by John Fowles
"The teahouse was approached over grass, so de Deukans could not hear me coming. He was seated on a mat staring out over the lake. A willow-covered islet. Ornamental geese that floated on the water as on a silk painting. Though his head was European, his clothes were Japanese. I shall never forget that moment. How shall I say it — that mise en paysage. "His whole park was arranged to provide him with such décors, such ambiences. There was a little classical temple, a rotunda. An English garden, a Moorish one. But I always think of him sitting there on his tatami in a loose kimono. Grayish-blue, the color of the mist. It was unnatural, of course. But all dandyism and eccentricity is more or less unnatural in a world
dominated by the desperate struggle for economic survival.
"Constantly, during that first visit, I was shocked, as a would-be socialist. And ravished, as an homme sensuel. Givray-le-Duc was nothing more or less than a vast museum. There were countless galleries, of paintings, of porcelain, of objets d'art of all kinds. A famous library. A really unsurpassed collection of early keyboard instruments. Clavichords, spinets, virginals, lutes, guitars. One never knew what one would find. A room of Renaissance bronzes. A case of Breguets. A wall of magnificent Rouen and Nevers faience. An armory. A cabinet of Greek and Roman coins. I could inventory all night, for he had devoted all his life to this collecting of collections. The Boulles and Rieseners alone were enough to furnish six châteaux. I suppose only the Heriford Collection could have rivaled it in modern times. Indeed when the Hertford was split up, de Deukans had bought many of the best pieces in the Sackville legacy. Seligmann's gave him first choice. He collected in order to collect, of course. Art had not then become a branch of the stock market.
"On a later visit he took me to a locked gallery. In it he kept his company of automata — puppets, some almost human in size, that seemed to have stepped, or whirled, out of a Hoffman story. A man who conducted an invisible orchestra. Two soldiers who fought a duel. A prima donna from whose mouth tinkled an aria from La Serva Padrona. A girl who curtseyed to a man who bowed, and then danced a pallid and ghostly minuet with him. But the chief piece was Mirabelle, la Maltresse-Machine. A naked woman who when set in motion lay back in her faded four-poster bed, drew up her knees and then opened them together with her arms. As her human master lay on top of her, the arms closed and held him. But de Deukans cherished her most because she had a device that made it unlikely that she would ever cuckold her owner. Unless one moved a small lever at the back of her head, at a certain pressure her arms would clasp with vicelike strength. And then a stiletto on a strong spring struck upwards through the adulterer's groin. This repulsive thing had been made in Italy in the early nineteenth century. For the Sultan of Turkey. When de Deukans demonstrated her 'fidelity' he turned and said, 'C'est ce qui en elle est le plus vraisemblable.' 'It is the most lifelike thing about her."
I looked at Lily covertly. She was staring down at her hands.
"He kept Madame Mirabelle behind locked doors. But in his private chapel he kept an even more — to my mind — obscene object. It was encased in a magnificent early medieval reliquary. It looked much like a withered, dusty sea cucumber. De Deukans called it, without any wish to be humorous, the Holy Member. He knew, of course, that a merely cartilaginous object could not possibly survive so long. There are at least sixteen other Holy Members in Europe. Mostly from mummies, and all equally discredited. But for de Deukans it was simply a collectable, and the religious or indeed human blasphemy it represented had no significance for him. This is true of all collecting. It extinguishes the moral instinct. The object finally possesses the possessor.
"We never discussed religion or politics. He went to mass. But only, I think, because the observance of ritual is a form of the cultivation of beauty. In some ways, perhaps because of the wealth that had always surrounded him, he was an extremely innocent man. Self-denial was incomprehensible to him, unless it formed part of some aesthetic regimen. I stood with him once and watched a line of peasants laboring a turnip field. A Millet brought to life. And his only remark was: It is beautiful that they are they and that we are we. For him even the most painful social confrontations and contrasts, which would have stabbed the conscience of even the vulgarest nouveau riche, were stingless. Without significance except as vignettes, as interesting discords, as pleasurable because vivid examples of the algedonic polarity of existence.
"Altruistic behavior — what he termed le diable en puritain — upset him deeply. For instance, since the age of eighteen I have refused to eat wild birds in any form at table. I would as soon eat human flesh as I would an ortolan, or a wild duck. This to de Deukans was distressing, like a false note in a music manuscript. He could not believe things had been written thus. And yet there I was, in black and white, refusing his pâté d'alouettes and his truffled woodcock.
"But not all his life was to do with the dead. He had an observatory on the roof of his château, and a well-equipped biological laboratory. He never walked out in the park without carrying a small étui of test tubes. To catch spiders. I had known him over a year before I discovered that this was more than another eccentricity. That he was in fact one of the most learned arachnologists of his day. There is even a species named after him: Theridion deukansii. He was delighted that I also knew something of ornithology. And he encouraged me to specialize in what he jokingly called ornithosemantics — the meaning of birdsound.
"He was the most abnormal man I had ever met. And the politest. And the most distant. And certainly the most socially irresponsible. I was twenty-five — your age, Nicholas, which will perhaps tell you more than anything I can say how unable I was to judge him. It is, I think, the most difficult and irritating age of all. Both to be and to behold. One has the intelligence, one is in all ways treated as a grown man. But certain persons reduce one to adolescence, because only experience can understand and assimilate them. In fact de Deukans, by being as he was — certainly not by arguing — raised profound doubts in my philosophy. Doubts he was later to crystallize for me, as I will tell you, in five simple words.
"I saw the faults in his way of life and at the same time found myself enchanted. That is, unable to act rationally. I have forgotten to tell you that he had manuscript after manuscript of unpublished music of the seventeenth and eighteenth centuries. A paradise. To sit at one of the magnificent old harpsichords in his musicarium — a long rococo gallery in faded gold and pomona green, always in sunlight, as tranquil as an orchard . . . such experiences, such happiness, always gives rise to the same problem: of the nature of evil. Why should such complete pleasure be evil? Why did I believe that de Deukans was evil? You will say, Because children were starving while you played in your sunlight. But are we never to have palaces, never to have refined tastes, complex pleasures, never to let the imagination fulfill itself? Even a Marxist world must have some destination, must develop into some higher state, which can only mean a higher pleasure and richer happiness for the human beings in it.
"And so I began to comprehend the selfishness of this solitary man. More and more I came to see that his blindness was a pose and yet his pose was an innocence. That he was a man from a perfect world lost in a very imperfect one. And determined, with a monomania as tragic, if not quite so ludicrous, as Don Quixote's, to maintain his perfection. But then one day —"
Conchis never finished his sentence. With an electrifying suddenness a horn clamored out of the darkness to the east. I thought immediately of an English hunting horn, but it was bronzier, harsher, more archaic. Lily's previously wafting fan was frozen, her eyes on Conchis. He was staring out to sea, as if the sound had turned him to stone. As I watched, his eyes closed, almost as if he was silently praying. But prayer was totally foreign to his face.
The horn broke the tense night again. Three notes, the middle the highest. The player was in the trees, somewhere near the place where I had seen Foulkes.
I said to Lily, "What is it?"
She held my eyes for a moment, and strangely. I
had an odd feeling that she thought I knew. But then she raised her closed fan to her lips and looked down. The lamplight, the waiting silence. Conchis had not moved or opened his eyes. I let a few seconds pass, then whispered to her.
"What the devil's happening?"
She lifted her eyes momentarily to mine.
"Apollo has come."
"Apollo!"
"My brother."
"Your brother!"
I smiled, and she smiled back; but my face was full of uncertainty and hers of knowledge. Her mouth was incredibly like that of the stone statue. Again the horn was sounded, but at a higher pitch.
She said, "I am called. I must go."
We rose together. She held out her hand.
"But where?"
"Where I came from." Her eyes impressed some hidden significance into mine. Then she began to walk away. I looked quickly at Conchis, still with his oblivious face, and strode after her, stopping her at the door.
"Look, for goodness sake . . ."
Her eyes were down, avoiding mine. "Please let me pass."
"Are you coming back?"
Again the horn sounded, more urgently, closer, near the edge of the trees. She looked up at me. A quick oblique look at Conchis's dark figure. Then for a moment she seemed to drop the pretense. At any rate she dropped her voice.
"Go and watch. Over there." Her mouth curved unexpectedly into a smile that hovered between mischief and sympathy. "And pretend to believe." I could have sworn that one of her eyelids fluttered; the ghost of a very contemporary wink. But she was gone so quickly that I was left only the more confused.
I went to the parapet that faced east. The gravel, and then across the. clearing, the trees. I could see nothing unusual. Darkness and stillness. I listened for the sound of her footsteps downstairs, but there was silence there too. Then the sound came again. It echoed faintly from some steep hillside inland, its primitive timbre seeming to wake the landscape and the trees, to summon from some evolutionary sleep. Another long silence. Then suddenly there was a movement in the pines.
A dim figure stood out in the starlight some fifty or sixty yards away. I had an impression of whiteness. Then from beyond the cottage there was a beam of light; not very strong, as a hand- held torch might give. With a shock I realized that the figure was that of an absolutely naked man. He raised the horn he was carrying and again came the call. He was near enough for me to see, with the aid of the weak beam of light, dark pubic hair and the pale scape of his penis. He was tall, well built, well cast to be Apollo. On his head I made out a crown of leaves; the glint of golden leaves, laurel leaves. The light made his skin even paler, so that he stood out like marble against the black trees. He was facing the house, facing me, the horn in his right hand.
Suddenly there was a new sound, even stranger, of a woman or a boy, I couldn't tell, calling from where the track out of Bourani disappeared into the trees. It was a chanted sound, a triphthong hauntingly prolonged, an echo of the horn's echo. Eia. Eia. The man dropped his arm and turned and went a pace or two to the north. I saw him raise his yard-long horn, a narrow crescent with a flared end. He called back; and the other call came back at once, so that the echoes of the two calls intermingled. Eia. Eia.
Like the man I was watching the trees to the north, the dark tunnel where the track disappeared.
A running girl appeared; and I thought at first by the apparent whiteness of her skin — the torch did not shift to her — that she was also naked. I thought too, with increasing shock, that it was Lily. If she had gone very quickly round the back of the house. . . but then I could distinguish a white chiton, and dark hair. A wig? The girl had a slim body, the right height. She ran towards the sea, between Apollo and myself on the terrace. Then a third figure appeared behind her. Another man, running from out of the dark tunnel through the trees. The girl was being chased. I flashed a look round. Conchis sat exactly as before, as if he disapproved sternly of this interruption.
The nymph-girl ran through the beam of light that shone on Apollo and had almost reached the seaward side of the clearing when several things happened. Apollo blew his horn again, but this time it was a single wild note, sustained then abruptly ended. He struck a new pose, his hand pointing at the satyr-man, who stopped at the sound. Simultaneously a much stronger beam shone out from directly underneath me. Someone else was standing under the colonnade. The beam moved, caught up the still running figure of the girl, her white back and her black dishevelled hair and her seemingly near-exhausted legs, as she plunged into the trees. She disappeared. The light went out for two moments. And then, in a brilliant coup de théatre, it went on again, and standing there, exactly in the place where the first girl had disappeared, a place where the ground rose a little, was yet another, the most striking figure of all. It was Lily, but metamorphosed.
She had changed into a long saffron chiton. It had a thin blood-red hem where it ended at the knees. On her feet were black buskins with silver greaves, which gave her a grim gladiatorial look, in strange contrast to her bare shoulders and arms. The skin was unnaturally white, the eyes elongated by black makeup, and her hair was also elongated backwards in a way that was classical yet sinister. Over her shoulders she had a quiver. In her left hand she held a long silver painted bow. Something in her stance, as well as her distorting makeup, was genuinely frightening.
She stood, cold and outraged and ominous for a long second, and then she reached back with her free hand and with a venomous quickness pulled an arrow out of the quiver. But just as she began to fit it to the bow string, the beam tracked like lightning back to the arrested man. He was standing, darker-skinned, in a black chiton, spectacularly terrified, his arms flung back, and his head averted. It was a pose without realism, yet effectively theatrical. The beam swept back to the goddess. She had the bow at full stretch, the horn blew again, the arrow went. I saw it fly, but lost its flight in the abrupt darkness as the torch flicked off again. A moment later it shone on the man. He was clutching the arrow — or an arrow — in his heart. He fell slowly to his knees, swayed a second, then slumped sideways among the stones and thyme. The torch lingered a moment on him, then went out. Apollo stood impassively, surveying, a pale marmoreal shadow, like some divine umpire, president of the arena. The goddess began to walk, a striding huntress walk, towards him, her silver bow slung like a rifle over one shoulder. As she came near, into the diffuse beam of weak light, he held out his hand. They stood like that, facing me, hand in hand, Apollo and his sister, Artemis-Diana. The beam went out. I saw them retreat into the dark penumbra of the trees. Silence. Night. As if nothing had happened.
I looked back at Conchis. He had not moved. I tried to understand. I tried to think what connection there was between the elderly man on the road by the hotel, the "pre-haunting," and this scene. During the telling I thought I had grasped the point of the caractére of de Deukans; Conchis had been talking of himself and me; the parallels were too close for it to be anything else. And discouraged every kind of question . . . how unable I was to judge him . . . very few friends and no relations . . . but what had that to do with what had just happened? Plainly it was meant to be mythical, but it had awakened in me vague memories of Oscar Wilde — the Wilde of Salomé — and of Maeterlinck; something Germanic, fin de siècle, had floated over it all. It was also an attempt at the sort of scandalous evocation mentioned in Le Masque Francais.
There was some very nasty, some very perverse, drift in Conchis's divertimenti. The naked man. What were they doing now, inside those trees? Because the girl acted one thing for an hour, there was no reason why she shouldn't act something else, anything else, the next. I remembered wryly that she had said "I am called." I had given it a spiritualistic significance; but it had a normal other meaning — for actresses.
I felt, irrationally, betrayed; and envious and jealous of those other mysterious young men who had appeared from nowhere to poach in "my" territory; and walked off with the prize. I tried to be objective, content to be
a spectator, to let these weird incidents flow past me as one sits in a cinema and lets the film flow past. But even as I thought that, I knew it to be a bad analogy. I went and stood behind her empty chair.
"Very strange."
Conchis didn't answer. I moved round the table, to where I could see his face. His eyes were open, but his stare to the south was fixed, and for a moment I was frightened. I said urgently, "Mr. Conchis?" and touched his shoulder. He looked up then, for all the world like a man coming out of a trance.
"Are you all right?"
"I fell asleep. I apologize." He shook his head as if to wake himself up.
"But your eyes were open."
"A kind of sleep." He smiled at me, one of his smiles that was intended, flagrantly, to make me wonder what he really meant.
I smiled warily back. "Or a kind of mystification?"
He stood up and took my arm, then walked me silently to the western end of the terrace — probably, I guessed, to give the man with the arrow in his heart time to decamp. He breathed deeply for a moment, facing the distant mountains, his hand on my elbow. Then he said, "I am rich in many things, Nicholas. Richer even in some than I am in money."
"I realize that."
"Richer in forgotten powers. In strange desires." He pressed my elbow lightly, then let go of it. His face was inscrutable, but his tone aroused old suspicions in me. Young men, young women. Perhaps I should soon find myself asked to take part in some kind of orgy, some sexual fantasy; and I knew that if I was faced with it, joining in or not, I might not know what to do — sexually or morally. A double lack of savoir vivre. I was out of my depth; I had a quick self-protective need to be debunking, English. I lit a cigarette; put on a smile and a light voice. "I saw your 'visitor' meet her boyfriend over there." There was a long pause; in the shadow his eyes were like black phosphorus. "An uncensored rendezvous with Apollo." Still he forced me to go on. "I have no program, Mr. Conchis. I don't know." More silence. I said rather desperately, "I just feel I'd enjoy it more if I knew what it all meant."