These things Mr. Fotheringay did not, of course, fully appreciate. But he perceived that his miracle had miscarried, and with that a great disgust of miracles came upon him. He was in darkness now, for the clouds had swept together and blotted out his momentary glimpse of the moon, and the air was full of fitful struggling tortured wraiths of hail. A great roaring of wind and waters filled earth and sky, and, peering under his hand through the dust and sleet to windward, he saw by the play of the lightnings a vast wall of water pouring towards him.
“Maydig!” screamed Mr. Fotheringay’s feeble voice amid the elemental uproar. “Here!–Maydig!”
“Stop!” cried Mr. Fotheringay to the advancing water. “Oh, for goodness’ sake, stop!”
“Just a moment,” said Mr. Fotheringay to the lightnings and thunder. “Stop jest a moment while I collect my thoughts. . . . And now what shall I do?” he said. “What shall I do? Lord! I wish Maydig was about.”
“I know,” said Mr. Fotheringay. “And for goodness’ sake let’s have it right this time.”
He remained on all fours, leaning against the wind, very intent to have everything right.
“Ah!” he said. “Let nothing what I’m going to order happen until I say ‘Off!’ . . . Lord! I wish I’d thought of that before!”
He lifted his little voice against the whirlwind, shouting louder and louder in the vain desire to hear himself speak. “Now then!–here goes! Mind about that what I said just now. In the first place, when all I’ve got to say is done, let me lose my miraculous power, let my will become just like anybody else’s will, and all these dangerous miracles be stopped. I don’t like them. I’d rather I didn’t work ’em. Ever so much. That’s the first thing. And the second is–let me be back just before the miracles begin; let everything be just as it was before that blessed lamp turned up. It’s a big job, but it’s the last. Have you got it? No more miracles, everything as it was–me back in the Long Dragon just before I drank my half-pint. That’s it! Yes.”
He dug his fingers into the mould, closed his eyes, and said “Off!”
Everything became perfectly still. He perceived that he was standing erect.
“So you say,” said a voice.
He opened his eyes. He was in the bar of the Long Dragon, arguing about miracles with Toddy Beamish. He had a vague sense of some great thing forgotten that instantaneously passed. You see, except for the loss of his miraculous powers, everything was back as it had been; his mind and memory therefore were now just as they had been at the time when this story began. So that he knew absolutely nothing of all that is told here, knows nothing of all that is told here to this day. And among other things, of course, he still did not believe in miracles.
“I tell you that miracles, properly speaking, can’t possibly happen,” he said, “whatever you like to hold. And I’m prepared to prove it up to the hilt.”
“That’s what you think,” said Toddy Beamish, and “Prove it if you can.”
“Looky here, Mr. Beamish,” said Mr. Fotheringay. “Let us clearly understand what a miracle is. It’s something contrariwise to the course of nature done by power of Will . . .”
THE PLATTNER STORY
Whether the story of Gottfried Plattner is to be credited or not, is a pretty question in the value of evidence. On the one hand, we have seven witnesses–to be perfectly exact, we have six and a half pairs of eyes, and one undeniable fact; and on the other we have–what is it? –prejudice, common sense, the inertia of opinion. Never were there seven more honest-seeming witnesses; never was there a more undeniable, fact than the inversion of Gottfried Plattner’s anatomical structure, and–never was there a more preposterous story than the one they have to tell! The most preposterous part of the story is the worthy Gottfried’s contribution (for I count him as one of the seven). Heaven forbid that I should be led into giving countenance to superstition by a passion for impartiality, and so come to share the fate of Eusapia’s patrons! Frankly, I believe there is something crooked about this business of Gottfried Plattner; but what that crooked factor is, I will admit as frankly, I do not know. I have been surprised at the credit accorded to the story in the most unexpected and authoritative quarters. The fairest way to the reader, however, will be for me to tell it without further comment.
Gottfried Plattner is, in spite of his name, a freeborn Englishman. His father was an Alsatian who came to England in the Sixties, married a respectable English girl of unexceptionable antecedents, and died, after a wholesome and uneventful life (devoted, I understand, chiefly to the laying of parquet flooring), in 1887. Gottfried’s age is seven-and-twenty. He is, by virtue of his heritage of three languages, Modern Languages Master in a small private school in the South of England. To the casual observer he is singularly like any other Modern Languages Master in any other small private school. His costume is neither very costly nor very fashionable, but, on the other hand, it is not markedly cheap or shabby; his complexion, like his height and his bearing, is inconspicuous. You would notice, perhaps, that, like the majority of people, his face was not absolutely symmetrical, his right eye a little larger than the left, and his jaw a trifle heavier on the right side. If you, as an ordinary careless person, were to bare his chest and feel his heart beating, you would probably find it quite like the heart of any one else. But here you and the trained observer would part company. If you found his heart quite ordinary, the trained observer would find it quite otherwise. And once the thing was pointed out to you, you too would perceive the peculiarity easily enough. It is that Gottfried’s heart beats on the right side of his body.
Now, that is not the only singularity of Gottfried’s structure, although it is the only one that would appeal to the untrained mind. Careful sounding of Gottfried’s internal arrangements, by a well- known surgeon, seems to point to the fact that all the other unsymmetrical parts of his body are similarly misplaced. The right lobe of his liver is on the left side, the left on his right; while his lungs, too, are similarly contraposed. What is still more singular, unless Gottfried is a consummate actor, we must believe that his right hand has recently become his left. Since the occurrences we are about to consider (as impartially as possible), he has found the utmost difficulty in writing, except from right to left across the paper with his left hand. He cannot throw with his right hand, he is perplexed at meal times between knife and fork, and his ideas of the rule of the road– he is a cyclist–are still a dangerous confusion. And there is not a scrap of evidence to show that before these occurrences Gottfried was at all left-handed.
There is yet another wonderful fact in this preposterous business. Gottfried produces three photographs of himself. You have him at the age of five or six, thrusting fat legs at you from under a plaid frock, and scowling. In that photograph his left eye is a little larger than his right, and his jaw is a. trifle heavier on the left side. This is the reverse of his present living conditions. The photograph of Gottfried at fourteen seems to contradict these facts, but that is because it is one of those cheap “Gem” photographs that were then in vogue, taken direct upon metal, and therefore reversing things just as a looking-glass would. The third photograph represents him at one- and-twenty, and confirms the record of the others. There seems here evidence of the strongest confirmatory character that Gottfried has exchanged his left side for his right. Yet how a human being can be so changed, short of a fantastic and pointless miracle, it is exceedingly hard to suggest.
In one way, of course, these facts might be explicable on the supposition that Plattner has undertaken an elaborate mystification, on the strength of his heart’s displacement. Photographs may be fudged, and left-handedness imitated. But the character of the man does not lend itself to any such theory. He is quiet, practical, unobtrusive, and thoroughly sane, from the Nordau standpoint. He likes beer, and smokes moderately, takes walking exercise daily, and has a healthily high estimate of the value of his teaching. He has a good but untrained tenor voice, and takes a pleasure in singing airs of a popular and cheerful character. He is fond, but not morbidly fond, of reading,–chiefly fiction pervaded with a vaguely pious optimism,– sleeps well, and rarely dreams. He is, in fact, the very last person to evolve a fantastic fable. Indeed, so far from forcing this story upon the world, he has been singularly reticent on the matter. He meets enquirers with a certain engaging–bashfulness is almost the word, that disarms the most suspicious. He seems genuinely ashamed that anything so unusual has occurred to him.