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G K Chesterton

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Results will appear here as you type. Page loading Read this book online. Download this book. Listen to this book. Summary Read this book. Popularity is calculated by comparing this book's number of views to our most commonly read book. Popularity is calculated by comparing this book's number of editions to the book with the largest number of editions. Available formats. Suppose this brought him into spy circles, and little loans were made to him, and little ties tied on to him.

Suppose he kept up his contradictory position in a confused way by never telling the foreign spies the truth, but letting it more and more be guessed. Silence had sunk around them with the emptying of the tables; it was already late, though the sunlight still clung to everything, as if accidentally entangled in the trees.

In the stillness Flambeau shifted his seat sharply—making an isolated and echoing noise—and threw his elbow over the angle of it. I mean those things that make a woman refuse to dance with a man or a man to touch an investment. Everything, I mean, that has happened today.

I doubt the whole story, though it has been acted before my face. I doubt every sight that my eyes have seen since morning. There is something in this business quite different from the ordinary police mystery where one man is more or less lying and the other man more or less telling the truth. Here both men. Either that note was written by a French officer to ruin a French official; or it was written by the French official to help German officers; or it was written by the French official to mislead German officers.

Very well.

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Almost before they could take it in a short figure in French uniform had walked up to their table like the wind, and sat down with a sort of thump. He is packing up to leave the country, and he asks us to make his excuses sur le terrain. And you and I have to do it while he is leaving the country.

Confound it! The face of Father Brown was commonplace, but curiously contented; it could shine with ignorance as well as with knowledge. But there was always one flash when the foolish mask fell, and the wise mask fitted itself in its place; and Flambeau, who knew his friend, knew that his friend had suddenly understood.

Brown said nothing, but finished his plate of fish. For one of the shortest, in fact. But we may still be in time to catch him if we go there in a motor-cab. Nothing more could be got out of him until the cab swept round the corner by the Hotel Saint Louis, where they got out, and he led the party up a side lane already in deep shadow with the growing dusk.

The other two started and shrank farther back into the shadow of the wall, for the sturdy figure of their runaway principal could indeed be seen shuffling along in the twilight in front, a bag in each hand. He looked much the same as when they first saw him, except that he had changed his picturesque mountaineering knickers for a conventional pair of trousers. It was clear he was already escaping from the hotel. The lane down which they followed him was one of those that seem to be at the back of things, and look like the wrong side of the stage scenery.

A colourless, continuous wall ran down one flank of it, interrupted at intervals by dull-hued and dirt-stained doors, all shut fast and featureless save for the chalk scribbles of some passing gamin. The tops of trees, mostly rather depressing evergreens, showed at intervals over the top of the wall, and beyond them in the grey and purple gloaming could be seen the back of some long terrace of tall Parisian houses, really comparatively close, but somehow looking as inaccessible as a range of marble mountains.

On the other side of the lane ran the high gilt railings of a gloomy park. Flambeau was looking round him in rather a weird way. Vanished, like a blasted fairy! Flambeau strode up to the door thus shut almost in his face, and stood in front of it for a moment, biting his black moustache in a fury of curiosity. Then he threw up his long arms and swung himself aloft like a monkey and stood on the top of the wall, his enormous figure dark against the purple sky, like the dark tree-tops.

The Duke looked at the priest. A kind of cry came from Flambeau on the wall above. I thought I could recognize the back of a house as well as the back of a man. The priest alone remained below, leaning against the wall, with his back to the whole theatre of events, and looking wistfully across to the park palings and the twinkling, twilit trees.

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The Duke, however stimulated, had the instincts of an aristocrat, and desired rather to stare at the house than to spy on it; but Flambeau, who had the instincts of a burglar and a detective , had already swung himself from the wall into the fork of a straggling tree from which he could crawl quite close to the only illuminated window in the back of the high dark house. A red blind had been pulled down over the light, but pulled crookedly, so that it gaped on one side, and by risking his neck along a branch that looked as treacherous as a twig, Flambeau could just see Colonel Dubosc walking about in a brilliantly-lighted and luxurious bedroom.

But close as Flambeau was to the house, he heard the words of his colleagues by the wall, and repeated them in a low voice. Have you read a queer psychological story by Henry James, of two persons who so perpetually missed meeting each other by accident that they began to feel quite frightened of each other, and to think it was fate?

This is something of the kind, but more curious. They cancel out, so to speak. He continued to gaze at the darkening trees opposite, but Valognes turned his head sharply at a suppressed exclamation from Flambeau. That investigator, peering into the lighted room, had just seen the Colonel, after a pace or two, proceed to take his coat off. In his shirt and trousers he was a comparatively slim gentleman, who walked across the bedroom to the bathroom with no more pugnacious purpose than that of washing himself.

He bent over a basin, dried his dripping hands and face on a towel, and turned again so that the strong light fell on his face. His brown complexion had gone, his big black moustache had gone; he—was clean-shaven and very pate. Nothing remained of the Colonel but his bright, hawk-like, brown eyes. Under the wall Father Brown was going on in heavy meditation, as if to himself. One of these men is fair and the other dark, one stout and the other slim, one strong and the other weak. One has hair cropped to his skull, but a scarf to hide his neck; the other has low shirt-collars, but long hair to bide his skull.

Things made so opposite are things that cannot quarrel. Wherever the one sticks out the other sinks in. Like a face and a mask, like a lock and a key. Flambeau was peering into the house with a visage as white as a sheet. The occupant of the room was standing with his back to him, but in front of a looking-glass, and had already fitted round his face a sort of framework of rank red hair, hanging disordered from the head and clinging round the jaws and chin while leaving the mocking mouth uncovered. Seen thus in the glass the white face looked like the face of Judas laughing horribly and surrounded by capering flames of hell.

For a spasm Flambeau saw the fierce, red-brown eyes dancing, then they were covered with a pair of blue spectacles. Slipping on a loose black coat, the figure vanished towards the front of the house. A few moments later a roar of popular applause from the street beyond announced that Dr Hirsch had once more appeared upon the balcony. TWO men appeared simultaneously at the two ends of a sort of passage running along the side of the Apollo Theatre in the Adelphi. The evening daylight in the streets was large and luminous, opalescent and empty. The passage was comparatively long and dark, so each man could see the other as a mere black silhouette at the other end.

Nevertheless, each man knew the other, even in that inky outline; for they were both men of striking appearance and they hated each other. The covered passage opened at one end on one of the steep streets of the Adelphi, and at the other on a terrace overlooking the sunset-coloured river. One side of the passage was a blank wall, for the building it supported was an old unsuccessful theatre restaurant, now shut up.

The other side of the passage contained two doors, one at each end. Neither was what was commonly called the stage door; they were a sort of special and private stage doors used by very special performers, and in this case by the star actor and actress in the Shakespearean performance of the day. Persons of that eminence often like to have such private exits and entrances, for meeting friends or avoiding them. The two men in question were certainly two such friends, men who evidently knew the doors and counted on their opening, for each approached the door at the upper end with equal coolness and confidence.

Not, however, with equal speed; but the man who walked fast was the man from the other end of the tunnel, so they both arrived before the secret stage door almost at the same instant.

The Wisdom of Father Brown

They saluted each other with civility, and waited a moment before one of them, the sharper walker who seemed to have the shorter patience, knocked at the door. In this and everything else each man was opposite and neither could be called inferior. As private persons both were handsome, capable and popular. As public persons, both were in the first public rank. But everything about them, from their glory to their good looks, was of a diverse and incomparable kind.

Sir Wilson Seymour was the kind of man whose importance is known to everybody who knows. The more you mixed with the innermost ring in every polity or profession, the more often you met Sir Wilson Seymour. He was the one intelligent man on twenty unintelligent committees—on every sort of subject, from the reform of the Royal Academy to the project of bimetallism for Greater Britain. In the Arts especially he was omnipotent. He was so unique that nobody could quite decide whether he was a great aristocrat who had taken up Art, or a great artist whom the aristocrats had taken up.

But you could not meet him for five minutes without realizing that you had really been ruled by him all your life. His tall, slender figure had a slight stoop yet it looked the reverse of feeble. His hair was silver-grey, but he did not look old; it was worn longer than the common yet he did not look effeminate; it was curly but it did not look curled. His carefully pointed beard made him look more manly and militant than otherwise, as it does in those old admirals of Velazquez with whose dark portraits his house was hung.

His grey gloves were a shade bluer, his silver-knobbed cane a shade longer than scores of such gloves and canes flapped and flourished about the theatres and the restaurants. The other man was not so tall, yet would have struck nobody as short, but merely as strong and handsome. His military moustache and the carriage of his shoulders showed him a soldier, but he had a pair of those peculiar frank and piercing blue eyes which are more common in sailors. His face was somewhat square, his jaw was square, his shoulders were square, even his jacket was square.

Indeed, in the wild school of caricature then current, Mr Max Beerbohm had represented him as a proposition in the fourth book of Euclid. For he also was a public man, though with quite another sort of success. You did not have to be in the best society to have heard of Captain Cutler, of the siege of Hong-Kong, and the great march across China. You could not get away from hearing of him wherever you were; his portrait was on every other postcard; his maps and battles in every other illustrated paper; songs in his honour in every other music-hall turn or on every other barrel-organ.

In thousands of English homes he appeared enormous above England, like Nelson. Yet he had infinitely less power in England than Sir Wilson Seymour. It was fitted and filled with looking-glasses at every angle of refraction, so that they looked like the hundred facets of one huge diamond—if one could get inside a diamond. The other features of luxury, a few flowers, a few coloured cushions, a few scraps of stage costume, were multiplied by all the mirrors into the madness of the Arabian Nights, and danced and changed places perpetually as the shuffling attendant shifted a mirror outwards or shot one back against the wall.

They both spoke to the dingy dresser by name, calling him Parkinson, and asking for the lady as Miss Aurora Rome. Parkinson said she was in the other room, but he would go and tell her. A shade crossed the brow of both visitors; for the other room was the private room of the great actor with whom Miss Aurora was performing, and she was of the kind that does not inflame admiration without inflaming jealousy.

In about half a minute, however, the inner door opened, and she entered as she always did, even in private life, so that the very silence seemed to be a roar of applause, and one well-deserved. She was clad in a somewhat strange garb of peacock green and peacock blue satins, that gleamed like blue and green metals, such as delight children and aesthetes, and her heavy, hot brown hair framed one of those magic faces which are dangerous to all men, but especially to boys and to men growing grey.

Set in dreamy and exquisite scenery, and moving in mystical dances, the green costume, like burnished beetle-wings, expressed all the elusive individuality of an elfin queen.

The Wisdom of Father Brown by G. K. Chesterton

She greeted both men with the beaming and baffling smile which kept so many males at the same just dangerous distance from her. She accepted some flowers from Cutler, which were as tropical and expensive as his victories; and another sort of present from Sir Wilson Seymour, offered later on and more nonchalantly by that gentleman. For it was against his breeding to show eagerness, and against his conventional unconventionality to give anything so obvious as flowers. He had picked up a trifle, he said, which was rather a curiosity, it was an ancient Greek dagger of the Mycenaean Epoch, and might well have been worn in the time of Theseus and Hippolyta.

It was made of brass like all the Heroic weapons, but, oddly enough, sharp enough to prick anyone still. He had really been attracted to it by the leaf-like shape; it was as perfect as a Greek vase. If it was of any interest to Miss Rome or could come in anywhere in the play, he hoped she would—. The inner door burst open and a big figure appeared, who was more of a contrast to the explanatory Seymour than even Captain Cutler. Nearly six-foot-six, and of more than theatrical thews and muscles, Isidore Bruno, in the gorgeous leopard skin and golden-brown garments of Oberon, looked like a barbaric god.

He leaned on a sort of hunting-spear, which across a theatre looked a slight, silvery wand, but which in the small and comparatively crowded room looked as plain as a pike-staff—and as menacing. His vivid black eyes rolled volcanically, his bronzed face, handsome as it was, showed at that moment a combination of high cheekbones with set white teeth, which recalled certain American conjectures about his origin in the Southern plantations.

He stopped indecisively because a sixth figure had suddenly presented itself just inside the doorway—a figure so incongruous in the scene as to be almost comic. A shrewd observer might have remarked that the emotional temperature rather rose at so unemotional an interruption. The detachment of a professional celibate seemed to reveal to the others that they stood round the woman as a ring of amorous rivals; just as a stranger coming in with frost on his coat will reveal that a room is like a furnace.

A shrewd person might also have noted a yet odder thing. The man like a black wooden Noah who was not wholly without shrewdness noted it with a considerable but contained amusement. It was evident that the great Aurora, though by no means indifferent to the admiration of the other sex, wanted at this moment to get rid of all the men who admired her and be left alone with the man who did not—did not admire her in that sense at least; for the little priest did admire and even enjoy the firm feminine diplomacy with which she set about her task.

There was, perhaps, only one thing that Aurora Rome was clever about, and that was one half of humanity—the other half. The little priest watched, like a Napoleonic campaign, the swift precision of her policy for expelling all while banishing none. Bruno, the big actor, was so babyish that it was easy to send him off in brute sulks, banging the door. Cutler, the British officer, was pachydermatous to ideas, but punctilious about behaviour. He would ignore all hints, but he would die rather than ignore a definite commission from a lady. As to old Seymour, he had to be treated differently; he had to be left to the last.

The only way to move him was to appeal to him in confidence as an old friend, to let him into the secret of the clearance. The priest did really admire Miss Rome as she achieved all these three objects in one selected action. Do go over to that shop round the corner and get me some lilies-of-the-valley, and then it will be quite lovely. The first object of her diplomacy, the exit of the enraged Bruno, was at once achieved. He had already handed his spear in a lordly style, like a sceptre, to the piteous Parkinson, and was about to assume one of the cushioned seats like a throne.

But at this open appeal to his rival there glowed in his opal eyeballs all the sensitive insolence of the slave; he knotted his enormous brown fists for an instant, and then, dashing open the door, disappeared into his own apartments beyond. Cutler had indeed risen stiffly and suddenly, and walked towards the door, hatless, as if at a word of command. But perhaps there was something ostentatiously elegant about the languid figure of Seymour leaning against one of the looking-glasses that brought him up short at the entrance, turning his head this way and that like a bewildered bulldog.

Seymour seemed to be listening, elegant and unconscious as was his posture, and he seemed relieved when he heard the lady call out some last instructions to the Captain, and then turn sharply and run laughing down the passage towards the other end, the end on the terrace above the Thames. He did not lose his dignity; he said some civil words to Father Brown about the revival of Byzantine architecture in the Westminster Cathedral, and then, quite naturally, strolled out himself into the upper end of the passage.

Father Brown and Parkinson were left alone, and they were neither of them men with a taste for superfluous conversation. The dresser went round the room, pulling out looking-glasses and pushing them in again, his dingy dark coat and trousers looking all the more dismal since he was still holding the festive fairy spear of King Oberon. Every time he pulled out the frame of a new glass, a new black figure of Father Brown appeared; the absurd glass chamber was full of Father Browns, upside down in the air like angels, turning somersaults like acrobats, turning their backs to everybody like very rude persons.

Father Brown seemed quite unconscious of this cloud of witnesses, but followed Parkinson with an idly attentive eye till he took himself and his absurd spear into the farther room of Bruno. Then he abandoned himself to such abstract meditations as always amused him—calculating the angles of the mirrors, the angles of each refraction, the angle at which each must fit into the wall.

He sprang to his feet and stood rigidly listening. At the same instant Sir Wilson Seymour burst back into the room, white as ivory. Before Father Brown could turn in his heavy boots Seymour was plunging about the room looking for the weapon. And before he could possibly find that weapon or any other, a brisk running of feet broke upon the pavement outside, and the square face of Cutler was thrust into the same doorway.

He was still grotesquely grasping a bunch of lilies-of-the-valley. Is this some of your tricks?

In the instant of time in which all this happened Father Brown stepped out into the top of the passage, looked down it, and at once walked briskly towards what he saw. Who are you? I have come too late. The three men looked down, and in one of them at least the life died in that late light of afternoon. It ran along the passage like a path of gold, and in the midst of it Aurora Rome lay lustrous in her robes of green and gold, with her dead face turned upwards. Her dress was torn away as in a struggle, leaving the right shoulder bare, but the wound from which the blood was welling was on the other side.

The brass dagger lay flat and gleaming a yard or so away. Then the Captain, with a movement so sudden that it might have been passion or play-acting, took Sir Wilson Seymour by the throat.

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Seymour looked at him steadily without either fight or fear. Not yours—but I think I know whose. And before the others could appreciate his intention he snatched up the dagger, sprang at the other door at the lower end of the passage, burst it open, bolt and all, and confronted Bruno in his dressing-room. As he did so, old Parkinson tottered in his wavering way out of the door and caught sight of the corpse lying in the passage.

He moved shakily towards it; looked at it weakly with a working face; then moved shakily back into the dressing-room again, and sat down suddenly on one of the richly cushioned chairs. Father Brown instantly ran across to him, taking no notice of Cutler and the colossal actor, though the room already rang with their blows and they began to struggle for the dagger.

Seymour, who retained some practical sense, was whistling for the police at the end of the passage. When the police arrived it was to tear the two men from an almost ape-like grapple; and, after a few formal inquiries, to arrest Isidore Bruno upon a charge of murder, brought against him by his furious opponent. The idea that the great national hero of the hour had arrested a wrongdoer with his own hand doubtless had its weight with the police, who are not without elements of the journalist. They treated Cutler with a certain solemn attention, and pointed out that he had got a slight slash on the hand.

Even as Cutler bore him back across tilted chair and table, Bruno had twisted the dagger out of his grasp and disabled him just below the wrist. The injury was really slight, but till he was removed from the room the half-savage prisoner stared at the running blood with a steady smile. He also had paid his tribute, not without eloquence, to the woman who had died. The silence was first broken by Cutler, who seemed not untouched by a rough tenderness. They took leave of Father Brown at the corner of the road, with some random apologies for any rudeness they might have shown. Both their faces were tragic, but also cryptic.

The mind of the little priest was always a rabbit-warren of wild thoughts that jumped too quickly for him to catch them. Like the white tail of a rabbit he had the vanishing thought that he was certain of their grief, but not so certain of their innocence. As far as my words on oath can go, you might either of you have done it. You hurt yourselves with that; and then Captain Cutler must have hurt himself with the dagger.

And so we shall never know whether there was blood on it before. Before either could make sufficient sense of it even to answer, Father Brown had politely excused himself and gone stumping up the road with his stumpy old umbrella. As modern newspapers are conducted, the most honest and most important news is the police news. If it be true that in the twentieth century more space is given to murder than to politics, it is for the excellent reason that murder is a more serious subject.

So vast was the excitement that for some weeks the Press really told the truth; and the reports of examination and cross-examination, if interminable, even if intolerable are at least reliable. The true reason, of course, was the coincidence of persons. The victim was a popular actress; the accused was a popular actor; and the accused had been caught red-handed, as it were, by the most popular soldier of the patriotic season.

The trial was presided over by Mr Justice Monkhouse, one of those who are jeered at as humorous judges, but who are generally much more serious than the serious judges, for their levity comes from a living impatience of professional solemnity; while the serious judge is really filled with frivolity, because he is filled with vanity. All the chief actors being of a worldly importance, the barristers were well balanced; the prosecutor for the Crown was Sir Walter Cowdray, a heavy, but weighty advocate of the sort that knows how to seem English and trustworthy, and how to be rhetorical with reluctance.

The prisoner was defended by Mr Patrick Butler, K. The medical evidence involved no contradictions, the doctor, whom Seymour had summoned on the spot, agreeing with the eminent surgeon who had later examined the body. Aurora Rome had been stabbed with some sharp instrument such as a knife or dagger; some instrument, at least, of which the blade was short. The wound was just over the heart, and she had died instantly. When the doctor first saw her she could hardly have been dead for twenty minutes. Therefore when Father Brown found her she could hardly have been dead for three.

Some official detective evidence followed, chiefly concerned with the presence or absence of any proof of a struggle; the only suggestion of this was the tearing of the dress at the shoulder, and this did not seem to fit in particularly well with the direction and finality of the blow. When these details had been supplied, though not explained, the first of the important witnesses was called.

Sir Wilson Seymour gave evidence as he did everything else that he did at all—not only well, but perfectly. He was also refreshingly lucid, as he was on the committees. He had been calling on Miss Rome at the theatre; he had met Captain Cutler there; they had been joined for a short time by the accused, who had then returned to his own dressing-room; they had then been joined by a Roman Catholic priest, who asked for the deceased lady and said his name was Brown.

Miss Rome had then gone just outside the theatre to the entrance of the passage, in order to point out to Captain Cutler a flower-shop at which he was to buy her some more flowers; and the witness had remained in the room, exchanging a few words with the priest. Did he see anything in the passage? Yes; he saw something in the passage. Sir Walter Cowdray allowed an impressive interval, during which the witness looked down, and for all his usual composure seemed to have more than his usual pallor.

Sir Wilson Seymour, however moved, had his excellent brains in full working-order. The passage is of such length that anyone in the middle of it appears quite black against the light at the other end. Was it, for instance, like the figure of the murdered woman? Everyone in court kept his eyes riveted on his pen, or his umbrella-handle, or his book, or his boots or whatever he happened to be looking at.

They seemed to be holding their eyes away from the prisoner by main force; but they felt his figure in the dock, and they felt it as gigantic. Tall as Bruno was to the eye, he seemed to swell taller and taller when an eyes had been torn away from him. Cowdray was resuming his seat with his solemn face, smoothing his black silk robes, and white silk whiskers. Sir Wilson was leaving the witness-box, after a few final particulars to which there were many other witnesses, when the counsel for the defence sprang up and stopped him.

Seymour looked troubled for the first time. There was something about the thing that was not exactly a woman and yet was not quite a man; somehow the curves were different. And it had something that looked like long hair. Captain Cutler was a far less plausible and composed witness than Sir Wilson, but his account of the opening incidents was solidly the same. He described the return of Bruno to his dressing-room, the dispatching of himself to buy a bunch of lilies-of-the-valley, his return to the upper end of the passage, the thing he saw in the passage, his suspicion of Seymour, and his struggle with Bruno.

But he could give little artistic assistance about the black figure that he and Seymour had seen. Asked about its outline, he said he was no art critic—with a somewhat too obvious sneer at Seymour. Asked if it was a man or a woman, he said it looked more like a beast—with a too obvious snarl at the prisoner. But the man was plainly shaken with sorrow and sincere anger, and Cowdray quickly excused him from confirming facts that were already fairly clear. The defending counsel also was again brief in his cross-examination; although as was his custom even in being brief, he seemed to take a long time about it.

Cutler seemed seriously agitated. Mr Butler cut short his curious impatience in the middle. No feminine curves? The figure, if I understand you, was rather heavy and square than otherwise? The third, witness called by Sir Walter Cowdray was the little Catholic clergyman, so little, compared with the others, that his head seemed hardly to come above the box, so that it was like cross-examining a child. Therefore he took Father Brown up sharply whenever that proud pontiff tried to explain anything; and told him to answer yes or no, and tell the plain facts without any jesuitry.

When Father Brown began, in his simplicity, to say who he thought the man in the passage was, the barrister told him that he did not want his theories. And you say you saw the black shape. Well, what shape was it? Father Brown blinked as under rebuke; but he had long known the literal nature of obedience. Those in court had been wrought up to an irrational, but real sense of some monstrosity. They had forgotten the figure in the dock and thought only of the figure in the passage.

And the figure in the passage, described by three capable and respectable men who had all seen it, was a shifting nightmare: one called it a woman, and the other a beast, and the other a devil. The judge was looking at Father Brown with level and piercing eyes. Well, who was the man you saw in the passage? Butler, K. Before the audience could quite dismiss the idea that the priest had really seen himself doing murder with a short dagger with a long hilt which seemed somehow to make it more horrible , he had himself hurried on to explain.

Spears have short blades. But he died penitent—he just died of being penitent. The general impression in court was that the little priest, who was gobbling away, had literally gone mad in the box. But the judge still looked at him with bright and steady eyes of interest; and the counsel for the defence went on with his questions unperturbed. How do you account for signs of struggle, like the dress dragged off the shoulder? There was another vast and unnatural silence, and this time it was the judge who spoke.

The judge leaned back in his chair with a luxuriance in which it was hard to separate the cynicism and the admiration. FLAMBEAU and his friend the priest were sitting in the Temple Gardens about sunset; and their neighbourhood or some such accidental influence had turned their talk to matters of legal process.

From the problem of the licence in cross-examination, their talk strayed to Roman and mediaeval torture, to the examining magistrate in France and the Third Degree in America. What do you think of it? Blood will have to flow very funnily; blood will have to flow up the Matterhorn, before I will take it as a sign that I am to shed it. Who but a Yankee would think of proving anything from heart-throbs? Why, they must be as sentimental as a man who thinks a woman is in love with him if she blushes.

Why, the other end of the stick always points the opposite way. It depends whether you get hold of the stick by the right end. It happened nearly twenty years before, when he was chaplain to his co-religionists in a prison in Chicago—where the Irish population displayed a capacity both for crime and penitence which kept him tolerably busy.

The official second-in-command under the Governor was an ex-detective named Greywood Usher, a cadaverous, careful-spoken Yankee philosopher, occasionally varying a very rigid visage with an odd apologetic grimace. He liked Father Brown in a slightly patronizing way; and Father Brown liked him, though he heartily disliked his theories. His theories were extremely complicated and were held with extreme simplicity. One evening he had sent for the priest, who, according to his custom, took a seat in silence at a table piled and littered with papers, and waited.

The official selected from the papers a scrap of newspaper cutting, which he handed across to the cleric, who read it gravely. It appeared to be an extract from one of the pinkest of American Society papers, and ran as follows:. Miss Etta Todd is one of our deep-souled New Yorkers, and comes into an income of nearly twelve hundred million dollars. The authorities, hurrying in the direction of the cry, found the corpse of the warder who patrols the top of the north wall of the prison, the steepest and most difficult exit, for which one man has always been found sufficient.

The unfortunate officer had, however, been hurled from the high wall, his brains beaten out as with a club, and his gun was missing.

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Further inquiries showed that one of the cells was empty; it had been occupied by a rather sullen ruffian giving his name as Oscar Rian. He was only temporarily detained for some comparatively trivial assault; but he gave everyone the impression of a man with a black past and a dangerous future. I meant no harm to him or any man but one.

I should cut a poor figure, with my short legs, running about this State after an athletic assassin of that sort. I doubt whether anybody could find him. He may be in any hole or up any tree. Father Brown opened his innocent eyes wide. I really did. You know I sometimes take a turn in the country lanes outside this dismal place; well, I was walking early this evening up a steep lane with dark hedges and grey-looking ploughed fields on both sides; and a young moon was up and silvering the road.

By the light of it I saw a man running across the field towards the road; running with his body bent and at a good mile-race trot. In the instant in which he appeared up against the moon, crossing the road, I slung my hooked cane at his legs, tripping him and bringing him down. Then I blew my whistle long and loud, and our fellows came running up to secure him. Nor do they run all doubled up like a crouching dog. There were more decisive details to a fairly well-trained eye. The man was clad in coarse and ragged clothes, but they were something more than merely coarse and ragged.

They were so ill-fitting as to be quite grotesque; even as he appeared in black outline against the moonrise, the coat-collar in which his head was buried made him look like a hunchback, and the long loose sleeves looked as if he had no hands. Second, there was a pretty stiff wind against which he was running; so that I must have seen the streaky look of blowing hair, if the hair had not been very short. Probably the same policy that made him change the clothes made him drop the gun; he began to repent the coat he had left behind him in the blood of his victim.

Petroleum, I think. He stretched himself once more before the fire and continued talking in his expansive, radiantly explanatory style. Last-Trick is a man of mental endowments and a high public character; but in this country the relations of employers and employed are considerably strained. So it looked to me, till another little discovery woke up what I have of the detective in me. It was some two hours ago, about seven by this time; the moonlight was more luminous, and I could see the long white streaks of it lying on the mysterious mere with its grey, greasy, half-liquid shores in which they say our fathers used to make witches walk until they sank.

As I stood peering at this misty pool, I fancied I saw the faint figure of a man moving from the house towards it, but it was all too dim and distant for one to be certain of the fact, and still less of the details. Besides, my attention was very sharply arrested by something much closer. I crouched behind the fence which ran not more than two hundred yards from one wing of the great mansion, and which was fortunately split in places, as if specially for the application of a cautious eye. It was announced this week that the Bishop of Northampton has started the investigation whether there is a case for canonisation for G K Chesterton.

This prompted me to go back to his best-loved creation, and one of my favourite fictional characters, Father Brown, who starred in five volumes of short stories. However, his unprepossessing exterior hides a sharp mind, which thwarts the attempts to steal the cross, and traps the criminal.

His is the human element, far away from the cold scientific exactness of a Sherlock Holmes. So, of course, I knew how it was done. There is a basic Christian humanity about Father Brown, and there are Christian messages running through the books. He has little time for superstition, but looks for a rational explanation.

  1. The Game: Adventure Begins.
  2. Chesterton.
  3. See a Problem?;
  4. Wisdom of Father Brown - Christian Classics Ethereal Library?
  5. The Wisdom of Father Brown.
  6. Chesterton is a master in setting atmosphere and a spirit of place. Some of his stories have a very gothic feel to them. And through the twists and turns of the stories sits the quiet figure of Father Brown.