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“He didn’t,” Waynflete explained. “I never saw the ambassador, and neither did the old German lady who kept the shop. She told me she bought it from a Japanese acrobat who was out of an engagement and desperately hard up. But she told me also that the acrobat had told her that the garment had belonged to an ambassador who had given it to him as a reward of his skill, and that he never would have parted with it if he had not been dead-broke.”

Stuyvesant held the robe up to the light and inspected the embroidery on the skirt of it.

“Yes,” he said, at last, “this would account for it, I suppose. This bit here was probably meant to suggest ‘the well where the head was washed,’–see?”

“I see that those lines may be meant to represent the outline of a spring of water, but I don’t see what that has to do with my dream,” Waynflete answered.

“Don’t you?” Stuyvesant returned. “Then I’ll show you. You had on this silk garment embroidered here with an outline of the well in which was washed the head of Kotsuke no Suke, the man whom the Forty-Seven Ronins killed. You know the story?”

“I read it in Japan, but—-” began Cosmo.

“You had that story stored away in your subconsciousness,” interrupted his friend. “And when you hypnotized yourself by peering into the crystal ball, this embroidery it was which suggested to you to see yourself as the hero of the tale–Oishi Kuranosuke, the chief of the Forty-Seven Ronins, the faithful follower who avenged his master by pretending to be vicious and dissipated–just like Brutus and Lorenzaccio–until the enemy was off his guard and open to attack.”

“I think I do recall the tale of the Forty-Seven Ronins, but only very vaguely,” said the hero of the dream. “For all I know I may have had the adventure of Oishi Kuranosuke laid on the shelf somewhere in my subconsciousness, as you want me to believe. But how about my Persian dragon and my Iberian noblewoman?”

Paul Stuyvesant was examining the dream-gown of the Japanese ambassador with minute care. Suddenly he said, “Oh!” and then he looked up at Cosmo Waynflete and asked: “What are those buttons? They seem to be old coins.”

“They are old coins,” the other answered; “it was a fancy of mine to utilize them on that Japanese dressing-gown. They are all different, you see. The first is—-“

“Persian, isn’t it?” interrupted Stuyvesant.

“Yes,” Waynflete explained, “it is a Persian daric. And the second is a Spanish peso made at Potosi under Philip II. for use in America. And the third is a York shilling, one of the coins in circulation here in New York at the time of the Revolution–I got that one, in fact, from the farmer who ploughed it up in a field at Tarrytown, near Sunnyside.”

“Then there are three of your adventures accounted for, Cosmo, and easily enough,” Paul commented, with obvious satisfaction at his own explanation. “Just as the embroidery on the silk here suggested to you–after you had hypnotized yourself–that you were the chief of the Forty-Seven Ronins, so this first coin here in turn suggested to you that you were Rustem, the hero of the ‘Epic of Kings.’ You have read the ‘Shah-Nameh?'”

“I remember Firdausi’s poem after a fashion only,” Cosmo answered. “Was not Rustem a Persian Hercules, so to speak?”

“That’s it precisely,” the other responded, “and he had seven labors to perform; and you dreamed the third of them, the slaying of the grisly dragon. For my own part, I think I should have preferred the fourth of them, the meeting with the lovely enchantress; but that’s neither here nor there.”

“It seems to me I do recollect something about that fight of Rustem and the strange beast. The faithful horse’s name was Rakush, wasn’t it?” asked Waynflete.

“If you can recollect the ‘Shah-Nameh,'” Stuyvesant pursued, “no doubt you can recall also Beaumont and Fletcher’s ‘Custom of the Country?’ That’s where you got the midnight duel in Lisbon and the magnanimous mother, you know.”

“No, I didn’t know,” the other declared.

“Well, you did, for all that,” Paul went on. “The situation is taken from one in a drama of Calderon’s, and it was much strengthened in the taking. You may not now remember having read the play, but the incident must have been familiar to you, or else your subconsciousness couldn’t have yielded it up to you so readily at the suggestion of the Spanish coin, could it?”

“I did read a lot of Elizabethan drama in my senior year at college,” admitted Cosmo, “and this piece of Beaumont and Fletcher’s may have been one of those I read; but I totally fail to recall now what it was all about.”

“You won’t have the cheek to declare that you don’t remember the ‘Legend of Sleepy Hollow,’ will you?” asked Stuyvesant. “Very obviously it was the adventure of Ichabod Crane and the Headless Horseman that the York shilling suggested to you.”

“I’ll admit that I do recollect Irving’s story now,” the other confessed.

“So the embroidery on the dream-gown gives the first of your strange situations; and the three others were suggested by the coins you have been using as buttons,” said Paul Stuyvesant. “There is only one thing now that puzzles me: that is the country church and the noon wedding and the beautiful bride.”

And with that he turned over the folds of the silken garment that hung over his arm.

Cosmo Waynflete hesitated a moment and a blush mantled his cheek. Then he looked his friend in the face and said: “I think I can account for my dreaming about her–I can account for that easily enough.”

“So can I,” said Paul Stuyvesant, as he held up the photograph of a lovely American girl that he had just found in the pocket of the dream-gown of the Japanese ambassador.

(1896.)