Summary
Read an excerpt and download A Son Of The Gods by Ambrose Bierce for iPhone, iPad, Android, and Kindle in PDF and all popular eBook reader formats (AZW3, EPUB, MOBI).
"A Son of the Gods" is a short story written by Ambrose Bierce. It tells the tale of a young man named John B. Hackett, who is a talented artist and sculptor. Hackett becomes infatuated with a beautiful woman named Mrs. Manton, who is married to a wealthy and influential man. Hackett's obsession with Mrs. Manton leads him to create a sculpture of her, which he believes captures her true essence. However, his creation is met with mixed reactions, and Hackett's life takes a tragic turn. The story explores themes of art, obsession, and the destructive power of unrequited love. It is a thought-provoking and haunting tale that showcases Bierce's mastery of storytelling.
Excerpt
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.