A Son of the Gods, and A Horseman in the Sky
Date: 2004-05-02T00:00:00+00:00
Keywords: United States -- History -- Civil War; 1861-1865 -- Fiction; War stories; American

The Project Gutenberg eBook of A Son of the Gods, and A Horseman in the Sky

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Title: A Son of the Gods, and A Horseman in the Sky

Author: Ambrose Bierce

Release date: May 1, 2004 [eBook #5661]
Most recently updated: July 11, 2018

Language: English

Other information and formats: www.gutenberg.org/ebooks/5661

Credits: Produced by David Schwan, and David Widger

*** START OF THE PROJECT GUTENBERG EBOOK A SON OF THE GODS, AND A HORSEMAN IN THE SKY ***

A SON OF THE GODS
and

A HORSEMAN IN THE SKY

By Ambrose Bierce

Including an Introduction by W. C. Morrow

Western Classics No. Four

The Photogravure Frontispiece After A Painting by Will Jenkins

The Introduction

A SON OF THE GODS

A HORSEMAN IN THE SKY

The Introduction

Brilliant and magnetic as are these two studies by Ambrose Bierce, and especially significant as coming from one who was a boy soldier in the Civil War, they merely reflect one side of his original and many-faceted genius. Poet, critic, satirist, fun-maker, incomparable writer of fables and masterly prose sketches, a seer of startling insight, a reasoner mercilessly logical, with the delicate wit and keenness of an Irving or an Addison, the dramatic quality of a Hugo,—all of these, and still in the prime of his powers; yet so restricted has been his output and so little exploited that only the judicious few have been impressed.

Although an American, he formed his bent years ago in London, where he was associated with the younger Hood on Fun. There he laid the foundation for that reputation which he today enjoys: the distinction of being the last of the scholarly satirists. With that training he came to San Francisco, where, in an environment equally as genial, his talent grew and mellowed through the years. Then he was summoned to New York to assist a newspaper fight against a great railroad, since the conclusion of which brilliant campaign eastern journalism and magazine work have claimed his attention.

Two volumes, "The Fiend's Delight" and "Cobwebs from an Empty Skull" titles that would damn modern books—were collections published years ago from his work on London Fun. Their appearance made him at once the chief wit and humorist of England, and, combined with his satirical work on Fun, led to his engagement by friends of the exiled Eugénie to conduct a periodical against her enemies, who purposed to make her refuge in England untenable by means of newspaper attacks. It is easy to imagine the zest with which the chivalrous Bierce plunged into preparations for the fight. But the struggle never came; it was sufficient to learn that Bierce would be the Richmond; the attack upon the stricken ex-empress was abandoned.

When he was urged in San Francisco, years afterward, to write more of the inimitable things that filled those two volumes, he said that it was only fun, a boy's work. Only fun! There has never been such delicious fun since the beginning of literature, and there is nothing better than fun. Yet it held his own peculiar quality, which is not that of American fun,—quality of a brilliant intellectuality: the keenness of a rapier, a teasing subtlety, a contempt for pharisaism and squeamishness, and above all a fine philosophy. While he has never lost his sense of the whimsical, the grotesque, the unusual, he—unfortunately, perhaps—came oftener to give it the form of pure wit rather than of cajoling humor. Few Americans know him as a humorist, because his humor is not built on the broad, rough lines that are typically American. It belongs to an older civilization, yet it is jollier than the English and bolder than the French.

At all times his incomparable wit and satire has appealed rather to the cultured, and even the emotional quality of his fiction is frequently so profound and unusual as to be fully enjoyed only by the intellectually untrammelled. His writing was never for those who could only read and feel, not think.

Another factor against his wider acceptance has been the infrequency and fragmentary character of his work, particularly his satire. No sustained fort in that field has come from him. His satire was born largely of a transient stimulus, and was evanescent. Even his short stories are, generally, but blinding flashes of a moment in a life. He laughingly ascribes the meagerness of his output to indolence; but there may be a deeper reason, of which he is unconscious. What is more dampening than a seeming lack of appreciation? "Tales of Soldiers and Civilians" had a disheartening search for an established publisher, and finally was brought out by an admiring merchant of San Francisco. It attracted so much critical attention that its re-publication was soon undertaken by a regular house.

Had Bierce never produced anything but these prose tales, his right to a place high in American letters would nevertheless be secure, and of all his work, serious or otherwise, here is his greatest claim to popular and permanent recognition. No stories for which the Civil War has furnished such dramatic setting surpass these masterpieces of short fiction, either in power of description, subtlety of touch or literary finish. It is deeply to be regretted that he has not given us more such prose.

W. C. Morrow.

A SON OF THE GODS

A breezy day and a sunny landscape. An open country to right and left and forward; behind, a wood. In the edge of this wood, facing the open but not venturing into it, long lines of troops halted. The wood is alive with them, and full of confused noises: the occasional rattle of wheels as a battery of artillery goes into position to cover the advance; the hum and murmur of the soldiers talking; a sound of innumerable feet in the dry leaves that strew the interspaces among the trees; hoarse commands of officers. Detached groups of horsemen are well in front—not altogether exposed—many of them intently regarding the crest of a hill a mile away in the direction of the interrupted advance. For this powerful army, moving in battle order through a forest, has met with a formidable obstacle—the open country. The crest of that gentle hill a mile away has a sinister look; it says, Beware! Along it runs a stone wall extending to left and right a great distance. Behind the wall is a hedge; behind the hedge are seen the tops of trees in rather straggling order. Among the trees—what? It is necessary to know.

Yesterday, and for many days and nights previously, we were fighting somewhere; always there was cannonading, with occasional keen rattlings of musketry, mingled with cheers, our own or the enemy's, we seldom knew, attesting some temporary advantage. This morning at daybreak the enemy was gone. We have moved forward across his earthworks, across which we have so often vainly attempted to move before, through the debris of his abandoned camps, among the graves of his fallen, into the woods beyond.

How curiously we regarded everything! How odd it all seemed! Nothing appeared quite familiar; the most commonplace objects—an old saddle, a splintered wheel, a forgotten canteen everything related something of the mysterious personality of those strange men who had been killing us. The soldier never becomes wholly familiar with the conception of his foes as men like himself; he cannot divest himself of the feeling that they are another order of beings, differently conditioned, in an environment not altogether of the earth. The smallest vestiges of them rivet his attention and engage his interest. He thinks of them as inaccessible; and, catching an unexpected glimpse of them, they appear farther away, and therefore larger, than they really are—like objects in a fog. He is somewhat in awe of them.

From the edge of the wood leading up the acclivity are the tracks of horses and wheels—the wheels of cannon. The yellow grass is beaten down by the feet of infantry. Clearly they have passed this way in thousands; they have not withdrawn by the country roads. This is significant—it is the difference between retiring and retreating.

That group of horsemen is our commander, his staff, and escort. He is facing the distant crest, holding his field-glass against his eyes with both hands, his elbows needlessly elevated. It is a fashion; it seems to dignify the act; we are all addicted to it. Suddenly he lowers the glass and says a few words to those about him. Two or three aides detach themselves from the group and canter away into the woods, along the lines in each direction. We did not hear his words, but we knew them: "Tell General X. to send forward the skirmish line." Those of us who have been out of place resume our positions; the men resting at ease straighten themselves, and the ranks are reformed without a command. Some of us staff officers dismount and look at our saddle-girths; those already on the ground remount.

Galloping rapidly along in the edge of the open ground comes a young officer on a snow-white horse. His saddle-blanket is scarlet. What a fool! No one who has ever been in battle but remembers how naturally every rifle turns toward the man on a white horse; no one but has observed how a bit of red enrages the bull of battle. That such colors are fashionable in military life must be accepted as the most astonishing of all the phenomena of human vanity. They would seem to have been devised to increase the death-rate.

This young officer is in full uniform, as if on parade. He is all agleam with bullion, a blue-and-gold edition of the Poetry of War. A wave of derisive laughter runs abreast of him all along the line. But how handsome he is! With what careless grace he sits his horse!

He reins up within a respectful distance of the corps commander and salutes. The old soldier nods familiarly; he evidently knows him. A brief colloquy between them is going on; the young man seems to be preferring some request which the elder one is indisposed to grant. Let us ride a little nearer. Ah! too late—it is ended. The young officer salutes again, wheels his horse, and rides straight toward the crest of the hill. He is deadly pale.

A thin line of skirmishers, the men deployed at six paces or so apart, now pushes from the wood into the open. The commander speaks to his bugler, who claps his instrument to his lips. Tra-la-la! Tra-la-la! The skirmishers halt in their tracks.

Meantime the young horseman has advanced a hundred yards. He is riding at a walk, straight up the long slope, with never a turn of the head. How glorious! Gods! what would we not give to be in his place—with his soul! He does not draw his sabre; his right hand hangs easily at his side. The breeze catches the plume in his hat and flutters it smartly. The sunshine rests upon his shoulder-straps, lovingly, like a visible benediction. Straight on he rides. Ten thousand pairs of eyes are fixed upon him with an intensity that he can hardly fail to feel; ten thousand hearts keep quick time to the inaudible hoof-beats of his snowy steed. He is not alone—he draws all souls after him; we are but "dead men all." But we remember that we laughed! On and on, straight for the hedge-lined wall, he rides. Not a look backward. Oh, if he would but turn—if he could but see the love, the adoration, the atonement!

Not a word is spoken; the populous depths of the forest still murmur with their unseen and unseeing swarm, but all along the fringe there is silence absolute. The burly commander is an equestrian statue of himself. The mounted staff officers, their field-glasses up, are motionless all. The line of battle in the edge of the wood stands at a new kind of "attention," each man in the attitude in which he was caught by the consciousness of what is going on. All these hardened and impenitent man-killers, to whom death in its awfulest forms is a fact familiar to their every-day observation; who sleep on hills trembling with the thunder of great guns, dine in the midst of streaming missiles, and play at cards among the dead faces of their dearest friends,—all are watching with suspended breath and beating hearts the outcome of an act involving the life of one man. Such is the magnetism of courage and devotion.

If now you should turn your head you would see a simultaneous movement among the spectators a start, as if they had received an electric shock—and looking forward again to the now distant horseman you would see that he has in that instant altered his direction and is riding at an angle to his former course. The spectators suppose the sudden deflection to be caused by a shot, perhaps a wound; but take this field-glass and you will observe that he is riding toward a break in the wall and hedge. He means, if not killed, to ride through and overlook the country beyond.

You are not to forget the nature of this man's act; it is not permitted to you to think of it as an instance of bravado, nor, on the other hand, a needless sacrifice of self. If the enemy has not retreated, he is in force on that ridge. The investigator will encounter nothing less than a line of battle; there is no need of pickets, videttes, skirmishers, to give warning of our approach; our attacking lines will be visible, conspicuous, exposed to an artillery fire that will shave the ground the moment they break from cover, and for half the distance to a sheet of rifle bullets in which nothing can live. In short, if the enemy is there, it would be madness to attack him in front; he must be maneuvered out by the immemorial plan of threatening his line of communication, as necessary to his existence as to the diver at the bottom of the sea his air-tube. But how ascertain if the enemy is there? There is but one way: somebody must go and see. The natural and customary thing to do is to send forward a line of skirmishers. But in this case they will answer in the affirmative with all their lives; the enemy, crouching in double ranks behind the stone wall and in cover of the hedge, will wait until it is possible to count each assailant's teeth. At the first volley a half of the questioning line will fall, the other half before it can accomplish the predestined retreat. What a price to pay for gratified curiosity! At what a dear rate an army must sometimes purchase knowledge! "Let me pay all," says this gallant man—this military Christ!

There is no hope except the hope against hope that the crest is clear. True, he might prefer capture to death. So long as he advances, the line will not fire,—why should it? He can safely ride into the hostile ranks and become a prisoner of war. But this would defeat his object. It would not answer our question; it is necessary either that he return unharmed or be shot to death before our eyes. Only so shall we know how to act. If captured—why, that might have been done by a half-dozen stragglers.

Now begins an extraordinary contest of intellect between a man and an army. Our horseman, now within a quarter of a mile of the crest, suddenly wheels to the left and gallops in a direction parallel to it. He has caught sight of his antagonist; he knows all. Some slight advantage of ground has enabled him to overlook a part of the line. If he were here, he could tell us in words. But that is now hopeless; he must make the best use of the few minutes of life remaining to him, by compelling the enemy himself to tell us as much and as plainly as possible—which, naturally, that discreet power is reluctant to do. Not a rifleman in those crouching ranks, not a cannoneer at those masked and shotted guns, but knows the needs of the situation, the imperative duty of forbearance. Besides, there has been time enough to forbid them all to fire. True, a single rifle-shot might drop him and be no great disclosure. But firing is infectious—and see how rapidly he moves, with never a pause except as he whirls his horse about to take a new direction, never directly backward toward us, never directly forward toward his executioners. All this is visible through the glass; it seems occurring within pistol-shot; we see all but the enemy, whose presence, whose thoughts, whose motives we infer. To the unaided eye there is nothing but a black figure on a white horse, tracing slow zigzags against the slope of a distant hill—so slowly they seem almost to creep.

Now—the glass again—he has tired of his failure, or sees his error, or has gone mad; he is dashing directly forward at the wall, as if to take it at a leap, hedge and all! One moment only and he wheels right about and is speeding like the wind straight down the slope—toward his friends, toward his death! Instantly the wall is topped with a fierce roll of smoke for a distance of hundreds of yards to, right and left. This is as instantly dissipated by the wind, and before the rattle of the rifles reaches us, he is down. No, he recovers his seat; he has but pulled his horse upon its haunches. They are up and away! A tremendous cheer bursts from our ranks, relieving the insupportable tension of our feelings. And the horse and its rider? Yes, they are up and away. Away, indeed—they are making directly to our left, parallel to the now steadily blazing and smoking wall. The rattle of the musketry is continuous, and every bullet's target is that courageous heart.

Suddenly a great bank of white smoke pushes upward from behind the wall. Another and another—a dozen roll up before the thunder of the explosions and the humming of the missiles reach our ears, and the missiles themselves come bounding through clouds of dust into our covert, knocking over here and there a man and causing a temporary distraction, a passing thought of self.

The dust drifts away. Incredible!—that enchanted horse and rider have passed a ravine and are climbing another slope to unveil another conspiracy of silence, to thwart the will of another armed host. Another moment and that crest too is in eruption. The horse rears and strikes the air with its forefeet. They are down at last. But look again—the man has detached himself from the dead animal. He stands erect, motionless, holding his sabre in his right hand straight above his head. His face is toward us. Now he lowers his hand to a level with his face and moves it outward, the blade of the sabre describing a downward curve. It is a sign to us, to the world, to posterity. It is a hero's salute to death and history.

Again the spell is broken; our men attempt to cheer; they are choking with emotion; they utter hoarse, discordant cries; they clutch their weapons and press tumultuously forward into the open. The skirmishers, without orders, against orders, are going forward at a keen run, like hounds unleashed. Our cannon speak and the enemy's now open in full chorus; to right and left as far as we can see, the distant crest, seeming now so near, erects its towers of cloud, and the great shot pitch roaring down among our moving masses. Flag after flag of ours emerges from the wood, line after line sweeps forth, catching the sunlight on its burnished arms. The rear battalions alone are in obedience; they preserve their proper distance from the insurgent front.

The commander has not moved. He now removes his field-glass from his eyes and glances to the right and left. He sees the human current flowing on either side of him and his huddled escort, like tide waves parted by a rock. Not a sign of feeling in his face; he is thinking. Again he directs his eyes forward; they slowly traverse that malign and awful crest. He addresses a calm word to his bugler. Tra-la-la! Tra-la-la! The injunction has an imperiousness which enforces it. It is repeated by all the bugles of all the subordinate commanders; the sharp metallic notes assert themselves above the hum of the advance, and penetrate the sound of the cannon. To halt is to withdraw. The colors move slowly back, the lines face about and sullenly follow, bearing their wounded; the skirmishers return, gathering up the dead.

Ah, those many, many needless dead! That great soul whose beautiful body is lying over yonder, so conspicuous against the sere hillside—could it not have been spared the bitter consciousness of a vain devotion? Would one exception have marred too much the pitiless perfection of the divine, eternal plan?

A HORSEMAN IN THE SKY

One sunny afternoon in the autumn of the year 1861, a soldier lay in a clump of laurel by the side of a road in Western Virginia. He lay at full length, upon his stomach, his feet resting upon the toes, his head upon the left forearm. His extended right hand loosely grasped his rifle. But for the somewhat methodical disposition of his limbs and a slight rhythmic movement of the cartridge-box at the back of his belt, he might have been thought to be dead. He was asleep at his post of duty. But if detected he would be dead shortly afterward, that being the just and legal penalty of his crime.

The clump of laurel in which the criminal lay was in the angle of a road which, after, ascending, southward, a steep acclivity to that point, turned sharply to the west, running along the summit for perhaps one hundred yards. There it turned southward again and went zigzagging downward through the forest. At the salient of that second angle was a large flat rock, jutting out northward, overlooking the deep valley from which the road ascended. The rock capped a high cliff; a stone dropped from its outer edge would have fallen sheer downward one thousand feet to the tops of the pines. The angle where the soldier lay was on another spur of the same cliff. Had he been awake, he would have commanded a view, not only of the short arm of the road and the jutting rock, but of the entire profile of the cliff below it. It might well have made him giddy to look.

The country was wooded everywhere except at the bottom of the valley to the northward, where there was a small natural meadow, through which flowed a stream scarcely visible from the valley's rim. This open ground looked hardly larger than an ordinary dooryard, but was really several acres in extent. Its green was more vivid than that of the inclosing forest. Away beyond it rose a line of giant cliffs similar to those upon which we are supposed to stand in our survey of the savage scene, and through which the road had some how made its climb to the summit. The configuration of the valley, indeed, was such that from this point of observation it seemed entirely shut in, and one could not but have wondered how the road which found a way out of it had found a way into it, and whence came and whither went the waters of the stream that parted the meadow two thousand feet below.

No country is so wild and difficult but men will make it a theater of war; concealed in the forest at the bottom of that military rat-trap, in which half a hundred men in possession of the exits might have starved an army to submission, lay five regiments of Federal infantry. They had marched all the previous day and night, and were resting. At nightfall they would take to the road again, climb to the place where their unfaithful sentinel now slept, and, descending the other slope of the ridge, fall upon a camp of the enemy at about midnight. Their hope was to surprise it, for the road led to the rear of it. In case of failure, their position would be perilous in the extreme; and fail they surely would, should accident or vigilance apprise the enemy of the movement.

The sleeping sentinel in the clump of laurel was a young Virginian named Carter Druse. He was the son of wealthy parents, an only child, and had known such ease and cultivation and high living as wealth and taste were able to command in the mountain country of Western Virginia. His home was but a few miles from where he now lay. One morning he had risen from the breakfast table and said, quietly but gravely: "Father, a Union regiment has arrived at Grafton. I am going to join it."

The father lifted his leonine head, looked at the son a moment in silence, and replied: "Well, go, sir, and, whatever may occur, do what you conceive to be your duty. Virginia, to which you are a traitor, must get on without you. Should we both live to the end of the war, we will speak further of the matter. Your mother, as the physician has informed you, is in a most critical condition; at the best, she cannot be with us longer than a few weeks, but that time is precious. It would be better not to disturb her."

So Carter Druse, bowing reverently to his father, who returned the salute with a stately courtesy which masked a breaking heart, left the home of his childhood to go soldiering. By conscience and courage, by deeds of devotion and daring, he soon commended himself to his fellows and his officers; and it was to these qualities and to some knowledge of the country that he owed his selection for his present perilous duty at the extreme outpost. Nevertheless, fatigue had been stronger than resolution, and he had fallen asleep. What good or bad angel came in a dream to rouse him from his state of crime, who shall say? Without a movement, without a sound, in the profound silence and the languor of the late afternoon, some invisible messenger of fate touched with unsealing finger the eyes of his consciousness—whispered into the ear of his spirit the mysterious awakening word which no human lips ever have spoken, no human memory ever has recalled. He quietly raised his forehead from his arm and looked between the masking stems of the laurels, instinctively closing his right hand about the stock of his rifle.

His first feeling was a keen artistic delight. On a colossal pedestal, the cliff,—motionless at the extreme edge of the capping rock and sharply outlined against the sky,—was an equestrian statue of impressive dignity. The figure of the man sat the figure of the horse, straight and soldierly, but with the repose of a Grecian god carved in the marble which limits the suggestion of activity. The gray costume harmonized with its aerial background; the metal of accoutrement and caparison was softened and subdued by the shadow; the animal's skin had no points of high light. A carbine, strikingly foreshortened, lay across the pommel of the saddle, kept in place by the right hand grasping it at the "grip"; the left hand, holding the bridle rein, was invisible. In silhouette against the sky, the profile of the horse was cut with the sharpness of a cameo; it looked across the heights of air to the confronting cliffs beyond. The face of the rider, turned slightly away, showed only an outline of temple and beard; he was looking downward to the bottom of the valley. Magnified by its lift against the sky and by the soldier's testifying sense of the formidableness of a near enemy, the group appeared of heroic, almost colossal, size.

For an instant Druse had a strange, half-defined feeling that he had slept to the end of the war and was looking upon a noble work of art reared upon that commanding eminence to commemorate the deeds of an heroic past of which he had been an inglorious part. The feeling was dispelled by a slight movement of the group: the horse, without moving its feet, had drawn its body slightly backward from the verge; the man remained immobile as before. Broad awake and keenly alive to the significance of the situation, Druse now brought the butt of his rifle against his cheek by cautiously pushing the barrel forward through the bushes, cocked the piece, and, glancing through the sights, covered a vital spot of the horseman's breast. A touch upon the trigger and all would have been well with Carter Druse. At that instant the horseman turned his head and looked in the direction of his concealed foeman—seemed to look into his very face, into his eyes, into his brave, compassionate heart.

Is it, then, so terrible to kill an enemy in war—an enemy who has surprised a secret vital to the safety of one's self and comrades—an enemy more formidable for his knowledge than all his army for its numbers? Carter Druse grew pale; he shook in every limb, turned faint, and saw the statuesque group before him as black figures, rising, falling, moving unsteadily in arcs of circles in a fiery sky. His hand fell away from his weapon, his head slowly dropped until his face rested on the leaves in which he lay. This courageous gentleman and hardy soldier was near swooning from intensity of emotion.

It was not for long; in another moment his face was raised from earth, his hands resumed their places on the rifle, his forefinger sought the trigger; mind, heart and eyes were clear, conscience and reason sound. He could not hope to capture that enemy; to alarm him would but send him dashing to his camp with his fatal news. The duty of the soldier was plain: the man must be shot dead from ambush—without warning, without a moment's spiritual preparation, with never so much as an unspoken prayer, he must be sent to his account. But no—there is a hope; he may have discovered nothing; perhaps he is but admiring the sublimity of the landscape. If permitted, he may turn and ride carelessly away in the direction whence he came. Surely it will be possible to judge at the instant of his withdrawing whether he knows. It may well be that his fixity of attention—-Druse turned his head and looked through the deeps of air downward as from the surface of the bottom of a translucent sea. He saw creeping across the green meadow a sinuous line of figures of men and horses—some foolish commander was permitting the soldiers of his escort to water their beasts in the open, in plain view from a hundred summits!

Druse withdrew his eyes from the valley and fixed them again upon the group of man and horse in the sky, and again it was through the sights of his rifle. But this time his aim was at the horse. In his memory, as if they were a divine mandate, rang the words of his father at their parting: "Whatever may occur, do what you conceive to be your duty." He was calm now. His teeth were firmly but not rigidly closed; his nerves were as tranquil as a sleeping babe's—not a tremor affected any muscle of his body; his breathing, until suspended in the act of taking aim, was regular and slow. Duty had conquered; the spirit had said to the body: "Peace, be still." He fired.

An officer of the Federal force, who, in a spirit of adventure or in quest of knowledge, had left the hidden bivouac in the valley, and, with aimless feet, had made his way to the lower edge of a small open space near the foot of the cliff, was considering what he had to gain by pushing his exploration further. At a distance of a quarter-mile before him, but apparently at a stone's throw, rose from its fringe of pines the gigantic face of rock, towering to so great a height above him that it made him giddy to look up to where its edge cut a sharp, rugged line against the sky. At some distance away to his right it presented a clean, vertical profile against a background of blue sky to a point half the way down, and of distant hills hardly less blue, thence to the tops of the trees at its base. Lifting his eyes to the dizzy altitude of its summit, the officer saw an astonishing sight—a man on horseback riding down into the valley through the air!

Straight upright sat the rider, in military fashion, with a firm seat in the saddle, a strong clutch upon the rein to hold his charger from too impetuous a plunge. From his bare head his long hair streamed upward, waving like a plume. His hands were concealed in the cloud of the horse's lifted mane. The animal's body was as level as if every hoof-stroke encountered the resistant earth. Its motions were those of a wild gallop, but even as the officer looked they ceased, with all the legs thrown sharply forward as in the act of alighting from a leap. But this was a flight!

Filled with amazement and terror by this apparition of a horseman in the sky-half believing himself the chosen scribe of some new apocalypse, the officer was overcome by the intensity of his emotions; his legs failed him and he fell. Almost at the same instant he heard a crashing sound in the trees—a sound that died without an echo—and all was still.

The officer rose to his feet, trembling. The familiar sensation of an abraded shin recalled his dazed faculties. Pulling himself together, he ran obliquely away from the cliff to a point distant from its foot; thereabout he expected to find his man; and thereabout he naturally failed. In the fleeting instant of his vision his imagination had been so wrought upon by the apparent grace and ease and intention of the marvelous performance that it did not occur to him that the line of march of aerial cavalry is directly downward, and that he could find the objects of his search at the very foot of the cliff. A half-hour later he returned to camp.

This officer was a wise man; he knew better than to tell an incredible truth. He said nothing of what he had seen. But when the commander asked him if in his scout he had learned anything of advantage to the expedition, he answered:

"Yes, sir; there is no road leading down into this valley from the southward."

The commander, knowing better, smiled.

After firing his shot, Private Carter Druse reloaded his rifle and resumed his watch. Ten minutes had hardly passed when a Federal sergeant crept cautiously to him on hands and knees. Druse neither turned his head nor looked at him, but lay without motion or sign of recognition.

"Did you fire?" the sergeant whispered.

"Yes."

"At what?"

"A horse. It was standing on yonder rock-pretty far out. You see it is no longer there. It went over the cliff."

The man's face was white, but he showed no other sign of emotion. Having answered, he turned away his eyes and said no more. The sergeant did not understand.

"See here, Druse," he said, after a moment's silence, "it's no use making a mystery. I order you to report. Was there anybody on the horse?"

"Yes."

"Well?"

"My father."

The sergeant rose to his feet and walked away. "Good God!" he said.

Here ends No. Four of the Western Classics containing A Son of the Gods and A Horseman in the Sky by Ambrose Bierce with an introduction by W. C. Morrow and a photogravure frontispiece after a painting by Will Jenkins. Of this first edition one thousand copies have been issued printed on Frabriano handmade paper the typography designed by J. H. Nash published by Paul Elder and Company and done into a book for them at the Tomoye Press in the city of New York MCMVII

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Table of Contents

- A SON OF THE GODS

- and

- A HORSEMAN IN THE SKY

- Including an Introduction by W. C. Morrow

- Western Classics No. Four

- The Photogravure Frontispiece After A Painting by Will Jenkins

- The Introduction
- A SON OF THE GODS
- A HORSEMAN IN THE SKY
- THE FULL PROJECT GUTENBERG™ LICENSE