From his dais chair at the high table he has announced to everyone in the great hall that he has heard of another enchanted princess, some leagues distant, who has slept for a hundred years, and that he now intends to ride out to find her and, if possible, to break the ancient spell. As a royal prince, dedicated to virtuous exploits of this nature, it is the least he can do, for the sake of the stricken kingdom as much as for the maiden. So, pushed on by love and honor, he has kissed his wife good-bye (or would have, had she let him) and sallied forth to confront evil, tame mystery, make his name. At the castle gates, he encounters an old webfooted hunchback who gives him a boon and a prophetic warning. Her boon is a magic ointment that will drive off wicked sorceresses and also restore hair, heal unnatural wounds, and revive manly vigor. The warning is: Take along the old weird’s head, when you approach the enchanted bed. And she seems to take off her own and offer it to him. He laughs, confident of his own princely powers, and the crone, cackling along with him, disappears as though suddenly turned to dust. He journeys for many years, following the conflicting advice of countrymen met on the way, until he arrives at an enchanted forest near the edge of the world and is directed to a dark gloomy castle, said to be haunted by spirits and ogres and to contain in its depths a sleeping princess who has lain there as though dead for a hundred years. Yes, I know, that is why I am here, he says. It is my vocation. Over the years, brambles have grown up around the castle, leaving only the pale moonlit turrets and battlements visible. It will not be easy, but this, too, he has anticipated, for the pursuit of a noble quest, he knows, is ever arduous and fraught with peril. He tethers his steed, draws his sword, and steps boldly into the dense overgrowth without looking back. Fortunately, he has arrived when the thicket is in full bloom. He has left the crone’s ointment back in his saddlebag, but he won’t need it, even were it what the old fraud claimed it to be: the branches part gently, the fragrant petals caress his cheeks. He is surprised how easy it is. How familiar. He feels, oddly, like he’s coming home again. It is not the castle, no, nor the princess inside (perhaps he will reach her and disenchant her with a kiss, perhaps he will not; it matters less than he’d supposed), but this flowering briar patch, hung with old bones, wherein he strives. I am he who awakens Beauty, the bones seem to whisper as the blossoms enfold him.
She lies alone in her dusky bedchamber atop the morbid bed. Perhaps she has never left it, her body anchored forever here by the pain of the spindle prick, while her disembodied self, from time to time, goes aimlessly astray, drifting through the castle of her childhood, in search of nothing whatsoever, except perhaps distraction from her lonely fears (of the dark, of abandonment, of not knowing who she is, of the death of the world), which gnaw at her ceaselessly like the scurrying rodents beneath her silken chemise. If she is still asleep, it does not feel like sleep, more like its opposite, an interminable wakefulness from which she cannot ease herself, yet one that leaves no residue save echoes of an old crone’s tales, and the feeling that her life is not, has not been a life at all. Sometimes, in her wanderings, she finds a castle populous with sleepers, frozen in their tracks, snoring pimply-faced guards clutching wineglasses in which the dregs have dried, round-bellied scullery maids sweeping, their stilled labor swagged in thick dusty webs, the cook with a fistful of the kitchen boy’s hair, his cuffing stopped in sudden sleep. But if she opens her eyes again, the castle will be dark and empty, hollow with a chill wind blowing, or else suddenly filled with a bustling confusion of servants, knights, children, animals, husbands or lovers, all making demands upon her, demands she cannot possibly fulfill, or even understand, and all she longs for, as she tells the old crone in the tower, is to sleep again. The crone may cackle or tell a story or scold her for her self-absorption, but sooner or later she will open her eyes and find herself here in her moldy bed once more, waiting for she knows not what in the name of waiting for her prince to come. Of whom, no lack, though none true so far of course, unless in some strange wise they all are, her sequential disenchantments then the very essence of her being, the fairy’s spell binding her not to a suspenseful waiting for what might yet be, but to the eternal reenactment of what, other than, she can never be. She closes her eyes to such a cruel fate, but, as always, it is as if she has opened them again, and now to yet another prince arriving, bloodied but exultant, at her bedside. She welcomes him, cannot do other, ready as always for come what may. He leans toward her, blows her dessicated gown away. Yes, yes, that’s right, my prince! And now, tenderly if you can, toothily if need be, take this spindled pain away …
SPANKING THE MAID
She enters, deliberately, gravely, without affectation, circumspect in her motions (as she’s been taught), not stamping too loud, nor dragging her legs after her, but advancing sedately, discreetly, glancing briefly at the empty rumpled bed, the cast-off nightclothes. She hesitates. No. Again. She enters. Deliberately and gravely, without affectation, not stamping too loud, nor dragging her legs after her, not marching as if leading a dance, nor keeping time with her head and hands, nor staring or turning her head either one way or the other, but advancing sedately and discreetly through the door, across the polished floor, past the empty rumpled bed and cast-off nightclothes (not glancing, that’s better), to the tall curtains along the far wall. As she’s been taught. Now, with a humble yet authoritative gesture, she draws the curtains open: Ah! the morning sunlight comes flooding in over the gleaming tiles as though (she thinks) flung from a bucket. She opens wide the glass doors behind the curtains (there is such a song of birds all about!) and gazes for a moment into the garden, quite prepared to let the sweet breath of morning blow in and excite her to the most generous and efficient accomplishments, but her mind is still locked on that image, at first pleasing, now troubling, of the light as it spilled into the room: as from a bucket … She sighs. She enters. With a bucket. She sets the bucket down, deliberately, gravely, and walks (circumspectly) across the room, over the polished tiles, past the empty rumpled bed (she doesn’t glance at it), to draw open the tall curtains at the far wall. Buckets of light come flooding in (she is not thinking about this now) and the room, as she opens wide the glass doors, is sweetened by the fresh morning air blowing in from the garden. The sun is fully risen and the pink clouds of dawn are all gone out of the sky (the time lost: this is what she is thinking about), but the dew is still on every plant in the garden, and everything looks clean and bright. As will his room when she is done with it.