Meanwhile Jasper formally proposes to Rosa, in the school garden: standing apart and leaning against a sundial, as the garden is commanded by many windows. He offers to resign his hopes of bringing Landless to the gallows (perhaps this bad man would provide a _corpus delicti_ of his own making!) if Rosa will accept him: he threatens to "pursue her to the death," if she will not; he frightens her so thoroughly that she rushes to Grewgious in his chambers in London. She now suspects Jasper of Edwin's murder, but keeps her thoughts to herself. She tells Grewgious, who is watching Neville,-"I have a fancy for keeping him under my eye,"-that Jasper has made love to her, and Grewgious replies in a parody of "G.o.d save the King"!

"On Thee his hopes to fix d.a.m.n him again!"

Would he fool thus, if he knew Jasper to have killed Edwin? He is not certain whether Rosa should visit Helena next day, in Landless's rooms, opposite; and Mr. Walters suggests that he may be aware that Helena, dressed as Datchery, is really absent at Cloisterham. However, next day, Helena is in her brother's rooms. Moreover, it is really a sufficient explanation of Grewgious's doubt that Jasper is lurking around, and that not till next day is a _private_ way of communication arranged between Neville and his friends. In any case, next day, Helena is in her brother's rooms, and, by aid of a Mr. Tartar's rooms, she and Rosa can meet privately. There is a good deal of conspiring to watch Jasper when he watches Neville, and in this new friend, Mr. Tartar, a lover is provided for Rosa. Tartar is a miraculously agile climber over roofs and up walls, a retired Lieutenant of the navy, and a handy man, being such a climber, to chase Jasper about the roof of the Cathedral, when Jasper's day of doom arrives.

JASPER'S OPIUM VISIONS

In July, Jasper revisits the London opium den, and talks under opium, watched by the old hag. He speaks of a thing which he often does in visions: "a hazardous and perilous journey, over abysses where a slip would be destruction. Look down, look down! You see what lies at the bottom there?" He enacts the vision and says, "There was a fellow traveller." He "speaks in a whisper, and as if in the dark." The vision is, in this case, "a poor vision: no struggle, no consciousness of peril, no entreaty." Edwin, in the reminiscent vision, dies very easily and rapidly. "When it comes to be real at last, it is so short that it seems unreal for the first time." "And yet I never saw _that_ before. Look what a poor miserable mean thing it is. _That_ must be real. It's over."

What can all this mean? We have been told that, shortly before Christmas Eve, Jasper took to wearing a thick black-silk handkerchief for his throat. He hung it over his arm, "his face knitted and stern," as he entered his house for his Christmas Eve dinner. If he strangled Edwin with the scarf, as we are to suppose, he did not lead him, drugged, to the tower top, and pitch him off. Is part of Jasper's vision reminiscent-the brief, unresisting death-while another part is a separate vision, is _prospective_, "premonitory"? Does he see himself pitching Neville Landless off the tower top, or see him fallen from the Cathedral roof? Is Neville's body "_that_"-"I never saw _that_ before. Look what a poor miserable mean thing it is! _That_ must be real." Jasper "never saw _that_"-the dead body below the height-before. _This_ vision, I think, is of the future, not of the past, and is meant to bewilder the reader who thinks that the whole represents the slaying of Drood. The tale is rich in "warnings" and telepathy.

DATCHERY AND THE OPIUM WOMAN

The hag now tracks Jasper home to Cloisterham. Here she meets Datchery, whom she asks how she can see Jasper? If Datchery is Drood, he now learns, _what he did not know before_, _that there is some connection between Jasper and the hag_. He walks with her to the place where Edwin met the hag, on Christmas Eve, and gave her money; and he jingles his own money as he walks. The place, or the sound of the money, makes the woman tell Datchery about Edwin's gift of three shillings and sixpence for opium. Datchery, "with a sudden change of countenance, gives her a sudden look." It does not follow that he is _not_ Drood, for, though the hag's love of opium was known to Drood, Datchery is not to reveal his recognition of the woman. He does what any stranger would do; he "gives a sudden look," as if surprised by the mention of opium.

Mr. Walters says, "Drood would not have changed countenance on hearing a fact he had known six months previously." But if Drood was playing at being somebody else, he would, of course, give a kind of start and stare, on hearing of the opium. When he also hears from the hag that her former benefactor's name was Edwin, he asks her how she knew that-"a fatuously unnecessary question," says Mr. Walters. A needless question for Datchery's information, if he be Drood, but as useful a question as another if Drood be Datchery, and wishes to maintain the conversation.

DATCHERY'S SCORE

Datchery keeps a tavern score of his discoveries behind a door, in cryptic chalk strokes. He does this, says Mr. Walters, because, being Helena, he would betray himself if he wrote in a female hand. But n.o.body would _write_ secrets on a door! He adds "a moderate stroke," after meeting the hag, though, says Mr. Walters, "Edwin Drood would have learned nothing new whatever" from the hag.

But Edwin would have learned something quite new, and very important-that the hag was hunting Jasper. Next day Datchery sees the woman shake her fists at Jasper in church, and hears from her that she knows Jasper "better far than all the reverend parsons put together know him."

Datchery then adds a long thick line to his chalked score, yet, says Mr.

Walters, Datchery has learned "nothing new to Edwin Drood, if alive."

This is an obvious error. It is absolutely new to Edwin Drood that the opium hag is intimately acquainted with his uncle, Jasper, and hates Jasper with a deadly hatred. All this is not only new to Drood, if alive, but is rich in promise of further revelations. Drood, on Christmas Eve, had learned from the hag only that she took opium, and that she had come from town to Cloisterham, and had "hunted for a needle in a bottle of hay." That was the sum of his information. Now he learns that the woman knows, tracks, has found, and hates, his worthy uncle, Jasper. He may well, therefore, add a heavy mark to his score.

We must also ask, How could Helena, fresh from Ceylon, know "the old tavern way of keeping scores? Illegible except to the scorer. The scorer not committed, the scored debited with what is against him," as Datchery observes. An Eurasian girl of twenty, new to England, would not argue thus with herself: she would probably know nothing of English tavern scores. We do not hear that Helena ever opened a book: we do know that education had been denied to her. What acquaintance could she have with old English tavern customs?

If Drood is Datchery, then d.i.c.kens used a form of a very old and favourite _ficelle_ of his: the watching of a villain by an improbable and unsuspected person, in this case thought to be dead. If Helena is Datchery, the "a.s.sumption" or personation is in the highest degree improbable, her whole bearing is quite out of her possibilities, and the personation is very absurd.

Here the story ends.

THEORIES OF THE MYSTERY

FORSTER'S EVIDENCE

WE have some external evidence as to d.i.c.kens's solution of his own problem, from Forster. {48} On August 6, 1869, some weeks before he began to work at his tale, d.i.c.kens, in a letter, told Forster, "I have a very curious and new idea for my new story. Not communicable (or the interest of the book would be gone), but a very strong one, though difficult to work." Forster must have instantly asked that the incommunicable secret should be communicated to _him_, for he tells us that "_immediately after_ I learnt"-the secret. But did he learn it?

d.i.c.kens was ill, and his plot, whatever it may have been, would be irritatingly criticized by Forster before it was fully thought out.

"Fules and bairns should not see half-done work," and d.i.c.kens may well have felt that Forster should not see work not even begun, but merely simmering in the author's own fancy.

Forster does not tell us that d.i.c.kens communicated the secret in a letter. He quotes none: he says "I was told," orally, that is. When he writes, five years later (1874), "Landless was, _I think_, to have perished in a.s.sisting Tartar finally to unmask and seize the murderer,"

he is clearly trusting, not to a letter of d.i.c.kens's, but to a defective memory; and he knows it. He says that a nephew was to be murdered by an uncle. The criminal was to confess in the condemned cell. He was to find out that his crime had been needless, and to be convicted by means of the ring (Rosa's mother's ring) remaining in the quicklime that had destroyed the body of Edwin.

Nothing "new" in all this, as Forster must have seen. "The originality,"

he explains, "was to consist in the review of the murderer's career by himself at the close, when its temptations were to be dwelt upon as if, not he the culprit, but some other man, were the tempted."

But all this is not "hard to work," and is not "original." As Mr.

Proctor remarks, d.i.c.kens had used that trick twice already. ("Madman's Ma.n.u.script," _Pickwick_; "Clock Case Confession," in _Master Humphrey's Clock_.) The quicklime trick is also very old indeed. The disguise of a woman as a man is as ancient as the art of fiction: yet Helena _may_ be Datchery, though n.o.body guessed it before Mr. c.u.ming Walters. She ought not to be Datchery; she is quite out of keeping in her speech and manner as Datchery, and is much more like Drood.

"A NEW IDEA"

There are no new ideas in plots. "All the stories have been told," and all the merit lies in the manner of the telling. d.i.c.kens had used the unsuspected watcher, as Mr. Proctor shows, in almost all his novels. In _Martin Chuzzlewit_, when Jonas finds that Nadgett has been the watcher, d.i.c.kens writes, "The dead man might have come out of his grave and not confounded and appalled him so." Now, to Jasper, Edwin _was_ "the dead man," and Edwin's grave contained quicklime. Jasper was sure that he had done for Edwin: he had taken Edwin's watch, chain, and scarf-pin; he believed that he had left him, drugged, in quicklime, in a locked vault.

Consequently the reappearance of Edwin, quite well, in the vault where Jasper had buried him, would be a very new idea to Jasper; would "confound and appall him." Jasper would have emotions, at that spectacle, and so would the reader! It is not every day, even in our age of sixpenny novels, that a murderer is compelled to visit, alone, at night, the vault which holds his victim's "cold remains," and therein finds the victim "come up, smiling."

Yes, for business purposes, this idea was new enough! The idea was "difficult to work," says d.i.c.kens, with obvious truth. How was he to get the quicklime into the vault, and Drood, alive, out of the vault? As to the reader, he would at first take Datchery for Drood, and then think, "No, that is impossible, and also is stale. Datchery cannot be Drood,"

and thus the reader would remain in a pleasant state of puzzledom, as he does, unto this day.

If Edwin is dead, there is not much "Mystery" about him. We have as good as seen Jasper strangle him and take his pin, chain, and watch. Yet by adroitly managing the conduct of Mr. Grewgious, d.i.c.kens persuaded Mr.

Proctor that certainly, Grewgious knew Edwin to be alive. As Grewgious knew, from Helena, all that was necessary to provoke his experiment on Jasper's nerves, Mr. Proctor argued on false premises, but that was due to the craft of d.i.c.kens. Mr. Proctor rejected Forster's report, from memory, of what he understood to be the "incommunicable secret" of d.i.c.kens's plot, and I think that he was justified in the rejection.

Forster does not seem to have cared about the thing-he refers lightly to "the reader curious in such matters"-when once he had received his explanation from d.i.c.kens. His memory, in the s.p.a.ce of five years, may have been inaccurate: he probably neither knew nor cared who Datchery was; and he may readily have misunderstood what d.i.c.kens told him, orally, about the ring, as the instrument of detection. Moreover, Forster quite overlooked one source of evidence, as I shall show later.

MR. PROCTOR'S THEORY

Mr. Proctor's theory of the story is that Jasper, after Edwin's return at midnight on Christmas Eve, recommended a warm drink-mulled wine, drugged-and then proposed another stroll of inspection of the effects of the storm. He then strangled him, somewhere, and placed him in the quicklime in the Sapsea vault, locked him in, and went to bed. Next, according to Mr. Proctor, Durdles, then, "lying drunk in the precincts,"

for some reason taps with his hammer on the wall of the Sapsea vault, detects the presence of a foreign body, opens the tomb, and finds Drood in the quicklime, "his face fortunately protected by the strong silk shawl with which Jasper has intended to throttle him."

A MISTAKEN THEORY

This is "thin," very "thin!" d.i.c.kens must have had some better scheme than Mr. Proctor's. Why did Jasper not "mak sikker" like Kirkpatrick with the Red Comyn? Why did he leave his silk scarf? It might come to be asked for; to be sure the quicklime would destroy it, but why did Jasper leave it? Why did the intoxicated Durdles come out of the crypt, if he was there, enter the graveyard, and begin tapping at the wall of the vault? Why not open the door? he had the key.

Suppose, however, all this to have occurred, and suppose, with Mr.

Proctor, that Durdles and Deputy carried Edwin to the Tramps' lodgings, would Durdles fail to recognize Edwin? We are to guess that Grewgious was present, or disturbed at his inn, or somehow brought into touch with Edwin, and bribed Durdles to silence, "until a scheme for the punishment of Jasper had been devised."

All this set of conjectures is crude to the last degree. We do not know how d.i.c.kens meant to get Edwin into and out of the vault. Granting that Edwin was drugged, Jasper might lead Edwin in, considering the licence extended to the effects of drugs in novels, and might strangle him there.