The Alexandria Quartet (115 page)

‘Have I changed very much?'

‘Not at all.'

‘Of course I have. We all have.' She spoke now with a contemptuous shrillness. She raised my hand briefly and put it to her cheek. Then nodding with a puzzled air she turned and drew me towards the balcony, walking with a stiff proud step. She was clad in a dress of dark taffeta which whispered loudly at every movement. The candlelight jumped and danced upon the walls. We stopped before a dark doorway and she called out ‘Nessim' in a sharp tone which shocked me, for it was the tone in which one would call a servant. After a moment Nessim appeared from the shadowy bedroom, obedient as a djinn.

‘Darley's here' she said, with the air of someone handing over a parcel, and placing the candles on a low table reclined swiftly in a long wicker chair and placed her hand over her eyes.

Nessim had changed into a suit of a more familiar cut, and he came nodding and smiling towards me with the accustomed expression of affection and solicitude. Yet it was somehow different again; he wore a faintly cowed air, shooting little glances sideways and downwards towards the figure of Justine, and speaking softly as one might in the presence of someone asleep. A constraint had suddenly fallen upon us as we seated ourselves on that shadowy balcony and lit cigarettes. The silence locked like a gear which would not engage.

‘The child is in bed, delighted with the palace as she calls it, and the promise of a pony of her own. I think she will be happy.'

Justine suddenly sighed deeply and without uncovering her eyes said slowly: ‘He says we have not changed.'

Nessim swallowed and continued as if he had not heard the interruption in the same low voice: ‘She wanted to stay awake till you came but she was too tired.'

Once again the reclining figure in the shadowy corner interrupted to say: ‘She found Narouz' little circumcision cap in the cupboard. I found her trying it on.' She gave a short sharp laugh like a bark, and I saw Nessim wince suddenly and turn away his face.

‘We are short of servants' he said in a low voice, hastily as if to cement up the holes made in the silence by her last remark.

His air of relief was quite patent when Ali appeared and bade us to dinner. He picked up the candles and led us into the house. It had a somewhat funereal flavour — the white-robed servant with his scarlet belt leading, holding aloft the candles in order to light Justine's way. She walked with an air of preoccupation, of remoteness. I followed next with Nessim close behind me. So we went in Indian file down the unlighted corridors, across high-ceilinged rooms with their walls covered in dusty carpets, their floors of rude planks creaking under our feet. And so we came at last to a supper-room, long and narrow, and suggesting a forgotten sophistication which was Ottoman perhaps; say, a room in a forgotten winter palace of Abdul Hamid, its highly carved window-screens of filigree looking out upon a neglected rose-garden. Here the candlelight with its luminous shadows was ideal as an adjunct to furnishings which were, in themselves, strident. The golds and the reds and the violets would in full light have seemed unbearable. By candle-light they had a subdued magnificence.

We seated ourselves at the supper-table and once more I became conscious of the almost cowed expression of Nessim as he gazed around him. It is perhaps not the word. It was as if he expected some sudden explosion, expected some unforeseen reproach to break from her lips. He was mentally prepared to parry it, to fend it off with a tender politeness. But Justine ignored us. Her first act was to pour out a glass of red wine. This she raised to the light as if to verify its colour. Then she dipped it ironically to each of us in turn like a flag and drank it off all in one motion before replacing the glass on the table. The touches of rouge gave her an enflamed look which hardly matched the half-drowsy stupefaction of her glance. She was wearing no jewellery. Her nails were painted with gold polish. Putting her elbows on the table she propped her chin for a long moment as she studied us keenly, first one and then the other. Then she sighed, as if replete, and said: ‘Yes, we have all changed', and turning swiftly like an accuser she stabbed her finger at her husband and said:
‘He
has lost an eye.'

Nessim pointedly ignored this, passing some item of table fare towards her as if to distract her from so distressing a topic. She sighed again and said: ‘Darley, you look much better, but your hands are cracked and calloused. I felt it on my cheek.'

‘Wood-cutting, I expect.'

‘Ah. So! But you look well, very well.'

(A week later she would telephone Clea and say: ‘Dear God, how coarse he has become. What little trace of sensibility he had has been swamped by the peasant.')

In the silence Nessim coughed nervously and fingered the black patch over his eye. Clearly he misliked the tone of her voice, distrusted the weight of the atmosphere under which one could feel, building up slowly like a wave, the pressure of a hate which was the newest element among so many novelties of speech and manner. Had she really turned into a shrew? Was she ill? It was difficult to disinter the memory of that magical dark mistress of the past whose every gesture, however ill-advised and ill-considered, rang with the newly minted splendour of complete generosity. (‘So you come back' she was saying harshly ‘and find us all locked up in Karm. Like old figures in a forgotten account book. Bad debts, Darley. Fugitives from justice, eh Nessim?')

There was nothing to be said in answer to such bitter sallies. We ate in silence under the quiet ministration of the Arab servant. Nessim addressed an occasional hurried remark to me on some neutral topic, brief, monosyllabic. Unhappily we felt the silence draining out around us, emptying like some great reservoir. Soon we should be left there, planted in our chairs like effigies. Presently the servant came in with two charged thermos flasks and a package of food which he placed at the end of the table. Justine's voice kindled with a kind of insolence as she said: ‘So you are going back tonight?'

Nessim nodded shyly and said: ‘Yes, I'm on duty again.' Clearing his throat he added to me: ‘It is only four times a week. It gives me something to do.'

‘Something to do' she cried clearly, derisively. ‘To lose his eye and his finger gives him something to do. Tell the truth, my dear, you would do anything to get away from this house.' Then leaning forward towards me she said: ‘To get away from me, Darley. I drive him nearly mad with my scenes. That is what he says.' It was horribly embarrassing in its vulgarity.

The servant came in with his duty clothes carefully pressed and ironed, and Nessim rose, excusing himself with a word and a wry smile. We were left alone. Justine poured out a glass of wine. Then, in the act of raising it to her lips she surprised me with a wink and the words: ‘Truth will out.'

‘How long have you been locked up here?' I asked.

‘Don't speak of it.'

‘But is there no way.…?'

‘He has managed to partly escape. Not me. Drink, Darley, drink your wine.'

I drank in silence, and in a few minutes Nessim appeared once more, in uniform and evidently ready for his night journey. As if by common consent we all rose, the servant took up the candles and once more conducted us back to the balcony in lugubrious procession. During our absence one corner had been spread with carpets and divans while extra candlesticks and smoking materials stood upon inlaid side-tables. The night was still, and almost tepid. The candle-flames hardly moved. Sounds of the great lake came ebbing in upon us from the outer darkness. Nessim said a hurried good-bye and we heard the diminishing clip of his horse's hoofs gradually fade as he took the road to the ford. I turned my head to look at Justine. She was holding up her wrists at me, her face carved into a grimace. She held them joined together as if by invisible manacles. She exhibited these imaginary handcuffs for a long moment before dropping her hands back into her lap, and then, abruptly, swift as a snake, she crossed to the divan where I lay and sat down at my feet, uttering as she did so, in a voice vibrating with remorseful resentment, the words: ‘Why, Darley? Oh
why?'
It was as if she were interrogating not merely destiny or fate but the very workings of the universe itself in these thrilling poignant tones. Some of the old beauty almost flashed out in this ardour to trouble me like an echo. But the perfume! At such close quarters the spilled perfume was overpowering, almost nauseating.

Yet suddenly now all our constraint vanished and we were at last able to talk. It was as if this outburst had exploded the bubble of listlessness in which we had been enveloped all evening. ‘You see a different me' she cried in a voice almost of triumph. ‘But once again the difference lies in you, in what you imagine you see!' Her words rattled down like a hail of sods on an empty coffin. ‘How is it that you can feel no resentment against me? To forgive such treachery so easily — why, it is unmanly. Not to hate such a vampire? It is unnatural. Nor could you ever understand my sense of humiliation at not being able to regale, yes
regale
you, my dear, with the treasures of my inner nature as a mistress. And yet, in truth, I enjoyed deceiving you, I must not deny it. But also there was regret in only offering you the pitiful simulacrum of a love (Ha! that word again!) which was sapped by deceit. I suppose this betrays the bottomless female vanity again: to desire the worst of two worlds, of both words — love and deceit. Yet it is strange that now, when you know the truth, and I am free to offer you affection, I feel only increased self-contempt. Am I enough of a woman to feel that the real sin against the Holy Ghost is dishonesty in love? But what pretentious rubbish — for love admits of no honesty by its very nature.'

So she went on, hardly heeding me, arguing my life away, moving obsessively up and down the cobweb of her own devising, creating images and beheading them instantly before my eyes. What could she hope to prove? Then she placed her head briefly against my knee and said: ‘Now that I am free to hate or love it is comical to feel only fury at this new self-possession of yours! You have escaped me somewhere. But what else was I to expect?'

In a curious sort of way this was true. To my surprise I now felt the power to wound her for the first time, even to subjugate her purely by my indifference! ‘Yet the truth' I said ‘is that I feel no resentment for the past. On the contrary I am full of gratitude because an experience which was perhaps banal in itself (even disgusting for you) was for me immeasurably enriching!' She turned away saying harshly: ‘Then we should both be laughing now.'

Together we sat staring out into the darkness for a long while. Then she shivered, lighted a cigarette and resumed the thread of her interior monologue. ‘The post-mortems of the undone! What could you have seen in it all, I wonder? We are after all totally ignorant of one another, presenting selected fictions to each other! I suppose we all observe each other with the same immense ignorance. I used, in my moments of guilt long afterwards, to try and imagine that we might one day become lovers again, on a new basis. What a farce! I pictured myself making it up to you, expiating my deceit, repaying my debt. But… I knew that you would always prefer your own mythical picture, framed by the five senses, to anything more truthful. But now, then, tell me — which of us was the greater liar? I cheated you, you cheated yourself.'

These observations, which at another time, in another context, might have had the power to reduce me to ashes, were now vitally important to me in a new way. ‘However hard the road, one is forced to come to terms with truth at last' wrote Pursewarden somewhere. Yes, but unexpectedly I was discovering that truth was nourishing — the cold spray of a wave which carried one always a little further towards self-realization. I saw now that my own Justine had indeed been an illusionist's creation, raised upon the faulty armature of misinterpreted words, actions, gestures. Truly there was no blame here; the real culprit was my love which had invented an image on which to feed. Nor was there any question of dishonesty, for the picture was coloured after the necessities of the love which invented it. Lovers, like doctors, colouring an unpalatable medicine to make it easier for the unwary to swallow! No, this could not have been otherwise, I fully realized.

Something more, fully as engrossing: I also saw that lover and loved, observer and observed, throw down a field about each other (‘Perception is shaped like an embrace — the poison enters with the embrace' as Pursewarden writes). They then infer the properties of their love, judging it from this narrow field with its huge margins of unknown (‘the refraction'), and proceed to refer it to a generalized conception of something constant in its qualities and universal in its operation. How valuable a lesson this was, both to art and to life! I had only been attesting, in all I had written, to the power of an image which I had created involuntarily by the
mere act of seeing
Justine. There was no question of true or false. Nymph? Goddess? Vampire? Yes, she was all of these and none of them. She was, like every woman, everything that the mind of a man (let us define ‘man' as a poet perpetually conspiring against himself) — that the mind of man wished to imagine. She was there forever, and she had never existed! Under all these masks there was only another woman, every woman, like a lay figure in a dressmaker's shop, waiting for the poet to clothe her, breathe life into her. In understanding all this for the first time I began to realize with awe the enormous reflexive power of woman — the fecund passivity with which, like the moon, she borrows her second-hand light from the male sun. How could I help but be grateful for such vital information? What did they matter, the lies, deceptions, follies, in comparison to this truth?

Yet while this new knowledge compelled my admiration for her more than ever — as symbol of woman, so to speak — I was puzzled to explain the new element which had crept in here: a flavour of disgust for her personality and its attributes. The scent! Its cloying richness half sickened me. The touch of the dark head against my knee stirred dim feelings of revulsion in me. I was almost tempted to embrace her once more in order to explore this engrossing and inexplicable novelty of feeling further! Could it be that a few items of information merely,
facts
like sand trickling into the hour-glass of the mind, had irrevocably altered the image's qualities — turning it from something once desirable to something which now stirred disgust? Yes, the same process, the very same love-process, I told myself. This was the grim metamorphosis brought about by the acid-bath of truth — as Pursewarden might say.