazard wild guesses as to its character.
“‘Are you ready then?’ he asked.
“’Ready! Ready for what?’
“‘For the rehearsal,’ he said, ‘the secret rehearsal.’
“‘The secret rehearsal⁠—?’ I stammered, pretending, as a child pretends in order to heighten its joy, that I did not understand.
“‘⁠—of your play, you know; your fairy play,’ he finished the sentence.
“Then he moved towards me a few steps, and, hardly knowing why, I retreated. It was still impossible to see his face. The curious idea came to me that there was something odd about the man that prevented, and that would always prevent, me getting closer to him, and that perhaps I should never see his face completely at all. I cannot point to anything definite that caused this impression; I can merely report that it was so.
“‘Look!’ he went on, ‘everyone is ready and waiting. The moment the music starts we can begin. You will find a violin down there; the rehearsal can go on at once.’
“And although it struck me at the time as most curious he should be aware of the fact, it seemed quite natural, because I do play the violin, and in fact compose all my melodies first on that instrument before I put a pen to paper. At the same time I can remember faintly protesting⁠—
“‘I?’ I remember asking; ‘I’m to play?’
“‘Certainly,’ replied this soft-spoken figure among the shadows. ‘You’re to play. Who else, pray? And see! Everyone is ready and waiting.’
“I was far too happily bewildered to object further; there seemed, indeed, no time for reflection at all; I felt impelled, driven forward as it were, to go through with the adventure and to ask no questions. Besides, I wanted to go through with it. I felt the old power of the first inspiration upon me⁠—only heightened; I felt in me the supreme and splendid confidence that I could do it all better than I had ever dreamed⁠—do it perfectly as it should be done. I was borne forwards upon a wave of inspiration that nothing in the whole world could interfere with.
“And, as I turned to obey, I saw for the first time that the stage was brilliantly lighted; that the scenery was the scenery already chosen by my mind; that the performers thronged the wings, and the opening characters were actually standing in their places waiting for the signal of the music to begin. The performers, moreover, I perceived, were identical in figure, feature and bearing with those ideal performers who had already enacted the play upon the inner stage of my imagination. It was all, in fact, precisely as the original inspiration had come to me weeks ago before the fires of beauty had faded during the wearisome toil of working it all out in limited terms upon the paper.
“The power that drove me forward, and at the same time filled me with this splendour of untrammelled creation, refused me, however, the least moment for consideration. I could only make my way into the orchestra and pick up the first violin-case that came to hand, belonging, doubtless, to some member of the band I had listened to earlier in the evening; and all eyes were fixed upon me from the stage as I clambered into the conductor’s seat and drew the bow across the strings to tune the instrument. At the first sound I realized that my fingers, accustomed to the harsh tones of my own cheaper fiddle, were now feeling their way over the exquisite nervous system of a genuine Guarnierius that responded instantly to the lightest touch; and that the bow in my right hand was so perfectly balanced that even the best Tourte ever made could only seem like a strip of raw, unfinished wood by comparison. For the bow ‘swam’ over the strings, the sound streamed, smooth as honey, past my ears, and my fingers found the new intervals as easily as if they had never known any other keyboard. Harmonics, double-stopping and arpeggios issued from my efforts as perfectly as trills from the throat of a bird.
“In that moment I lived; I understood much; I heard my soul singing within me.⁠ ⁠… I finished tuning, and tapped sharply on the back of the violin to indicate that I was ready, and in the slight pause that ensued before I actually played the opening bars, I became aware that the stalls behind me, the boxes, the dress circle, and the whole house in fact right up to the ‘gods,’ were crowded with eager listeners; and, further, that the stranger⁠—that man among the shadows in the background⁠—standing ever beyond the reach of the light, still remained in some mysterious and potent fashion intimately in touch with my inner self, directing, helping, inspiring the performance from beginning to end.
“And, in front of me, upon the conductor’s desk, lay the score of my own music in clearest manuscript, no longer crossed out and corrected as it lay in my rooms after all the first passion of beauty had been ground out of it, but lovely and perfect as the original inspiration had rushed flame-like into my soul months before.
“The whole performance from that moment⁠—‘rehearsal’ seems no adequate word to describe it⁠—went with the smoothness of a dream from beginning to end. Just as the music was my own music made perfect, so the words and songs were the mature expression of the original conception before my blundering efforts had confined them, stammering and incomplete, in broken form. Moreover⁠—more wonderful still⁠—I noticed the very places in my score where I had floundered, and where, in the laborious process of composition, the first inspiration had failed me and I had filled in with what was mediocre and banal. It was as if a master pointed out to me with the simplicity of true power the passages where the commonplace might pass⁠—could⁠—did pass⁠—by deft, inspired touches into what was fine, moving, noble.⁠ ⁠… The lesson was a sublime one; at the time, however, it all seemed so ridiculously simple and easy that I felt I could never again write anything that was not great and splendid.
“Moreover, the acting, speaking and dancing provided the perfect medium for my ideas; and the whole performance was the consummate representation of my first conception; even the scenery shifted swiftly and noiselessly, and the intervals between the acts were hardly noticeable⁠ ⁠…
“And the end came with a curious abruptness, bringing me to myself⁠—my limited, stammering, caged little self, as, it seemed, after these moments of intoxicating expression⁠—with a sharp sense of pain that all was over; and I became aware that, without hurry, without noise, the entire audience that filled the huge building had risen to their feet like one man, and that thousands of hands were clapping silently the measure of their intense appreciation. From floor to ceiling, and from wall to wall, flew a great wave of emotion that swept their praise into me, gathered and focused into a single mighty draught of applause. It was, I remember thinking, all their thoughts of joy, their feelings of gratitude, beating in upon my soul in that form of praise which is the artist’s only adequate reward; and it reminded me of nothing so much as the whirring of innumerable soft wings all rising through the air at the same moment. Pictorially, in this fashion, it came before my mind.
“Violin in hand, I rose too, and turned to face the auditorium, for I realized that they were calling for the author⁠—for him who had ministered so adequately to their pleasure⁠—and that I must be prepared to say something in reply. I had, indeed, made my first bow, and was already casting about in my mind for suitable words, when, for the first time during the whole adventure⁠—something in me hesitated. Either it was that the sea of glimmering faces frightened me, or that I was obeying instinctively some faint warning that it was not myself, but some other, who was the true author of the play, and that it was for him these thousands before me clamoured and called.
“But when, still hesitating in confusion, I turned again towards the stage, I saw that the great fire curtain had meanwhile descended and that a footstep, regular and unhurried, was at that very moment coming forward towards the footlights. I heard the tread. I knew at once who it was. The stranger from the shadows behind me who had directed the entire performance was now moving to the front. It was he for whom the audience clamoured; it was he who was the true author of the play!
“And instantly I clamoured with them, forgetting my own small pain in a kind of delightful exultation that I, too, owed this man everything, and that I should at last see him face to face and join my thanks and gratitude to theirs.
“Almost that same instant he appeared and stood before the centre of the curtains, the glare of the footlights casting upwards into his face. And he looked, not at the great throng behind and beyond me, but down into my own face, into my own eyes, smiling, approving, his expression radiant with a glory I have never seen before or since upon any human countenance.
“And the stranger, I then realized⁠—was myself!
“What happened next is so difficult to describe⁠—though I scarcely know why it should be so⁠—that I cannot hope to convey the reality of it properly, or paint the instantaneous manner in which he vanished and was gone. He neither faded nor moved. But in a second that seemed to have no perceptible duration he was beside me⁠—with me⁠—in me; and this swift way he became suddenly merged into myself has always seemed to me the most amazing thing I have ever witnessed. The wave of delight and exultation swept into me anew. I felt for one brief moment that I was as a god⁠—with a god’s power of perfect expression.
“But for one second only; for, at once, a new sound, terrible and overwhelming, rose in a flood and tore me away from all that I had ever known. And the sound was ugly and distressing⁠ ⁠… and darkness followed it.⁠ ⁠…
“It was real clapping this time, the clapping of human hands⁠ ⁠… and an indifferent orchestra was playing a noisy march just below me with a great blare of brass out of tune. The lights were up all over the theatre; the audience, busy with wraps and overcoats and applause, were hurrying out. I saw the actors and actresses of the play bowing and scraping before the curtain; and the sight of the perspiration trickling down over the greasepaint of the leading man directly beneath my box struck me like a blow in the face. Then came the frantic whistling for broughams and taxicabs and the hoarse shouting from the street where men cried the evening papers in the roar of the outer world. I picked up my opera-hat, which had rolled into the middle of the floor while I had slept upon the sofa, scrambled into my overcoat, rushed out into the street, and told the driver of the first taxicab I found to drive for his life at double rates⁠ ⁠…
“And all that night, before the memory of the wonder and the glory faded, I worked upon my score of words and music, striving to get down on the paper something at least of what had been shown to me. How much, or how little I succeeded it is now impossible to say. As I have already explained in this report, the memory faded with distressing swiftness. But I did my best. I hope⁠—I believe⁠—I am told, at least⁠—that there is something in the work that people like⁠ ⁠…”
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1951, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 72 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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