The Innocence of Father Brown G. K. Chesterton (dar e dil novel online reading .TXT) 📖

broad-brimmed hat in his hand. He is saying farewell to the great enemy he is setting free⁠—the simple, snow-headed English veteran, who thanks him in the name of his men. The English remnant stand behind at attention; beside them are stores and vehicles for the retreat. The drums roll; the Brazilians are moving; the English are still like statues. So they abide till the last hum and flash of the enemy have faded from the tropic horizon. Then they alter their postures all at once, like dead men coming to life; they turn their fifty faces upon the general⁠—faces not to be forgotten.”

Flambeau gave a great jump. “Ah,” he cried, “you don’t mean⁠—”

“Yes,” said Father Brown in a deep, moving voice. “It was an English hand that put the rope round St. Clare’s neck; I believe the hand that put the ring on his daughter’s finger. They were English hands that dragged him up to the tree of shame; the hands of men that had adored him and followed him to victory. And they were English souls (God pardon and endure us all!) who stared at him swinging in that foreign sun on the green gallows of palm, and prayed in their hatred that he might drop off it into hell.”

As the two topped the ridge there burst on them the strong scarlet light of a red-curtained English inn. It stood sideways in the road, as if standing aside in the amplitude of hospitality. Its three doors stood open with invitation; and even where they stood they could hear the hum and laughter of humanity happy for a night.

“I need not tell you more,” said Father Brown. “They tried him in the wilderness and destroyed him; and then, for the honour of England and of his daughter, they took an oath to seal up forever the story of the traitor’s purse and the assassin’s sword blade. Perhaps⁠—Heaven help them⁠—they tried to forget it. Let us try to forget it, anyhow; here is our inn.”

“With all my heart,” said Flambeau, and was just striding into the bright, noisy bar when he stepped back and almost fell on the road.

“Look there, in the devil’s name!” he cried, and pointed rigidly at the square wooden sign that overhung the road. It showed dimly the crude shape of a sabre hilt and a shortened blade; and was inscribed in false archaic lettering, “The Sign of the Broken Sword.”

“Were you not prepared?” asked Father Brown gently. “He is the god of this country; half the inns and parks and streets are named after him and his story.”

“I thought we had done with the leper,” cried Flambeau, and spat on the road.

“You will never have done with him in England,” said the priest, looking down, “while brass is strong and stone abides. His marble statues will erect the souls of proud, innocent boys for centuries, his village tomb will smell of loyalty as of lilies. Millions who never knew him shall love him like a father⁠—this man whom the last few that knew him dealt with like dung. He shall be a saint; and the truth shall never be told of him, because I have made up my mind at last. There is so much good and evil in breaking secrets, that I put my conduct to a test. All these newspapers will perish; the anti-Brazil boom is already over; Olivier is already honoured everywhere. But I told myself that if anywhere, by name, in metal or marble that will endure like the pyramids, Colonel Clancy, or Captain Keith, or President Olivier, or any innocent man was wrongly blamed, then I would speak. If it were only that St. Clare was wrongly praised, I would be silent. And I will.”

They plunged into the red-curtained tavern, which was not only cosy, but even luxurious inside. On a table stood a silver model of the tomb of St. Clare, the silver head bowed, the silver sword broken. On the walls were coloured photographs of the same scene, and of the system of wagonettes that took tourists to see it. They sat down on the comfortable padded benches.

“Come, it’s cold,” cried Father Brown; “let’s have some wine or beer.”

“Or brandy,” said Flambeau.

The Three Tools of Death

Both by calling and conviction Father Brown knew better than most of us, that every man is dignified when he is dead. But even he felt a pang of incongruity when he was knocked up at daybreak and told that Sir Aaron Armstrong had been murdered. There was something absurd and unseemly about secret violence in connection with so entirely entertaining and popular a figure. For Sir Aaron Armstrong was entertaining to the point of being comic; and popular in such a manner as to be almost legendary. It was like hearing that Sunny Jim had hanged himself; or that Mr. Pickwick had died in Hanwell. For though Sir Aaron was a philanthropist, and thus dealt with the darker side of our society, he prided himself on dealing with it in the brightest possible style. His political and social speeches were cataracts of anecdotes and “loud laughter”; his bodily health was of a bursting sort; his ethics were all optimism; and he dealt with the Drink problem (his favourite topic) with that immortal or even monotonous gaiety which is so often a mark of the prosperous total abstainer.

The established story of his conversion was familiar on the more puritanic platforms and pulpits, how he had been, when only a boy, drawn away from Scotch theology to Scotch whisky, and how he had risen out of both and become (as he modestly put it) what he was. Yet his wide white beard, cherubic face, and sparkling spectacles, at the numberless dinners and congresses where they appeared, made it hard to believe, somehow, that he had ever been anything so morbid as either a dram-drinker or a Calvinist. He was, one felt, the most seriously merry of all the sons of men.

He had lived on