He leaned out farther to drink in the cool, sweet air. Soon, on this air, his body would be dust, driven, perhaps, against her very cheek, trodden on possibly by her little foot—until, in turn, she joined him too, blown by the same wind loose about the desert. True. Yet at the same time they would always be together, always somewhere side by side, continuing in the vast universe, alive. This new, absolute conviction was in him now. He remembered the curious, sweet perfume in the desert, as of flowers, where yet no flowers are. It was the perfume of life. But in the desert there is no life. Living things that grow and move and utter, are but a protest against death. In the desert they are unnecessary, because death there is not. Its overwhelming vitality needs no insolent, visible proof, no protest, no challenge, no little signs of life. The message of the desert is immortality. ...
He went finally to bed, just before midnight. Hovering magnificently just outside his window, Death watched him while he slept. The wave crept to the level of his eyes. He called her name. ...
And downstairs, meanwhile, the girl, knowing nothing, wondered where he was, wondered unhappily and restlessly; more—though this she did not understand—wondered motheringly. Until to-day, on the ride home, and from their singular conversation together, she had guessed nothing of his reason for being at Helouan, where so many come in order to find life. She only knew her own. And she was but twenty-five. ...
Then, in the desert, when that touch of unearthly chill had stolen out of the sand towards sunset, she had realised clearly, astonished she had not seen it long ago, that this man loved her, yet that something prevented his obeying the great impulse. In the life of Paul Rivers, whose presence had profoundly stirred her heart the first time she saw him, there was some obstacle that held him back, a barrier his honour must respect. He could never tell her of his love. It could lead to nothing. Knowing that he was not married, her intuition failed her utterly at first. Then, in their silence on the homeward ride, the truth had somehow pressed up and touched her with its hand of ice. In that disjointed conversation at the end, which reads as it sounded, as though no coherent meaning lay behind the words, and as though both sought to conceal by speech what yet both burned to utter, she had divined his darker secret, and knew that it was the same as her own. She understood then it was Death that had tracked them from the desert, following with its gigantic shadow from the sandy wastes. The cold, the darkness, the silence which cannot answer, the stupendous mystery which is the spell of its inscrutable Presence, had risen about them in the dusk, and kept them company at a little distance, until the lights of Helouan had bade it halt. Life which may not, cannot end, had frightened her.
His time, perhaps, was even shorter than her own. None knew his secret, since he was alone in Egypt and was caring for himself. Similarly, since she bravely kept her terror to herself, her mother had no inkling of her own, aware merely that the disease was in her system and that her orders were to be extremely cautious. This couple, therefore, shared secretly together the two clearest glimpses of eternity life has to offer to the soul. Side by side they looked into the splendid eyes of Love and Death. Life, moreover, with its instinct for simple and terrific drama, had produced this majestic climax, breaking with pathos, at the very moment when it could not be developed—this side of the stars. They stood together upon the stage, a stage emptied of other human players; the audience had gone home and the lights were being lowered; no music sounded; the critics were a-bed. In this great game of Consequences it was known where he met her, what he said and what she answered, possibly what they did and even what the world thought. But “what the consequence was” would remain unknown, untold. That would happen in the big spaces of which the desert in its silence, its motionless serenity, its shelterless, intolerable vastness, is the perfect symbol. And the desert gives no answer. It sounds no challenge, for it is complete. Life in the desert makes no sign. It is.
4
In the hotel that night there arrived by chance a famous International dancer, whose dahabîyeh lay anchored at San Giovanni, in the Nile below Helouan; and this woman, with her party, had come to dine and take part in the festivities. The news spread. After twelve the lights were lowered, and while the moonlight flooded the terraces, streaming past pillar and colonnade, she rendered in the shadowed halls the music of the Masters, interpreting with an instinctive genius messages which are eternal and divine.
Among the crowd of enthralled and delighted guests, the girl sat on the steps and watched her. The rhythmical interpretation held a power that seemed, in a sense, inspired; there lay in it a certain unconscious something that was pure, unearthly; something that the stars, wheeling in stately movements over the sea and desert know; something the great winds bring to mountains where they play together; something the forests capture and fix magically into their gathering of big and little branches. It was both passionate and spiritual, wild and tender, intensely human and seductively non-human. For it was original, taught of Nature, a revelation of naked, unhampered life. It comforted, as the desert comforts. It brought the desert awe into the stuffy corridors of the hotel, with the moonlight and the whispering of stars, yet behind it ever the silence of those grey, mysterious, interminable spaces which utter to themselves the wordless song of life. For it was the same dim thing, she felt, that had followed her from the desert several hours before, halting just outside the streets and houses as though blocked from further advance; the thing that had stopped her foolish painting, skilled though she was, because it hides behind colour and not in it; the thing that veiled the meaning in the cryptic sentences she and he had stammered out together; the thing, in a word, as near as she could approach it by any means of interior expression, that the realisation of death for the first time makes comprehensible—Immortality. It was unutterable, but it was. He and she were indissolubly together. Death was no separation. There was no death. ... It was terrible. It was—she had already used the word—awful, full of awe.
“In the desert,” thought whispered, as she watched spellbound, “it is impossible even to conceive of death. The idea is meaningless. It simply is not.”
The music and the movement filled the air with life which, being there, must continue always, and continuing always can have never had a beginning. Death, therefore, was the great revealer of life. Without it none could realise that they are alive. Others had discovered this before her, but she did not know it. In the desert no one can realise death: it is hope and life that are the only certainty. The entire conception of the Egyptian system was based on this—the conviction, sure and glorious, of life’s endless continuation. Their tombs and temples, their pyramids and sphinxes surviving after thousands of years, defy the passage of time and laugh at death; the very bodies of their priests and kings, of their animals even, their fish, their insects, stand to-day as symbols of their stalwart knowledge.
And this girl, as she listened to the music and watched the inspired dancing, remembered it. The message poured into her from many sides, though the desert brought it clearest. With death peering into her face a few short weeks ahead, she thought instead of—life. The desert, as it were, became for her a little fragment of eternity, focused into an intelligible point for her mind to rest upon with comfort and comprehension. Her steady, thoughtful nature stirred towards an objective far beyond the small enclosure of one narrow lifetime. The scale of the desert stretched her to the grandeur of its own imperial meaning, its divine repose, its unassailable and everlasting majesty. She looked beyond the wall.
Eternity! That which is endless; without pause, without beginning, without divisions or boundaries. The fluttering of her brave yet frightened spirit ceased, aware with awe of its own everlastingness. The swiftest motion produces the effect of immobility; excessive light is darkness; size, run loose into enormity, is the same as the minutely tiny. Similarly, in the desert, life, too overwhelming and terrific to know limit or confinement, lies undetailed and stupendous, still as deity, a revelation of nothingness because i
t is all. Turned golden beneath its spell that the music and the rhythm made even more comprehensible, the soul in her, already lying beneath the shadow of the great wave, sank into rest and peace, too certain of itself to fear. And panic fled away. “I am immortal ... because I am. And what I love is not apart from me. It is myself. We are together endlessly because we are.”
Yet in reality, though the big desert brought this, it was Love, which, being of similar parentage, interpreted its vast meaning to her little heart—that sudden love which, without a word of preface or explanation, had come to her a short three weeks before. ... She went up to her room soon after midnight, abruptly, unexpectedly stricken. Some one, it seemed, had called her name. She passed his door.
The lights had been turned up. The clamour of praise was loud round the figure of the weary dancer as she left in a carriage for her dahabîyeh on the Nile. A low wind whistled round the walls of the great hotel, blowing chill and bitter between the pillars of the colonnades. The girl heard the voices float up to her through the night, and once more, behind the confused sound of the many, she heard her own name called, but more faintly than before, and from very far away. It came through the spaces beyond her open window; it died away again; then—but for the sighing of that bitter wind—silence, the deep silence of the desert.
And these two, Paul Rivers and the girl, between them merely a floor of that stone that built the Pyramids, lay a few moments before the Wave of Sleep engulfed them. And, while they slept, two shadowy forms hovered above the roof of the quiet hotel, melting presently into one, as dreams stole down from the desert and the stars. Immortality whispered to them. On either side rose Life and Death, towering in splendour. Love, joining their spreading wings, fused the gigantic outlines into one. The figures grew smaller, comprehensible. They entered the little windows. Above the beds they paused a moment, watching, waiting, and then, like a wave that is just about to break, they stooped. ...
And in the brilliant Egyptian sunlight of the morning, as she went downstairs, she passed his door again. She had awakened, but he slept on. He had preceded her. It was next day she learned his room was vacant. ... Within the month she joined him, and within the year the cool north wind that sweetens Lower Egypt from the sea blew the dust across the desert as before. It is the dust of kings, of queens, of priests, princesses, lovers. It is the dust no earthly power can annihilate. It, too, lasts for ever. There was a little more of it ... the desert’s message slightly added to: Immortality.
THE OTHER WING
..................
1
It used to puzzle him that, after dark, some one would look in round the edge of the bedroom door, and withdraw again too rapidly for him to see the face. When the nurse had gone away with the candle this happened: “Good night, Master Tim,” she said usually, shading the light with one hand to protect his eyes; “dream of me and I’ll dream of you.” She went out slowly. The sharp-edged shadow of the door ran across the ceiling like a train. There came a whispered colloquy in the corridor outside, about himself, of course, and—he was alone. He heard her steps going deeper and deeper into the bosom of the old country house; they were audible for a moment on the stone flooring of the hall; and sometimes the dull thump of the baize door into the servants’ quarters just reached him, too—then silence. But it was only when the last sound, as well as the last sign of her had vanished, that the face emerged from its hiding-place and flashed in upon him round the corner. As a rule, too, it came just as he was saying, “Now I’ll go to sleep. I won’t think any longer. Good night, Master Tim, and happy dreams.” He loved to say this to himself; it brought a sense of companionship, as though there were two persons speaking.
The room was on the top of the old house, a big, high-ceilinged room, and his bed against the wall had an iron railing round it; he felt very safe and protected in it. The curtains at the other end of the room were drawn. He lay watching the firelight dancing on the heavy folds, and their pattern, showing a spaniel chasing a long-tailed bird towards a bushy tree, interested and amused him. It was repeated over and over again. He counted the number of dogs, and the number of birds, and the number of trees, but could never make them agree. There was a plan somewhere in that pattern; if only he could discover it, the dogs and birds and trees would “come out right.” Hundreds and hundreds of times he had played this game, for the plan in the pattern made it possible to take sides, and the bird and dog were against him. They always won, however; Tim usually fell asleep just when the advantage was on his own side. The curtains hung steadily enough most of the time, but it seemed to him once or twice that they stirred—hiding a dog or bird on purpose to prevent his winning. For instance, he had eleven birds and eleven trees, and, fixing them in his mind by saying, “that’s eleven birds and eleven trees, but only ten dogs,” his eyes darted back to find the eleventh dog, when—the curtain moved and threw all his calculations into confusion again. The eleventh dog was hidden. He did not quite like the movement; it gave him questionable feelings, rather, for the curtain did not move of itself. Yet, usually, he was too intent upon counting the dogs to feel positive alarm.
Opposite to him was the fireplace, full of red and yellow coals; and, lying with his head sideways on the pillow, he could see directly in between the bars. When the coals settled with a soft and powdery crash, he turned his eyes from the curtains to the grate, trying to discover exactly which bits had fallen. So long as the glow was there the sound seemed pleasant enough, but sometimes he awoke later in the night, the room huge with darkness, the fire almost out—and the sound was not so pleasant then. It startled him. The coals did not fall of themselves. It seemed that some one poked them cautiously. The shadows were very thick before the bars. As with the curtains, moreover, the morning aspect of the extinguished fire, the ice-cold cinders that made a clinking sound like tin, caused no emotion whatever in his soul.
And it was usually while he lay waiting for sleep, tired both of the curtain and the coal games, on the point, indeed, of saying, “I’ll go to sleep now,” that the puzzling thing took place. He would be staring drowsily at the dying fire, perhaps counting the stockings and flannel garments that hung along the high fender-rail when, suddenly, a person looked in with lightning swiftness through the door and vanished again before he could possibly turn his head to see. The appearance and disappearance were accomplished with amazing rapidity always.
It was a head and shoulders that looked in, and the movement combined the speed, the lightness and the silence of a shadow. Only it was not a shadow. A hand held the edge of the door. The face shot round, saw him, and withdrew like lightning. It was utterly beyond him to imagine anything more quick and clever. It darted. He heard no sound. It went. But—it had seen him, looked him all over, examined him, noted what he was doing with that lightning glance. It wanted to know if he were awake still, or asleep. And though it went off, it still watched him from a distance; it waited somewhere; it knew all about him. Where it waited no one could ever guess. It came probably, he felt, from beyond the house, possibly from the roof, but most likely from the garden or the sky. Yet, though strange, it was not terrible. It was a kindly and protective figure, he felt. And when it happened he never called for help, because the occurrence simply took his voice away.
“It comes from the Nightmare Passage,” he decided; “but it’s not a nightmare.” It puzzled him.
Sometimes, moreover, it came more than once in a single night. He was pretty sure—not quite positive—that it occupied his room as soon as he was properly asleep. It took possession, sitting perhaps before the dying fire, standing upright behind the heavy curtains, or even lying down in the empty bed his brother used when he was home from school. Perhaps it played the curtain game, perhaps it poked the coals; it knew, at any rate, where the eleventh dog had lain concealed. It certainly came in and out; certainly, too, it did not wish to be seen. For, more than once, on waking suddenly in the midnight blackness, Tim knew it was standing close beside his
bed and bending over him. He felt, rather than heard, its presence. It glided quietly away. It moved with marvellous softness, yet he was positive it moved. He felt the difference, so to speak. It had been near him, now it was gone. It came back, too—just as he was falling into sleep again. Its midnight coming and going, however, stood out sharply different from its first shy, tentative approach. For in the firelight it came alone; whereas in the black and silent hours, it had with it—others.
And it was then he made up his mind that its swift and quiet movements were due to the fact that it had wings. It flew. And the others that came with it in the darkness were “its little ones.” He also made up his mind that all were friendly, comforting, protective, and that while positively not a Nightmare, it yet came somehow along the Nightmare Passage before it reached him. “You see, it’s like this,” he explained to the nurse: “The big one comes to visit me alone, but it only brings its little ones when I’m quite asleep.”
“Then the quicker you get to sleep the better, isn’t it, Master Tim?”
He replied: “Rather! I always do. Only I wonder where they come from!” He spoke, however, as though he had an inkling.
But the nurse was so dull about it that he gave her up and tried his father. “Of course,” replied this busy but affectionate parent; “it’s either nobody at all, or else it’s Sleep coming to carry you away to the land of dreams.” He made the statement kindly but somewhat briskly, for he was worried just then about the extra taxes on his land, and the effort to fix his mind on Tim’s fanciful world was beyond him at the moment. He lifted the boy on to his knee, kissed and patted him as though he were a favourite dog, and planted him on the rug again with a flying sweep. “Run and ask your mother,” he added; “she knows all that kind of thing. Then come back and tell me all about it—another time.”
The Algernon Blackwood Collection Page 392