‘What tower?’ said Bembel Rudzuk.
‘The tower at the centre,’ said the foreman.
‘Ah!’ said Bembel Rudzuk.
‘Did you commission this tower?’ I said to Bembel Rudzuk when the foreman had moved away from us.
‘No,’ he said, ‘but it will give us a platform from which to observe the action of the pattern, and as it will be built at the very beginning we shall thus better see the development of the pattern as it is assembled. I myself had been thinking of erecting a tower when the pattern was complete but it’s better really to have it now.’
The central unit, the hexagon from which would overlappingly radiate all the other hexagons and the stars they contained, measured six feet four inches at its greatest width, and it was on this hexagon that the hexagonal tower was to be built. On the underside of each of the thirty-six tiles of this central hexagon Bembel Rudzuk wrote one of the various names of Allah: The Beneficent on one, The Merciful on another, and so on. ‘You too must write on these tiles,’ he said to me.
‘I cannot,’ I said. ‘God for me is beyond naming, nor have I any other words to write.’ As I said this I noticed two figures poised attentively at the edge of the stone square: one was the Imam, the leader of the local Muslim congregation; the other was Rabbi Akiba ben Eliezer. The Imam was tall and lean, the Rabbi short and stocky; the Imam had black eyes and a white beard, the Rabbi had blue eyes and a red beard; but their differences disappeared in the unanimity of their disapproval: their paired gaze was like four long iron rods, the two from the Imam pinioning Bembel Rudzuk and the two from the Rabbi pinioning me. Having declined the Rabbi’s invitation to join the congregation I always felt defensive when I saw him. Bembel Rudzuk, while a perfectly respectable member of the Muslim community, was known to be a strongly individual thinker. I hoped that the Imam and the Rabbi would be content to leave us to our work as we left them to theirs; but of course we were their work so I resigned myself to that iron optical embrace.
The thirty-six central tiles having been duly inscribed were now ready to be set in mortar. The lines where paving stones met indicated the axes of the square, and guided by these the foreman and his helper stretched their strings, trowelled in the mortar, and caused the tiles to appear to their proper places. Their activity seemed nothing so gross as common tile-laying: rather the tiles leapt into their hands, there was written on the air a fleeting calligraphy of dark limbs and white garments and Aha! the tiles manifested the central hexagon. The foreman and his helper seemed (they did it so quietly that I couldn’t be certain) to be hissing and humming some little song frequently punctuated by tiny explosive exhalations of breath: ‘Dzah!’ and ‘Dzee!’ and ‘Dzim!’ To this almost silent sibilance moved the white garments, the dark limbs, the red and black and tawny triangles into Hidden Lion.
As Bembel Rudzuk and I stood looking at the design we both noticed at the same moment that it was as it had been with the drawing that I had made on paper that night in November when Hidden Lion first appeared to me: The motion is already there,’ said Bembel Rudzuk.
‘Did you notice when it first became apparent?’ I said.
‘No,’ he said, ‘I was intent on the placing of the tiles. Did you?’
‘No,’ I said, ‘I simply forgot all about it.’ ‘Our first lesson,’ said Bembel Rudzuk: ‘the heart of the mystery is meant to remain a mystery.’
Hidden Lion! (For me that would always be the name of precedence; the Willing Virgin was the name for an aspect of the pattern that had not been made apparent to me by the pattern itself.) To see that central hexagon in its full-scale alternation of large and small red and black and tawny triangles, its solid and tangible actuality of fired and glazed tiles, was quite astonishing, there was so much action in it. I have before this described my drawing of the twelvefold repetition and my surprise at the quantity and variety of the action in it. But here there was as yet no repetition, there was only this hexagon made up of large and small triangles: the eighteen large outer ones; the twelve small inner ones; the six shallow ones between the inner and the outer. It was immediately apparent that the large interlocking red and black and tawny triangles of the outer hexagon were predisposed to turn, to revolve, to remind themselves that they were born of a circle. To this central hexagon at Bembel Rudzuk’s request I gave a name: David’s Wheel.
Firouz came to us again that day and stood looking at David’s Wheel, magnetically drawn, it seemed, by the pattern. This time he seemed to be without animosity, seemed to look on us with respect, as when a little boy watches his father string a bow that he himself will not be able to bend until he is grown a man. He spread out his fingers as if gripping a small wheel, he rotated his outspread, hooked fingers. ‘It turns,’ he said, ‘there is a turning in it: the turning of the sun and the moon and the stars; the turning of the wheels of fate and fortune. Thus do we see that at the centre of the universe there is a turning, there is a turning at the heart of the mystery. This turning pattern that you have made with these tiles, has it a name?’
‘David’s Wheel,’ I said, and then I was sorry that I had said it; I didn’t want him to know the name of anything that meant anything to me.
‘David’s Wheel,’ he said. ‘David slew Goliath and became a great king. And yet he turned, did he not. He turned from what was right, he turned to the wrong, he lusted after Bathsheba, he told Joab to put Uriah her husband in the forefront of the hottest battle. Then when Uriah was dead he joyed himself, did he not, with Bathsheba the juicy widow, the fruit of his wrongdoing.’
‘He was only a man,’ I said. ‘He made music, he sang and danced before the Lord.’
‘Only a man!’ said Firouz. ‘Only a man!’ He turned on his heel, always he left with that heel-turn, never did he simply walk away as others did.
Tower Gate now made his appearance, drawing near in a manner that commanded attention by the power of his attention; he came as if mystically summoned by David’s Wheel, and he so focused his approaching presence on that hexagon that it seemed to be a winch that was winding him in with an invisible rope.
When he arrived at David’s Wheel he looked down into it with a look that made me feel utterly left out and excluded from any understanding whatever of the thing that I had summoned with my compass and my straight-edge; one sees that always with specialists: a bowman picks up a bow in a way that leaves the non-bowman feeling poor; a silk merchant reads the silk with his fingers and almost there rise up from his touch phantom ships and camels, distant mountains, distant seas. Tower Gate looked down into David’s Wheel and in his face I tried without success to read whether he looked into crystalline depths or into an abyss of smoke and flame.
‘What do you see?’ I blurted out.
He looked at me as if I had farted during prayers, looked away graciously, then looked back with a face that showed willingness to put the incident behind us. ‘Let me show you the plan and elevations for the tower,’ he said to Bembel Rudzuk, and opened a roll of drawings which he handed to his foreman, who laid them on David’s Wheel and put loose tiles on the corners to hold them flat.
‘This tower wants to be very plain,’ said Tower Gate; ‘it wants to be nothing immodest, nothing too commanding. It is a little hexagonal tower with its stairs going round the outside of it. This is not a seashell that grows itself round its own spiral and remembers in its windings the sound of the sea; this tower remembers nothing and its unsheltered spiral is open to the sky.
‘To what is the height of this tower related? To the triangles on which it stands. These triangles offer us an angle of thirty degrees, an angle of sixty degrees, and an angle of one hundred and twenty degrees. The obtuse angle not being usable we try the other two: projecting a sixty-degree angle from the edge of your square to a point above the centre gives us a tower more than a hundred feet high, a real God-challenger and not to be thought of even if it were practically possible on a base only six feet four inches across; projecting a thirty-degree angle gives us a
tower about thirty-five feet high which is still a little pretentious. What then remains to us? In reverence and in modesty (if indeed we can apply such words to a project so thoroughly dubious) we halve that angle and arrive at this tower just over sixteen feet high, taller than a man on a camel but not so high in the air as the mu’addhin; it is a height for broadening one’s view a little but not for feeling too far above the world.’
‘I am powerfully impressed by the care you have taken in this matter,’ said Bembel Rudzuk, ‘and I am profoundly grateful for the discretion you have shown; one can so easily do the wrong thing.’
‘We may well have done the wrong thing in any case,’ said Tower Gate, ‘but life is after all a matter of making choices and one is bound to choose wrong in one or two of those matters that really matter.’
So the tower was built. It had no ornamentation, no red and black triangles; it was made of plain tawny bricks. The platform at the top was built out a foot wider all round than the base; it was enclosed by a parapet three feet high and left open to the sky.
The tower being complete the pattern began to spread outward from it. I felt a pang of regret: once begun, a project can only be completed or abandoned; actuality is gained as potentiality is lost. There was no stopping the growth of Hidden Lion; the serpents twisted through the stars, the pyramids shifted and regrouped, the lions appeared and disappeared, the illusory enclaves of disorder were suddenly there, suddenly not there. And under each tile a name of God.
To visualize a pattern, whether in a drawing or in tiles or even to see it with the eye of the mind only, is to make visible the power in the pattern. Because of the scale of Hidden Lion the power was very clearly to be seen from the top of the tower; it was like the power that surges beneath the skin of a strong river.
‘This motion that we see is the motion of the Unseen,’ said Bembel Rudzuk. ‘This power that we see is the power of the Unseen, and it is both conscious power and the power of consciousness. Here already are two of my questions answered: motion is in the pattern from the very beginning because the motion is there before the pattern, the pattern is only a mode of appearance assumed by the motion; consciousness also is in the pattern from the very beginning because the consciousness is there before the pattern, the pattern is only a kind of window for the consciousness to look out of. Although serpents, pyramids, and lions seem to appear in the pattern, that is only because the human mind will make images out of anything; the pattern is in actuality abstract, it represents nothing and asserts no images. It offers itself modestly and reverently to the Unseen and the Unseen takes pleasure in it.’
I said, ‘May it be that there is no necessity to study this pattern or observe it methodically? May it not even be inadvisable to do so? May it not be that the best way of conducting oneself with this pattern is simply to take it in without any thought and to enjoy in it the presence of the Unseen?’
‘I think you’re right,’ said Bembel Rudzuk.
So. Bembel Rudzuk went on writing the names of Allah on the undersides of the tiles and the workmen went on dancingly fitting them into the pattern. And what was my work at this time? I was a witness. I was there to see every tile fitted, I was there to see Hidden Lion grow triangle by triangle. I wrote down no observations, kept no record of its progress from day to day; I drained off none of the virtue of it; I gave my mind to it and there it lived and went its way.
All the time that the work of putting together Hidden Lion was going on we were watched daily by children, by idlers and street sages, by all manner of people pausing on the way from one place to another. The children soon began to walk on the pattern in special ways and to dance on it, sometimes stepping only on the red triangles, sometimes only on the black. Seeing them always out of the corner of my eye I found in my mind new and unwritten names of God: The Tiptoeing; The Sidewise-Jumping; The Hopping; The Leaping; The Dancing; The Whirling.
One morning the baker who had a shop near Hidden Lion came and stood respectfully before Bembel Rudzuk. ‘My lord,’ he said, ‘I have heard that this design came to you in a dream, that you were commanded by Allah to cover this square with this pattern, and that on the underside of each tile is written a name of Allah in all the tongues of mankind. Is this true?’
‘The design came to me in the mind of this pilgrim,’ said Bembel Rudzuk, indicating me. ‘Certainly it is by the will of Allah that we do this work, and it is true that there is written on the underside of each tile a name of Allah, but in Arabic only.’
‘This is virtuous action,’ said the baker, ‘and therefore one is not surprised that there is virtue in it. My son comes here to play in the evening, he does no harm, he only walks on the tiles. For three months he has had an infection of the right eye. Yesterday evening he walked from star to star on one line of stars for as far as the tiles went. Walking towards Mecca he trod only on the small red triangles and looked at them fixedly; walking back he trod only on the small black triangles and looked at them fixedly. This morning the eye infection is completely gone. I have no wish to intrude upon your good work but I ask in all humility that you take this small offering which is nothing really, it is only that something should pass from my hand to your hand in the name of Allah The Responsive, The Restorer.’ He put some money into the hand of Bembel Rudzuk.
‘Will you not rather give this money to the poor?’ said Bembel Rudzuk.
‘I give to the poor as well,’ said the baker. ‘This is something else, this is in praise of Allah whose attributes are infinite, Allah who has caused this idea to move you; it is only to show that I in my insignificant way am grateful.’
‘So be it,’ said Bembel Rudzuk. ‘The pattern is abstract; let the money also be used abstractly. I shall put it into one of the tiles of the pattern where it will be united with the design on the pattern and with the names of Allah in celebration of your gratitude to Him The Responsive, Him The Restorer.’
Bembel Rudzuk instructed a workman to chip out of the two-inch thickness of one of the tiles a shallow recess in the bottom; the money was mortared into the tile and the tile, inscribed with the desired names of Allah, was put into Hidden Lion.
On the next day came the potter whose shop was in the same street as that of the baker. ‘In the five years of our marriage,’ he said to Bembel Rudzuk, ‘my wife had not been able to conceive. At the end of the first day’s work after the building of the tower she came here and stepped on every tile that was in the pattern, saying while she did so the names of Allah. For seven evenings she came here and did this. Now is her womb quickened with life. I beg that this wholly inadequate offering be incorporated in one of your tiles dedicated to Allah, The Generous One.’
Bembel Rudzuk sighed. ‘Having accepted the money of the baker I cannot refuse yours,’ he said. ‘I shall do with it as you request.’
‘Wonderful are the ways of Allah!’ said Bembel Rudzuk after the potter had gone. ‘For such a little time was Hidden Lion permitted to go its uncorrupted way! Yesterday I did a foolish thing and today I am forced to continue in my foolishness. Already is the integrity of the work marred physically and spiritually. Two of the tiles have been mutilated for this primitive good-luck commerce and now there will be no end to it. Yesterday the Imam scowled at me; today he will laugh: I have become a vendor of good-luck charms.’
‘Then don’t let them give you any more money,’ I said.
‘Too late,’ said Bembel Rudzuk. ‘I must go on as I have begun. Striving too hard after wisdom has made me a fool.’
The visits of the baker and the potter made us aware that Hidden Lion had a life of its own in those evening hours when we were not there. The pregnancy of the potter’s wife reminded me that it had not been days but weeks since the tiles had begun to cover the square. People had been walking on the tiles, dancing on them, kissing them, counting them, contemplating them, acting in various special ways upon them, doing whatever they were moved by the place, the pattern, and the desire of their hearts to do. In the days that
followed it was not single visitors who came but several at once, then more and more who waited patiently to tell Bembel Rudzuk how their wishes had been gratified and to give him their offering large or small for the work.
The Imam and the Rabbi were often to be seen observing what was going on. Bembel Rudzuk was right: the Imam, although not actually laughing, was smiling broadly. The Rabbi had on his face a particularly Jewish look: the pensive look of a man who while smiling almost fondly at people who are being childish is at the same time well aware that these childish people may at any moment require his life of him.
Firouz, a few days after his instructions as to dress, horses, and weapons, was reminded by the Rabbi’s yellow turban and belt that I was not similarly distinguishable. He questioned me about this with some severity and I told him that as a eunuch I could not count myself a member of the Jewish congregation. He then asked the Rabbi if that was so. The Rabbi, buttoning me with his eye, said that it was so. I expected Firouz to say that exclusion from the congregation did not cancel my Jewish status in dhimma matters but he did not say that; he looked thoughtful and he never broached the subject again.
At this time the pattern was still expanding, it had not yet covered the whole square. Children, I noticed, were particularly fond of walking and dancing the shape of the unfinished edges. It became evident to me that the forward edge of a pattern’s visible expansion is attractive, it excites in people and in things a desire to shape themselves to it, to meet it and move with its advance. I speak of the forward edge of the pattern’s visible expansion because I had become more and more strongly aware that the visual manifestation of a pattern comes only after the pattern is already in existence and already infinite: the visible expansion is only a finite tracing of what, being infinite, cannot further expand.
It was at this time also that I noticed that Hidden Lion in its abstractness was capable of activating in my vision more than the serpents, pyramids, lions, and enclaves of apparent disorder that I have described: there rose up from the motion and consciousness of the pattern an apparition of Jerusalem, a phantom of place unseen. It was that Jerusalem of my ignorance, that inn-sign Jerusalem of coarse and vivid colour, the solid geometry of its forms tawny-stoned, golden-domed, purple-shadowed, the aerial geometry of its light and shade rising with the forms transparently upon the air over Hidden Lion. Sometimes it was there, sometimes not. I was uncertain of the meaning of this apparition; sometimes I thought one thing, sometimes another. Sometimes I tried to move my mind away from it.
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