`We continue with Byron,' he says, plunging into his notes. 'As we saw last week, notoriety and scandal affected not only Byron's life but the way in which his poems were received by the public. Byron the man found himself conflated with his own poetic creations - with Harold, Manfred, even Don Juan.'
Scandal. A pity that must be his theme, but he is in no state to improvise. He steals a glance at Melanie. Usually she is a busy writer.
Today, looking thin and exhausted, she sits huddled over her book. Despite himself, his heart goes out to her. Poor little bird, he thinks, whom I have held against my breast!
He has told them to read 'Lara'. His notes deal with 'Lara'. There is no way in which he can evade the poem. He reads aloud:
He stood a stranger in this breathing world,
An erring spirit from another hurled;
A thing of dark imaginings, that shaped
By choice the perils he by chance escaped.
`Who will gloss these lines for me? Who is this "erring spirit"? Why does he call himself "a thing"? From what world does he come?'
He has long ceased to be surprised at the range of ignorance of his students. Post-Christian, posthistorical, postliterate, they might as well have been hatched from eggs yesterday. So he does not expect them to know about fallen angels or where Byron might have read of them. What he does expect is a round of goodnatured guesses which, with luck, he can guide toward the mark. But today he is met with silence, a dogged silence that organizes itself palpably around the stranger in their midst. They will not speak, they will not play his game, as long as a stranger is there to listen and judge and mock.
`Lucifer,' he says. 'The angel hurled out of heaven. Of how angels live we know little, but we can assume they do not require oxygen. At home Lucifer, the dark angel, does not need to breathe. All of a sudden he finds himself cast out into this strange "breathing world" of ours. "Erring": a being who chooses his own path, who lives dangerously, even creating danger for himself. Let us read further.'
The boy has not looked down once at the text. Instead, with a little smile on his lips, a smile in which there is, just possibly, a touch of bemusement, he takes in his words.
He could
At times resign his own for others' good,
But not in pity, not because he ought,
But in some strange perversity of thought,
That swayed him onward with a secret pride
To do what few or none would do beside;
And this same impulse would in tempting time
Mislead his spirit equally to crime.
`So, what kind of creature is this Lucifer?'
By now the students must surely feel the current running between them, between himself and the boy. It is to the boy alone that the question has addressed itself; and, like a sleeper summoned to life, the boy responds. 'He does what he feels like. He doesn't care if it's good or bad. He just does it.'
Иxactly. Good or bad, he just does it. He doesn't act on principle but on impulse, and the source of his impulses is dark to him. Read a few lines further: "His madness was not of the head, but heart." A mad heart. What is a mad heart?'
He is asking too much. The boy would like to press his intuition further, he can see that. He wants to show that he knows about more than just motorcycles and flashy clothes. And perhaps he does. Perhaps he does indeed have intimations of what it is to have a mad heart. But, here, in this classroom, before these strangers, the words will not come. He shakes his head.
`Never mind. Note that we are not asked to condemn this being with the mad heart, this being with whom there is something constitutionally wrong. On the contrary, we are invited to understand and sympathize. But there is a limit to sympathy. For though he lives among us, he is not one of us. He is exactly what he calls himself: a thing, that is, a monster. Finally, Byron will suggest, it will not be possible to love him, not in the deeper, more human sense of the word. He will be condemned to solitude.'
Heads bent, they scribble down his words. Byron, Lucifer, Cain, it is all the same to them. They finish the poem. He assigns the first cantos of Don Juan and ends the class early. Across their heads he calls to her: 'Melanie, can I have a word with you?'
Pinch-faced, exhausted, she stands before him. Again his heart goes out to her. If they were alone he would embrace her, try to cheer her up. My little dove, he would call her.
`Shall we go to my office?' he says instead.
With the boyfriend trailing behind, he leads her up the stairway to his office. 'Wait here,' he tells the boy, and closes the door on him.
Melanie sits before him, her head sunken. 'My dear,' he says, `you are going through a difficult time, I know that, and I don't want to make it more difficult. But I must speak to you as a teacher. I have obligations to my students, all of them. What your friend does off campus is his own business. But I can't have him disrupting my classes. Tell him that, from me.
‘As for yourself, you are going to have to give more time to your work. You are going to have to attend class more regularly. And you are going to have to make up the test you missed.'
She stares back at him in puzzlement, even shock. You have cut me off from everyone, she seems to want to say. You have made me bear your secret. I am no longer just a student. How can you speak to me like this?
Her voice, when it comes, is so subdued that he can barely hear: ‘I can't take the test, I haven't done the reading.'
What he wants to say cannot be said, not decently. All he can do is signal, and hope that she understands.
'Just take the test, Melanie, like everyone else. It does not matter if you are not prepared, the point is to get it behind you. Let us set a date. How about next Monday, during the lunch break? That will give you the weekend to do the reading.'
She raises her chin, meets his eye defiantly. Either she has not understood or she is refusing the opening.
`Monday, here in my office,' he repeats.
She rises, slings her bag over her shoulder.
`Melanie, I have responsibilities. At least go through the motions. Don't make the situation more complicated than it need be.'
Responsibilities: she does not dignify the word with a reply.
Driving home from a concert that evening, he stops at a traffic light. A motorcycle throbs past, a silver Ducati bearing two figures in black. They wear helmets, but he recognizes them nevertheless. Melanie, on the pillion, sits with knees wide apart, pelvis arched. A quick shudder of lust tugs him. I have been there! he thinks. Then the motorcycle surges forward, bearing her away.
FIVE
SHE DOES NOT appear for her examination on Monday. Instead, in his mailbox he finds an official withdrawal card: Student 7710 101SAM Ms M Isaacs has withdrawn from COM 312 with immediate effect.
Barely an hour later a telephone call is switched through to his office. 'Professor Lurie? Have you a moment to talk? My name is Isaacs, I'm calling from George. My daughter is in your class, you know, Melanie.'
`Yes.'
`Professor, I wonder if you can help us. Melanie has been such a good student, and now she says she is going to give it all up. It has come as a terrible shock to us.'
‘I'm not sure I understand.'
`She wants to give up her studies and get a job. It seems such a waste, to spend three years at university and do so well, and then drop out before the end. I wonder if I can ask, Professor, can you have a chat with her, talk some sense into her?'
`Have you spoken to Melanie yourself? Do you know what is behind this decision?'
`We spent all weekend on the phone to her, her mother and I, but we just can't get sense out of her. She is very involved in a play she is acting in, so maybe she is, you know, overworked,overstressed. She always takes things so to heart, Professor, that's her nature, she gets very involved. But if you talk to her, maybe you can persuade her to think again. She has such respect for you. We don't want her to throw away all these years for nothing.'