"Wonderful," Jolenta said. "They won't mind if we take one, will they? Or if they do, I'll be brought before someone important, just as it is in the play, and when he sees me he'll never let me leave. I'll make Dr. Talos stay with me, and you if you want. They'll have some use for you." I told her I would have to continue my journey north and lifted her into the boat, putting my arm about a waist quite as slender as Dorcas's.
She lay down at once upon the cushions, where the uplifted petals gave her perfect complexion shade. It made me think of Agia, laughing in the sun as we descended the Adamnian Steps and boasting of the wide-brimmed hat she would wear next year. Agia had no feature that was not inferior to Jolenta's; she had been hardly taller than Dorcas, with hips over-wide and breasts that would have seemed meager beside Jolenta's overflowing plenitude; her long, brown eyes and high cheekbones were more expressive of shrewdness and determination than passion and surrender. Yet Agia had engendered a healthy rut in me. Her laughter, when it came, was often tinged with spite; but it was real laughter. She had sweated with her heat; Jolenta's desire was no more than the desire to be desired, so that I wished, not to comfort her loneliness as I had wished to comfort Valeria's, nor to find expression for an aching love like the love I had felt for Thecla, nor to protect her as I wished to protect Dorcas; but to shame and punish her, to destroy her self-possession, to fill her eyes with tears and tear her hair as one burns the hair of corpses to torment the ghosts that have fled them. She had boasted that she made tribadists of women. She came near to making an algophilist of me.
"This is my last performance, I know. I feel it. The audience is sure to hold someone . . ." She yawned and stretched. It appeared so certain her straining bodice would be unable to contain her that I averted my eyes. When I looked again, she was sleeping.
A slender oar trailed behind the boat. I took it and found that despite the circularity of the hull above the water, there was a keel below. In the center of the river the current ran strongly enough that I needed only to steer our slow progress along a series of gracefully sweeping meanders. Just as the hooded servant and I had passed unseen through suites and alcoves and arcades when he had escorted me along the hidden ways of the Second House, so now the sleeping Jolenta and I passed without noise or effort, almost completely unobserved, through leagues of garden. Couples lay on the soft grass beneath the trees and in the more refined comfort of summerhouses and seemed to think our craft hardly more than a decoration sent idly downstream for their delectation, or if they saw my head above the curved petals assumed us intent upon our own affairs. Lone philosophers meditated on rustic seats, and parties, not invariably erotic, proceeded undisturbed in clerestories and arboriums.
Eventually I came to resent Jolenta's sleep. I abandoned the oar and knelt beside her on the cushions. There was a purity in her sleeping face, however artificial, that I had never observed when she was awake. I kissed her, and her large eyes, hardly open, seemed almost Agia's long eyes, as her red-gold hair appeared almost brown. I loosened her clothing. She seemed half drugged, whether by some soporific in the heaped cushions or merely by the fatigue induced by our walk in the open and the burden of so great a quantity of voluptuous flesh. I freed her breasts, each nearly as large as her own head, and those wide thighs, which seemed to hold a new-hatched chick between them. When we returned, everyone knew where we had been, though I doubt that Baldanders cared. Dorcas wept in private, vanishing for a time only to emerge with inflamed eyes and a heroine's smile. Dr. Talos, I think, was simultaneously enraged and delighted. I received the impression (which I hold to this day) that he had never enjoyed Jolenta, and that it was only to him, of all the men of Urth, that she would have given herself entirely willingly.
We spent the watches that remained before nightfall in listening to Dr. Talos chaffer with various officials of the House Absolute, and in rehearsal. Since I have already said something of what it was to act in Dr. Talos's play, I propose to give an approximation of the text here—not as it existed on the fragments of soiled paper we passed from hand to hand that afternoon, which often contained no more than hints for improvisations, but as it might have been recorded by some diligent clerk in the audience; and as it was, in fact, recorded by the demonic witness who dwells behind my eyes. But first you must visualize our theater. Urth's laboring margin has climbed once more above the red disc; long-winged bats flit overhead, and a green quarter moon hangs low in the eastern sky. Imagine the slightest of valleys, a thousand paces or more from lip to lip, set among the gentlest turf-covered rolling hills. There are doors in these hills, some no wider than the entrance to an ordinary private room, some as wide as the doors of a basilica. These doors are open, and a mist-tinged light spills from them. Flagged paths wind down toward the tiny arch of our proscenium; they are dotted with men and women in the fantastic costumes of a masque—costumes drawn largely from remote ages, so that I, with no more than the smattering of history furnished me by Thecla and Master Palaemon, scarcely recognize one of them. Servants move among these masquers carrying trays loaded with cups and tumblers, heaped with delicious-smelling meats and pastries. Black seats of velvet and ebony, as delicate as crickets, face our stage, but many in the audience prefer to stand, and throughout our performance the spectators come and go without interruption, many remaining to hear no more than a dozen lines. Hylas sing in the trees, the nightingales trill, and atop the hills the walking statues move slowly through many poses. All the parts in the play are taken by Dr. Talos, Baldanders, Dorcas, Jolenta, or me.
CHAPTER TWENTY-FOUR - DR. TALOS'S PLAY, ESCHATOLOGY AND GENESIS
Being a dramatization (as he claimed) of certain parts of the lost Book of the New Sun
Persons in the Play:
Gabriel
The Giant Nod
Meschia, the First Man
Meschiane, the First Woman
Jahi
The Autarch
The Contessa
Her Maid
Two Soldiers
A Statue
A Prophet
The Generalissimo
Two Demons (disguised)
The Inquisitor
His Familiar
Angelic Beings
The New Sun
The Old Sun
The Moon
The back of the stage is dark.
GABRIEL appears bathed in golden light and carrying a crystal clarion.
GABRIEL: Greetings. I have come to set the scene for you—after all, that is my function. It is the night of the last day, and the night before the first. The Old Sun has set. He will appear in the sky no more. Tomorrow the New Sun will rise, and my siblings and I will greet him. Tonight . . . tonight no one knows. Everyone sleeps.
Footsteps, heavy and slow. Enter NOD.