I found out the day after she called me St. Dunstan. I was in the theatre about five o’clock in the afternoon and chanced to go down the corridor on which the star’s dressing-room lay. The door was open, and I saw Faustina naked—she was always changing her clothes—in the arms of Liesl, who held her close and kissed her passionately; she had her left arm around Faustina, and her right hand was concealed from me, but the movement of Faustina’s hips and her dreamy murmurs made it clear, even to my unaccustomed eyes, what their embrace was.
I have never known such a collapse of the spirit even in the worst of the war. And this time there was no Little Madonna to offer me courage or ease me into oblivion.
5
“Well, dear Ramsay, you are looking a little pale.”
It was Liesl who spoke. I had answered a tap on my door at about one o’clock in the morning, and there she stood in pyjamas and dressing-gown, smiling her ugly smile.
“What do you want?”
“To talk. I love to talk with you, and you are a man who needs talk. Neither of us is sleeping; therefore we shall talk.”
In she came, and as the little room offered only one uncompromising straight-backed chair, she sat down on the bed.
“Come and sit by me. If I were an English lady, or somebody’s mother, I suppose I should begin by saying, ‘Now what is the matter?’—but that is just rhetoric. The matter is that you saw me and Faustina this afternoon. Oh yes, I saw you in the looking-glass. So?”
I said nothing.
“You are just like a little boy, Ramsay. Or no, I am forgetting that only silly men like to be told they are like little boys. Very well, you are like a man of fifty whose bottled-up feelings have burst their bottle and splashed glass and acid everywhere. That is why I called you a little boy, for which I apologize; but you have no art of dealing with such a situation as a man of fifty, so you are thrown back to being like a little boy. Well, I am sorry for you. Not very much, but some.”
“Don’t patronize me, Liesl.”
“That is an English word I have never really understood.”
“Don’t bully me, then. Don’t know best. Don’t be the sophisticated European, the magic-show gypsy, the wonderfully intuitive woman, belittling the feelings of a poor brute who doesn’t know any better than to think in terms of decency and honour and not taking advantage of people who may not know what they’re doing.”
“You mean Faustina? Ramsay, she is a wonderful creature, but in a way you don’t begin to grasp. She isn’t one of your North American girls, half B.A. and half B.F. and half good decent spud—that’s three halves, but never mind. She is of the earth, and her body is her shop and her temple, and whatever her body tells her is all of the law and the prophets. You can’t understand such a person, but there are more of them in the world than of the women who are tangled up in honour and decency and the other very masculine things you admire so much. Faustina is a great work of the Creator. She has nothing of what you call brains; she doesn’t need them for her destiny. Don’t glare at me because I speak of her destiny. It is to be glorious for a few years: not to outlive some dull husband and live on his money till she is eighty, going to lectures and comparing the attractions of winter tours that offer the romance of the Caribbean.”
“You talk as if you thought you were God.”
“I beg your pardon. That is your privilege, you pseudo-cynical old pussy-cat, watching life from the sidelines and knowing where all the players go wrong. Life is a spectator sport to you. Now you have taken a tumble and found yourself in the middle of the fight, and you are whimpering because it is rough.”
“Liesl, I am too tired and sick to wrangle. But let me tell you this, and you may laugh as loud and as long as you please, and babble it to everybody you know because that is your professed way of dealing with confidences: I loved Faustina.”
“But you don’t love her now because of what you saw this afternoon! Oh, knight! Oh, saint! You loved her but you never gave her a gift, or paid her a compliment, or asked her to eat with you, or tried to give her what Faustina understands as love—a sweet physical convulsion shared with an interesting partner.”
“Liesl, I am fifty, and I have a wooden leg and only part of one arm. Is that interesting for Faustina?”
“Yes, anything is for Faustina. You don’t know her, but far worse you don’t know yourself. You are not so very bad, Ramsay.”
“Thank you.”
“Oooh, what dignity! Is that a way to accept a compliment from a lady? I tell him he is not so very bad, and he ruffles up like an old maid and makes a sour face. I must do better; you are a fascinating old fellow. How’s that?”
“If you have said what you came to say, I should like to go to bed now.”
“Yes, I see you have taken off your wooden leg and stood it in the corner. Well, I should like to go to bed now too. Shall we go to bed together?”
I looked at her with astonishment. She seemed to mean it.
“Well, do not look as if it were out of the question. You are fifty and not all there: I am as grotesque a woman as you are likely to meet. Wouldn’t it have an unusual savour?”
I rose and began to hop to the door. Over the years I have become a good hopper. But Liesl caught me by the tail of my pyjama coat and pulled me back on the bed.
“Oh, you want it to be like Venus and Adonis! I am to drag you into my arms and crush out your boyish modesty. Good!”
She was much stronger than I would have supposed, and she had no silly notions about fighting fair. I was dragged back to the bed, hopping, and pulled into her arms. I can only describe her body as rubbery, so supple yet muscular was it. Her huge, laughing face with its terrible jaw was close to my own, and her monkeylike mouth was thrust out for a kiss. I had not fought for years—not since my war, in fact—but I had to fight now for—well, for what? In my genteel encounters with Agnes Day, and Gloria Mundy, and Libbie Doe, now so far in the past, I had always been the aggressor, insofar as there was any aggression in those slack-twisted amours. I certainly was not going to be ravished by a Swiss gargoyle. I gave a mighty heave and got a handful of her pyjama coat and a good grip on her hair and threw her on the floor.
She landed with a crash that almost brought down plaster. Up she bounced like a ball, and with a grab she caught up my wooden leg and hit me such a crack over my single shin that I roared and cursed. But when next she brought it down—I had never considered it as a weapon, and it was terrible with springs and rivets—I had a pillow ready and wrenched it from her.
By this time someone downstairs was pounding on his ceiling and protesting in Spanish, but I was not to be quieted. I hopped towards Liesl, waggling the leg with such angry menace that she made the mistake of retreating, and I had her in a corner. I dropped the leg and punched her with a ferocity that I should be ashamed to recall; still, as she was punching back and had enormous fists, it was a fair enough fight. But she began to be afraid, for I had a good Highland temper and it was higher than I have ever known. Tears of pain or fright were running from her deep-set eyes. and blood was dribbling from a cut lip. After a few more smart cuffs, keeping my legless side propped against the wall, I began to edge her towards the door. She grasped the handle behind her, but as she turned it I got a good hold on the bedhead with one hand, and seized her nose between the fingers of the other, and gave it such a twist that I thought I heard something crack. She shrieked, managed to tug the door open, and thundered down the passage.
I sank back on the bed. I was worn out, I was puffing, but I felt fine. I felt better than I had done for three weeks. I thought of Faustina. Good old Faustina! Had I trounced Liesl to avenge her? No, I decided that I had not. A great cloud seemed to have lifted from my spirit, and though it was too soon to be sure, I thought that perhaps my reason, such as it was, had begun to climb back into the saddle and that with care I might soon be myself again.
I had eaten no dinner in my misery, and I discovered I was hungry. I had no food, but I had a fl
ask of whisky in my briefcase. I found it and lay back on the bed, taking a generous swig. The room was a battlefield, but I would tidy it in the morning. Liesl’s dressing-gown and a few rags from her pyjamas lay about, and I left them where they were. Honourable trophies.
There came a tap on the door.
“What is it?” I called out in English.
“Senor,” hissed a protesting voice, “zis honeymoon—oh, very well, very well for you, senor, but please to remember there are zose below who are not so young, if you please, senor!”
I apologized elaborately in Spanish, and the owner of the voice shuffled back down the passage. Honeymoon! How strangely people interpret sound!
In a few minutes there was another tap, even gentler. I called out,”Who is it ?”—in Spanish this time.
The voice was Liesl’s voice. “You will be so kind as to allow me to recover my key,” it said thickly and very formally.
I opened the door, and there she stood, barefooted and holding what was left of her pyjama coat over her bosom.
“Of course, senora,” said I, bowing as gracefully as a one-legged man can do and gesturing to her to come in. Why I closed the door after her I do not know. We glared at each other.
“You are much stronger than you look,” said she.
“So are you,” said I. Then I smiled a little. A victor’s smile, I suppose; the kind of smile I smile at boys whom I have frightened out of their wits. She picked up the dressing-gown, taking care not to turn her back on me.
“May I offer you a drink,” said I, holding out the flask. She took it and raised it to her lips, but the whisky stung a cut in her mouth and she winced sharply. That took all the lingering spite out of me. “Sit down,” I said, “and I”ll put something on those bruises.”
She sat down on the bed, and not to make a long tale of it, I washed her cuts and put a cold-water compress on her nose, which had swollen astonishingly, and in about five minutes we were sitting up in the bed with the pillows behind us, taking turn and turn about at the flask.
“How do you feel now?” said I.
“Much better. And you? How is your shin?”
“I feel better than I have felt in a very long time.”
“Good. That is what I came to make you feel.”
“Indeed? I thought you came to seduce me. That seems to be your hobby. Anybody and anything. Do you often get beaten up?”
“What a fool you are! It was only a way of trying to tell you something.”
“Not that you love me, I hope. I have believed some strange things in my time, but that would test me pretty severely.”
“No. I wanted to tell you that you are human, like other people.”
“Have I denied it?”
“Listen, Ramsay, for the past three weeks you have been telling me the story of your life, with great emotional detail, and certainly it sounds as if you did not think you were human. You make yourself responsible for other people’s troubles. It is your hobby. You take on the care of a poor madwoman you knew as a boy. You put up with subtle insult and being taken for granted by a boyhood friend—this big sugar-man who is such a power in your part of the world. You are a friend to this woman—Leola, what a name!—who gave you your conge when she wanted to marry Mr. Sugar. And you are secret and stiff-rumped about it all, and never admit it is damned good of you. That is not very human. You are a decent chap to everybody, except one special somebody, and that is Dunstan Ramsay. How can you be really good to anybody if you are not good to yourself?”
“I wasn’t brought up to blow a trumpet if I happened to do something for somebody.”
“Upbringing, so? Calvinism? I am a Swiss, Ramsay, and I know Calvinism as well as you do. It is a cruel way of life, even if you forget the religion and call it ethics or decent behaviour or something else that pushes God out of it.
“But even Calvinism can be endured, if you will make some compromise with yourself. But you—there is a whole great piece of your life that is unlived, denied, set aside. That is why at fifty you can’t bear it any longer and fly all to pieces and pour out your heart to the first really intelligent woman you have met—me, that’s to say—and get into a schoolboy yearning for a girl who is as far from you as if she lived on the moon. This is the revenge of the unlived life, Ramsay. Suddenly it makes a fool of you.
“You should take a look at this side of your life you have not lived. Now don’t wriggle and snuffle and try to protest. I don’t mean you should have secret drunken weeks and a widow in a lacy flat who expects you every Thursday, like some suburban ruffian. You are a lot more than that. But every man has a devil, and a man of unusual quality, like yourself, Ramsay, has an unusual devil. You must get to know your personal devil. You must even get to know his father, the Old Devil. Oh, this Christianity! Even when people swear they don’t believe in it, the fifteen hundred years of Christianity that has made our world is in their bones, and they want to show they can be Christians without Christ. Those are the worst; they have the cruelty of doctrine without the poetic grace of myth.
“Why don’t you shake hands with your devil, Ramsay, and change this foolish life of yours? Why don’t you, just for once, do something inexplicable, irrational, at the devil’s bidding, and just for the hell of it? You would be a different man.
“What I am saying is not for everybody, of course. Only for the twice-born. One always knows the twice-born. They often go so far as to take new names. Did you not say that English girl renamed you? And who was Magnus Eisengrim? And me—do you know what my name really means, Uselotte Vitzliputzli? It sounds so funny, but one day you will stumble on its real meaning. Here you are, twice-born, and nearer your death than your birth, and you have still to make a real life.
“Who are you? Where do you fit into poetry and myth? Do you know who I think you are, Ramsay? I think you are Fifth Business.
“You don’t know what that is? Well, in opera in a permanent company of the kind we keep up in Europe you must have a prima donna—always a soprano, always the heroine, often a fool; and a tenor who always plays the lover to her; and then you must have a contralto, who is a rival to the soprano, or a sorceress or something; and a basso, who is the villain or the rival or whatever threatens the tenor.
“So far, so good. But you cannot make a plot work without another man, and he is usually a baritone, and he is called in the profession Fifth Business, because he is the odd man out, the person who has no opposite of the other sex. And you must have Fifth Business because he is the one who knows the secret of the hero’s birth, or comes to the assistance of the heroine when she thinks all is lost, or keeps the hermitess in her cell, or may even be the cause of somebody’s death if that is part of the plot. The prima donna and the tenor, the contralto and the basso, get all the best music and do all the spectacular things, but you cannot manage the plot without Fifth Business! It is not spectacular, but it is a good line of work, I can tell you, and those who play it sometimes have a career that outlasts the golden voices. Are you Fifth Business? You had better find out.”
This is not a verbatim report, Headmaster; I said a good deal myself, and I have tidied Liesl’s English, and boiled down what she said. But we talked till a clock somewhere struck four, and then fell happily asleep, but not without having achieved the purpose for which Liesl had first of all invaded my room.
With such a gargoyle! And yet never have I known such deep delight or such an aftermath of healing tenderness!
Next morning, tied to my door handle, was a bunch of flowers and a message in elegant Spanish:
Forgive my ill manners of last night. Love conquers all and youth must be served. May you know a hundred years of happy nights. Your Neighbour in the Chamber Below.
VI. The Soiree of Illusions
1
The autobiography of Magnus Eisengrim was a great pleasure to write, for I was under no obligation to be historically correct or to weigh evidence. I let myself go and invented just such a book about a magician as I wou
ld have wanted to read if I had been a member of his public; it was full of romance and marvels, with a quiet but sufficient undertone of eroticism and sadism, and it sold like hot-cakes.
Liesl and I had imagined it would sell reasonably well in the lobbies of theatres where the show was appearing, but it did well in book stores and, in a paperback edition that soon followed, it was a steady seller in cigar stores and other places where they offer lively, sensational reading. People who had never done an hour’s concentrated work in their lives loved to read how the young Magnus would rehearse his card and coin sleights for fourteen hours at a stretch, until his body was drenched in nervous sweat, and he could take no nourishment but a huge glass of cream laced with brandy. People whose own love-lives were pitched entirely in the key of C were enchanted to know that at the time when he was devoting himself entirely to the study of hypnotism, his every glance was so supercharged that lovely women forced themselves upon him, poor moths driven to immolate themselves in his flame.
I wrote about the hidden workshop in a Tyrolean castle where he devised his illusions, and dropped hints that girls had sometimes been terribly injured in some device that was not quite perfect; of course Eisengrim paid to have them put right again; I made him something of a monster but not too much of a monster. I also made his age a matter of conjecture. It was a lively piece of work, and all I regretted was that I had not made a harder bargain for my share of the profit. As it was, it brought me a pleasant annual addition to my income and does so still.
I wrote it in a quiet place in the Adirondacks to which I went a few days after my nocturnal encounter with Liesl. Eisengrim’s engagement at the Teatro Chueca was drawing to an end, and the show was to visit a few Central American cities before going to Europe, where a long tour was hoped for. I gave the beautiful Faustina a handsome and fairly expensive necklace as a parting present, and she gave me a kiss, which she and I both regarded as a fair exchange. I gave Eisengrim a really expensive set of studs and links for his evening dress, which staggered him, for he was a miser and could not conceive of anybody giving anything away. But I had talked earnestly with him and wrung from him a promise to contribute to the maintenance of Mrs. Dempster; he did not want to do it, swore that he owed her nothing and had indeed been driven from home by her bad reputation. I pointed out to him, however, that if this had not been the case, he would not have become the Great Eisengrim but would probably be a Baptist parson in rural Canada. This was false argument and hurt his vanity, but it helped me gain my point. Liesl helped too. She insisted that Eisengrim sign a banker’s order for a sum to be paid to me monthly; she knew that if he had to send me cheques he would forget very soon. The studs and links were something to soothe his wounded avarice. I gave nothing to Liesl; by this time she and I were strong friends and took from each other something that could find no requital in presents.
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