Sitting in the dark window he seems to see them Now they are gathering, entering the door. They are nearly all there now And then he begins to say, “Now. Now,” leaning a little forward; and then, as though it had waited for his signal, the music begins. The organ strains come rich and resonant through the summer night, blended, sonorous, with that quality of abjectness and sublimation, as if the freed voices themselves were assuming the shapes and attitudes of crucifixions, ecstatic, solemn, and profound in gathering volume. Yet even then the music has still a quality stern and implacable, deliberate and without passion so much as immolation, pleading, asking, for not love, not life, forbidding it to others, demanding in sonorous tones death as though death were the boon, like all Protestant music. It was as though they who accepted it and raised voices to praise it within praise, having been made what they were by that which the music praised and symbolised, they took revenge upon that which made them so by means of the praise itself. Listening, he seems to hear within it the apotheosis of his own history, his own land, his own environed blood: that people from which he sprang and among whom he lives who can never take either pleasure or catastrophe or escape from either, without brawling over it. Pleasure, ecstasy, they cannot seem to bear: their escape from it is in violence, in drinking and fighting and praying; catastrophe too, the violence identical and apparently inescapable And so why should not their religion drive them to crucifixion of themselves and one another? he thinks. It seems to him that he can hear within the music the declaration and dedication of that which they know that on the morrow they will have to do. It seems to him that the past week has rushed like a torrent and that the week to come, which will begin tomorrow, is the abyss, and that now on the brink of cataract the stream has raised a single blended and sonorous and austere cry, not for justification but as a dying salute before its own plunge, and not to any god but to the doomed man in the barred cell within hearing of them and of the two other churches, and in whose crucifixion they too will raise a cross. ‘And they will do it gladly,’ he says, in the dark window. He feels his mouth and jaw muscles tauten with something premonitory, something more terrible than laughing even. ‘Since to pity him would be to admit selfdoubt and to hope for and need pity themselves. They will do it gladly, gladly. That’s why it is so terrible, terrible, terrible.’ Then, leaning forward, he sees three people approach and turn into the gate, in silhouette now against the street lamp, among the shadows. He has already recognised Byron and he looks at the two who follow him. A woman and a man he knows them to be, yet save for the skirt which one of them wears they are almost interchangeable: of a height, and of a width which is twice that of ordinary man or woman, like two bears. He begins to laugh before he can prepare to stop it. ‘If Byron just had a handkerchief about his head, and earrings,’ he thinks, laughing and laughing, making no sound, trying to prepare to stop it in order to go to the door when Byron will knock.
Byron leads them into the study—a dumpy woman in a purple dress and a plume and carrying an umbrella, with a perfectly immobile face, and a man incredibly dirty and apparently incredibly old, with a tobaccostained goat’s beard and mad eyes. They enter not with diffidence, but with something puppetlike about them, as if they were operated by clumsy springwork. The woman appears to be the more assured, or at least the more conscious, of the two of them. It is as though, for all her frozen and mechanically moved inertia, she had come for some definite purpose or at least with some vague hope. But he sees at once that the man is in something like coma, as though oblivious and utterly indifferent to his whereabouts, and yet withal a quality latent and explosive, paradoxically rapt and alert at the same time.
“This is her,” Byron says quietly. “This is Mrs. Hines.” They stand there, motionless: the woman as though she had reached the end of a long journey and now among strange faces and surroundings waits, quiet, glacierlike, like something made of stone and painted, and the calm, rapt yet latently furious and dirty old man. It is as though neither of them had so much as looked at him, with curiosity or without. He indicates chairs. Byron guides the woman, who lowers herself carefully, clutching the umbrella. The man sits at once. Hightower takes his chair beyond the desk. “What is it she wants to talk to me about?” he says.
The woman does not move. Apparently she has not heard. She is like someone who has performed an arduous journey on the strength of a promise and who now ceases completely and waits. “This is him,” Byron says. “This is Reverend Hightower. Tell him. Tell him what you want him to know.” She looks at Byron when he speaks, her face quite blank. If there is inarticulateness behind it, articulateness is nullified by the immobility of the face itself; if hope or yearning, neither hope nor yearning show. “Tell him,” Byron says. “Tell him why you came. What you came to Jefferson for.”
“It was because—” she says. Her voice is sudden and deep, almost harsh, though not loud. It is as though she had not expected to make so much noise when she spoke; she ceases in a sort of astonishment as though at the sound of her own voice, looking from one to the other of the two faces.
“Tell me,” Hightower says. “Try to tell me.”
“It’s because I …” Again the voice ceases, dies harshly though still not raised, as though of its own astonishment. It is as if the three words were some automatic impediment which her voice cannot pass; they can almost watch her marshalling herself to go around them. “I ain’t never seen him when he could walk,” she says. “Not for thirty years I never saw him. Never once walking on his own feet and calling his own name—”
“Bitchery and abomination!” the man says suddenly. His voice is high, shrill, strong. “Bitchery and abomination!” Then he ceases. Out of his immediate and dreamlike state he shouts the three words with outrageous and prophetlike suddenness, and that is all. Hightower looks at him, and then at Byron. Byron says quietly:
“He is their daughter’s child. He—” with a slight movement of the head he indicates the old man, who is now watching Hightower with his bright, mad glare—“he took it right after it was born and carried it away. She didn’t know what he did with it. She never even knew if it was still alive or not until—”
The old man interrupts again, with that startling suddenness. But he does not shout this time: his voice now is as calm and logical as Byron’s own. He talks clearly, just a little jerkily: “Yes. Old Doc Hines took him. God give Old Doc Hines his chance and so Old Doc Hines give God His chance too. So out of the mouths of little children God used His will. The little children hollering Nigger! Nigger! at him in the hearing of God and man both, showing God’s will. And Old Doc Hines said to God, ‘But that ain’t enough. Them children call one another worse than nigger,’ and God said, ‘You wait and you watch, because I ain’t got the time to waste neither with this world’s sluttishness and bitchery. I have put the mark on him and now I am going to put the knowledge. And I have set you there to watch and guard My will. It will be yours to tend to it and oversee.’ ” His voice ceases; his tone does not drop at all. His voice just stops, exactly like when the needle is lifted from a phonograph record by the hand of someone who is not listening to the record. Hightower looks from him to Byron, also almost glaring.
“What’s this? What’s this?” he says.
“I wanted to fix it so she could come and talk to you without him being along,” Byron says. “But there wasn’t anywhere to leave him. She says she has to watch him. He was trying down in Mottstown yesterday to get the folks worked up to lynch him, before he even knew what he had done.”