The Last Galley

퓐
The Last Galley Impressions and Tales

The Project Gutenberg EBook of The Last Galley Impressions and Tales
by Arthur Conan Doyle Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook.
This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission.
Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved.
**Welcome To The World of Free Plain Vanilla Electronic Texts**
**eBooks Readable By Both Humans and By Computers, Since 1971**
*****These eBooks Were Prepared By Thousands of Volunteers!*****
Title: The Last Galley Impressions and Tales Impressions and Tales
Author: Arthur Conan Doyle
Release Date: August, 2005 [EBook #8727] [Yes, we are more than one year ahead of schedule] [This file was first posted on August 4, 2003]
Edition: 10
Language: English
Character set encoding: ASCII
*** START OF THE PROJECT GUTENBERG EBOOK THE LAST GALLEY ***

Produced by Lionel G. Sear of Truro, Cornwall, England.

THE LAST GALLEY.
IMPRESSIONS AND TALES
Arthur Conan Doyle.

PREFACE

I have written "Impressions and Tales" upon the title-page of this volume, because I have included within the same cover two styles of work which present an essential difference.
The second half of the collection consists of eight stories, which explain themselves.
The first half is made up of a series of pictures of the past which maybe regarded as trial flights towards a larger ideal which I have long had in my mind. It has seemed to me that there is a region between actual story and actual history which has never been adequately exploited. I could imagine, for example, a work dealing with some great historical epoch, and finding its interest not in the happenings to particular individuals, their adventures and their loves, but in the fascination of the actual facts of history themselves. These facts might be coloured with the glamour which the writer of fiction can give, and fictitious characters and conversations might illustrate them; but none the less the actual drama of history and not the drama of invention should claim the attention of the reader. I have been tempted sometimes to try the effect upon a larger scale; but meanwhile these short sketches, portraying various crises in the story of the human race, are to be judged as experiments in that direction.
ARTHUR CONAN DOYLE.
WINDLESHAM, CROWBOROUGH, April, 1911.

CONTENTS


PART I
THE LAST GALLEY THE CONTEST THROUGH THE VEIL AN ICONOCLAST GIANT MAXIMIN THE COMING OF THE HUNS THE LAST OF THE LEGIONS THE FIRST CARGO THE HOME-COMING THE RED STAR


PART II


THE SILVER MIRROR
THE BLIGHTING OF SHARKEY THE MARRIAGE OF THE BRIGADIER THE LORD OF FALCONBRIDGE OUT OF THE RUNNING "DE PROFUNDIS" THE GREAT BROWN-PERICORD MOTOR THE TERROR OF BLUE JOHN GAP


PART I


THE LAST GALLEY
"Mutato nomine, de te, Britannia, fabula narratur."
It was a spring morning, one hundred and forty-six years before the coming of Christ. The North African Coast, with its broad hem of golden sand, its green belt of feathery palm trees, and its background of barren, red-scarped hills, shimmered like a dream country in the opal light. Save for a narrow edge of snow-white surf, the Mediterranean lay blue and serene as far as the eye could reach. In all its vast expanse there was no break but for a single galley, which was slowly making its way from the direction of Sicily and heading for the distant harbour of Carthage.
Seen from afar it was a stately and beautiful vessel, deep red in colour, double-banked with scarlet oars, its broad, flapping sail stained with Tyrian purple, its bulwarks gleaming with brass work. A brazen, three-pronged ram projected in front, and a high golden figure of Baal, the God of the Phoenicians, children of Canaan, shone upon the after deck. From the single high mast above the huge sail streamed the tiger-striped flag of Carthage. So, like some stately scarlet bird, with golden beak and wings of purple, she swam upon the face of the waters--a thing of might and of beauty as seen from the distant shore.
But approach and look at her now! What are these dark streaks which foul her white decks and dapple her brazen shields? Why do the long red oars move out of time, irregular, convulsive? Why are some missing from the staring portholes, some snapped with jagged, yellow edges, some trailing inert against the side? Why are two prongs of the brazen ram twisted and broken? See, even the high image of Baal is battered and disfigured! By every sign this ship