Then Furvain realized that he had no real need to know those things. He was writing a poem, not an historical text or a work of biography. He was free to imagine any detail he liked, so long as he remained faithful to the broad outline of the tale. Whether the actual Lord Stiamot had been short or tall, plump or thin, cheerful of nature or a dyspeptic brooder, would make no serious difference to a poet intent only on recreating the Stiamot legend. Lord Stiamot, by now, had become a mythical figure. And myth, Furvain knew, has a power that transcends mere history. History could be as arbitrary as poetry, he told himself: what is history, other than a matter of choice, the picking and choosing of certain facts out of a multitude to elicit a meaningful pattern, which was not necessarily the true one?
The act of selecting facts, by definition, inherently involved discarding facts as well, often the ones most inconvenient to the pattern that the historian was trying to reveal. Truth thus became an abstract concept: three different historians, working with the same set of data, might easily come up with three different “truths”. Whereas myth digs deep into the fundamental reality of the spirit, into that infinite well that is the shared consciousness of the entire race, reaching the levels where truth is not an optional matter, but the inescapable foundation of all else. In that sense myth could be truer than history; by creating imaginative episodes that clove to the essence of the Stiamot story, a poet could reveal the truth of that story in a way that no historian could claim to do. And so Furvain resolved that his poem would deal with the myth of Stiamot, not with the historical man. He was free to invent as he pleased, so long as what he invented was faithful to the inner truth of the story.
After that everything became easier, although there was never anything simple about it for him. He developed a technique of meditation that left him hovering on the border of sleep, from which he could slip readily into a kind of trance. Then – more rapidly with each passing day – Furvain’s guide would come to him, the golden-haired man wearing a Coronal’s silver diadem, and lead him through the scenes and events of his day’s work.
His guide’s name, he discovered, was Valentine: a charming man, patient, affable, sweet-tempered, always ready with an easy smile, the absolute best of guides. Furvain could not remember any Coronal named Valentine, nor did Kasinibon’s boyhood history text mention one. Evidently no such person had ever existed. But that made no difference. For Furvain’s purposes, it was all the same whether this Lord Valentine had been a real historical figure or was just a figment of Furvain’s imagination: what he needed was someone to take him by the hand and lead him through the shadowy realms of antiquity, and that was what his golden-haired guide was doing. It was almost as though he were the manifestation in a readily perceptible form of the will of the Divine, whose vehicle Furvain had become. It is through the voice of this imaginary Lord Valentine, Furvain told himself, that the shaping spirit of the cosmos is inscribing this poem on my soul.
Under Valentine’s guidance Furvain’s dreaming mind traversed the deeds of Lord Stiamot, beginning with his first realization that the long poisonous struggle with the Metamorphs must be brought to a conclusive end and going on through the sequence of increasingly bloody battles that had culminated in the burning of the northlands, the surrender of the last aboriginal rebels, and the establishment of the province of Piurifayne in Zimroel as the permanent home and place of eternal confinement of the Shapeshifters of Majipoor. When Furvain emerged from his trance each day the details of what he had learned would still be with him, and had the balance and shape and the tragic rhythm that great poetry requires. He saw not only the events but the inexorable and inescapable conflicts out of which they arose, driving even a man of good will like Stiamot into the harsh necessity of making war. The pattern of the story was there; Furvain had merely to set it all down on paper: and here his innate technical skill was fully at his command, as much so as it had ever been in the old days, so that the intricate stanza and complex rhythmic scheme that he had carried back from his first dreaming encounters with the Divine soon became second nature to him, and the poem grew by a swift process of accretion.
Sometimes it came a little too easily. Now that Furvain had mastered that strange stanza he was able to reel off page after page with such effortless fluency that he would on occasion wander on into unexpected digressions that concealed and muddled the main thrust of his narrative. When that happened he would halt, rip the offending sections out, and go on from the point where he had begun to diverge from his proper track. He had never revised before. At first it seemed wasteful to him, since the discarded lines were every bit as eloquent, as sonorous, as the ones he kept. But then he came to see that eloquence and sonorousness were mere accessories to the main task, which was the telling of a particular tale in a way that most directly illuminated its inner meaning.
And then, when he had brought the tale of Lord Stiamot to its conclusion, Furvain was startled to find that the Divine was not yet done with him. Without pausing even to question what he was doing, he drew a line beneath the last of the Stiamot stanzas and began to inscribe a new verse – beginning, he saw, right in the middle of a stanza, with the triple-rhyme passage – that dealt with an earlier event entirely, the project of Lord Melikand to import beings of species other than human to help with the task of settling the greatly underpopulated world that was Majipoor.
He continued in that project for another few days. But then, while the Melikand canto was yet unfinished, Furvain discovered himself at work on a passage that told still another story, that of the grand assembly at Stangard Falls, on the River Glayge, where Dvorn had been hailed as Majipoor’s first Pontifex. At that moment Furvain realized that he was writing not simply an account of the deeds of Lord Stiamot, but an epic poem embracing nothing less than the whole of Majipoor’s history.
It was a frightening thought. He could not believe that he was the man for such a task. It was too much for a man of his limitations. He thought he saw the shape that such a poem must take, as it traversed the many thousands of years from the coming of the first settlers to the present day, and it was a mighty one. Not a single great arc, no, but a series of soaring curves and dizzying swoops, a tale of flux and transformation, of the constant synthesis of opposites, as the early idealistic colonists tumbled into the violent chaos of anarchy, were rescued from it by Dvorn the law-giver, the first Pontifex, spread out in centrifugal expansion across the huge world under the guidance of Lord Melikand, built the great cities of Castle Mount, reached across into the continents of Zimroel and Suvrael, came inevitably and tragically into collision with the Shapeshifter aboriginals, fought the necessary though appalling war against them under the leadership of Lord Stiamot, that man of peace transformed into a warrior, that defeated and contained them, and so onward to this present day, when billions of people lived in peace on the most beautiful of all worlds.
There was no more splendid story in all the universe. But was he, Aithin Furvain, such a small-souled man, a man flawed in so many ways, going to be able to encompass it? He had no illusions about himself. He saw himself as glib, lazy, dissolute, a weakling, an evader of responsibility, a man who throughout his whole life had sought the path of least resistance. How could he, of all people, having no other resource than a certain degree of cleverness and technical skill, hope to contain such a gigantic theme within the bounds of a single poem? It was too much for him. He could never do it. He doubted that anyone could. But certainly Aithin Furvain was not the one to attempt it.
And yet he seemed somehow to be writing it. Or was it writing him? No matter: the thing was taking shape, line by line, day by day. Call it divine inspiration, call it the overflowing of something that he had kept penned unknowingly within him for many years, call it whatever one wished, there was no denying that he had already written one full canto and fragments of two others, and that each day brought new verses. And there was greatness in the poem: of that he was certain. He would read through it over and over again, shakin
g his head in amazement at the power of his own work, the mighty music of the poetry, the irresistible sweep of the narrative. It was all so splendid that it humbled and bewildered him. He had no idea how it had been possible to achieve what he had done, and he shivered with dread at the thought that his miraculous fount of inspiration would dry up, as suddenly as it had opened, before the great task had reached its end.
The manuscript, unfinished though it was, became terribly precious to him. He came to see it now as his claim on immortality. It troubled him that only one copy of it existed, and that one kept in a room that could only be locked from outside. Fearful now that something might happen to it, that it might be blotted into illegibility by the accidental overturning of his ink-stand, or stolen by some prying malicious denizen of the fortress jealous of the attention paid to Furvain by Master Kasinibon, or even taken out of his room as trash by some illiterate servant and destroyed, he copied it out several times over, carefully hiding the copies in different rooms of his little suite. The main draft he buried each night in the lowest drawer of the cupboard in which he kept his clothing; and, a few days later, without really knowing why, he fell into the habit of painstakingly arranging three of his pens in a star-shaped pattern on top of the pile of finished sheets so that he would know at once if anyone had been prowling in that drawer.
Three days after that he saw that the pens had been disturbed. Furvain had taken care to lay them out with meticulous care, the central pen aligned each time at the same precise angle to the other two. This day he saw that the angle was slightly off, as though someone had understood that the purpose of the arrangement was the detection of an intrusion and had replaced the pens after examining the manuscript, but had not employed the greatest possible degree of accuracy in attempting to mimic Furvain’s own grouping of the pens. That night he chose a new pattern for the pens, and the next afternoon he saw that once again they had been put back almost as he had left them, but not quite. The same thing happened over the succeeding two days.
It could only have been the doing of Kasinibon himself, Furvain decided. No member of Kasinibon’s outlaw band, and certainly not any servant, would have taken half so much trouble over the pens. He is sneaking in while I am elsewhere, Furvain thought. He is secretly reading my poem.
Furious, Furvain sought Kasinibon out and assailed him for violating the privacy of his quarters.
To his surprise, Kasinibon made no attempt to deny the accusation. “Ah, so you know? Well, of course. I couldn’t resist.” His eyes were shining with excitement. “It’s marvelous, Furvain. Magnificent. I was so profoundly moved by it I can hardly begin to tell you. The episode of Lord Stiamot and the Metamorph priestess – when she comes before him, when she weeps for her people, and Stiamot weeps also—”
“You had no right to go rummaging around in my cupboard,” said Furvain icily.
“Why not? I’m the master here. I do as I please. All you said was that you didn’t want to have a discussion of an unfinished work. I respected that, didn’t I? Did I say a word? A single word? For days, now, I’ve been reading what you were writing, almost since the beginning, following your daily progress, practically participating in the creation of a great poem myself, and tears came to my eyes over the beauty of it, and yet not ever once did I give you a hint – never once—”
Furvain felt mounting outrage. “You’ve been going into my room all along?” he sputtered, astounded.
“Every day. Since long before you started the thing with the pens. Look, Furvain, a classic poem, one of the great masterpieces of literature, is being born under my own roof by a man I feed and shelter. Am I to be denied the pleasure of watching it grow and evolve?”
“I’ll burn it,” Furvain said. “Rather than let you spy on me any more.”
“Don’t talk idiocy. Just go on writing. I’ll leave it alone from now on. But you mustn’t stop, if that’s what you have in mind. That would be a monstrous crime against art. Finish the Melikand scene. Do the Dvorn story. And continue on to all the rest.” He laughed wickedly. “You can’t stop, anyway. The poem has you in its spell. It possesses you.”
Glaring, Furvain said, “How would you know that?”
“I’m not as stupid as you want to think I am,” said Kasinibon. But then he softened, asked for forgiveness, promised again to control his overpowering curiosity about the poem. He seemed genuinely repentant: afraid, even, that by intruding on Furvain’s privacy this way he might have jeopardized the completion of the poem. He would never cease blaming himself, he said, if Furvain took this as a pretext for abandoning the project. But also he would always hold it against Furvain. And then, once more with force: “You will go on with it. You will. You could not possibly stop.”
Furvain was unable to maintain his anger in the face of so shrewd an assessment of his character. It was clear that Kasinibon perceived Furvain’s innate slothfulness, his fundamental desire not to involve himself in anything as ambitious and strenuous as a work on this scale. But also Kasinibon saw that the poem held him in thrall, clasping him in a grip so powerful that even an idler such as he could not shrug off the imperative command that each day was willing the poem into being. That command came from somewhere within, from a place beyond Furvain’s own comprehension; but also, Furvain knew, it was reinforced by Kasinibon’s fierce desire to have him bring the work to completion. Furvain could not withstand the whiplash force of Kasinibon’s eagerness atop that other, interior command. There was no way to abandon the work.
Grudgingly he said, “Yes, I’ll continue. You can be sure of that. But keep out of my room.”
“Agreed.”
As Kasinibon began to leave Furvain called him back and said, “One more thing. Has there been any news yet from Dundilmir about my ransom?”
“No. Nothing. Nothing,” replied Kasinibon, and went swiftly from the room.
No news. About what I expected, Furvain thought. Tanigel has thrown the note away. Or they are laughing about it at court: can you believe it, poor silly Furvain, captured by bandits!
He felt certain that Kasinibon was never going to hear from Tanigel. It seemed appropriate, then, to draft new ransom requests – one to his father at the Labyrinth, one to Lord Hunzimar at the Castle, perhaps others to other people, if he could think of anyone who was even remotely likely to be willing to help – and have Kasinibon send his messengers forth with them.
Meanwhile Furvain continued his daily work. The trance state came ever more easily; the mysterious figure of Lord Valentine appeared whenever summoned, and gladly led him back through time into the dawn of the world. The manuscript grew. The pens were not disturbed again. After a little while Furvain ceased taking the trouble to lay them out.
Furvain saw the overall shape of the poem clearly, now.
There would be nine great sections, which in his mind had the form of an arch, with the Stiamot sequences at the highest part of the curve. The first canto would deal with the arrival of the original human settlers on Majipoor, full of the hope of leaving the sorrows of Old Earth behind and creating a paradise on this most wonderful of all worlds. He would depict their tentative early explorations of the planet and their awe at its size and beauty, and the founding of the first tiny outposts. In the second, Furvain would portray the growth of those outposts into towns and cities, the strife between the cities that arose in the next few hundred years, the spreading conflicts that caused in time the breakdown of all order, the coming of turbulence and general nihilism.
The third canto would be Dvorn’s: how he had risen up out of the chaos, a provincial leader from the west-country town of Kesmakuran, to march across Alhanroel calling upon the people of every town to join with him in a stable government uniting all the world under its sway. How by force of personality as well as strength of arms he had brought that government into being – the non-hereditary monarchy under the authority of an emperor to whom he gave the ancient title of Pontifex, “bridge-builder,” who would choose a royal subordinat
e, the Coronal Lord, to head the executive arm of his administration and ultimately to succeed him as Pontifex. And Furvain would tell how Dvorn and his Coronal, Lord Barhold, had won the support of all Majipoor and had established for all time the system of government under which the world still thrived.
Then the fourth canto, a transitional one, depicting the emergence of something resembling modern Majipoor out of the primordial structure devised by Dvorn. The construction of the atmosphere-machines that made possible the settling of the thirty-mile-high mountain that later would be called Castle Mount, and the founding of the first cities along its lower slopes. Lord Melikand’s insight that the human population alone was insufficient to sustain the growth of a world the size of Majipoor, and his importation of the Skandars, the Vroons, the Hjorts, and the other various alien races to live side by side with humankind there. The exacerbation of human-Metamorph conflicts, now, as the relatively sparse aboriginal population found itself being crowded out of its own territories by the growth of the settlements. The beginnings of war.
Lord Stiamot’s canto, already completed, would be the fifth one, the keystone of the great arch. But reluctantly Furvain realized that Stiamot required more space. The canto would have to be expanded, divided perhaps into two, or more likely three, in order to do justice to the theme. It was necessary to limn Stiamot’s moral anguish, the terrible ironies of his reign, the man of peace compelled for his people’s sake to wage a ghastly war against the original inhabitants of the world, innocent though those inhabitants were of anything but the desire to retain possession of their own planet. Stiamot’s construction of a castle for the Coronal at the highest point of the Mount, symbolizing his epic victory, would be the climax of the middle section of the poem. Then would come the final three cantos, one to show the gradual return to general tranquility, one to portray Majipoor as a fully mature world, and one, a visionary ninth one not entirely shaped yet in Furvain’s mind, which would, perhaps, deal somehow with the healing of the unresolved instabilities – the wound – that the war against the Metamorphs had created in the fabric of the planet’s life.
Tales of Majipoor Page 10