It seemed then that the insects no longer flew, but crawled over one another, each trying to reach the center of the swarm. "They are alive," I said.
But Dorcas whispered, "Look, they are dead."
She was correct. The swarms that had seethed with life a moment before now showed bleached ribs; the dust motes, linking themselves just as scholars piece together shards of ancient glass to recreate for us a colored window shattered thousands of years before, formed skulls that gleamed green in the moonlight. Beast-aelurodons, lumbering spelaeae, and slinking shapes to which I could put no name, all fainter than we who watched from the rooftop—moved among the dead. One by one they rose, and the beasts vanished. Feebly at first, they began to rebuild their town; stones were lifted again, and timbers molded of ashes were laid into sockets in the restored walls. The people, who had seemed hardly more than ambulant corpses when they rose, gathered strength from their work and became a bandy-legged race who walked like sailors and rolled cyclopean stones with the might of their wide shoulders. Then the town was complete, and we waited to see what would happen next.
Drums broke the stillness of the night; by their tone I knew that when they had last beat a forest had stood about the town, for they reverberated as sounds only reverberate among the boles of great trees. A shaman with a shaven head paraded the street, naked and painted with pictographs in a script I had never seen, so expressive that the mere shapes of the words seemed to shout their meanings. Dancers followed him, a hundred or more capering in lockstep, single-file, the hands of each on the head of the dancer before him. Their faces were upturned, making me wonder (as I wonder still) if they did not dance in imitation of the hundred-eyed serpent we called the Cumaean. Slowly they coiled and twined, up and down the street, around the shaman and back again until at last they reached the entrance to the house from which we watched them. With a crash like thunder, the stone slab of the door fell. There was an odor as of myrrh and roses.
A man came forth to greet the dancers. If he had possessed a hundred arms, or had worn his head beneath his hands, I could not have been more astonished, for his was a face I had known since childhood, the face of the funeral bronze in the mausoleum where I played as a boy. There were massive gold bracelets on his arms, bracelets set with jacinths and opals, carnelians and flashing emeralds. With measured strides he advanced until he stood in the center of the procession, with the dancers swaying about him. Then he turned toward us and lifted his arms. He was looking at us, and I knew that he, alone of all the hundreds there, truly saw us.
I had been so entranced by the spectacle below me that I had not noticed when Hildegrin left the roof. Now he darted—if so large a man can be said to dart—into the crowd and laid hold of Apu-Punchau.
What followed I hardly know how to describe. In a way it was like the little drama in the house of yellow wood in the Botanic Gardens; yet it was far stranger, if only because I had known then that the woman and her brother, and the savage, were chant-caught. And now it seemed almost that it was Hildegrin, Dorcas, and I who were wrapped in magic. The dancers, I am sure, could not see Hildegrin; but they were somehow aware of him, and cried out against him, and slashed the air with stone-toothed cudgels.
Apu-Punchau, I felt certain, did see him, just as he had seen us on the rooftop and as Isangoma had seen Agia and me. Yet I do not believe he saw Hildegrin as I saw him, and it may be that what he saw seemed as strange to him as the Cumaean had to me. Hildegrin held him, but he could not subdue him. Apu-Punchau struggled, but he could not break free. Hildegrin looked up to me and shouted for help. I do not know why I responded. Certainly I no longer consciously desired to serve Vodalus and his purposes. Perhaps it was the lingering effect of the alzabo, or only the memory of Hildegrin's rowing Dorcas and me across the Lake of Birds.
I tried to push the bandy-legged men away, but one of their random blows caught the side of my head and knocked me to my knees. When I rose again, I seemed to have lost sight of Apu-Punchau among the leaping, shrieking dancers. Instead there were two Hildegrins, one who grappled with me, one who fought something invisible. Wildly, I threw off the first and tried to come to the aid of the second.
"Severian!"
Rain beating upon my upturned face awakened me—big drops of cold rain that stung like hail. Thunder rolled across the pampas. For a moment I thought I had gone blind; then a flash of lightning showed me wind-lashed grass and tumbled stones.
"Severian!"
It was Dorcas. I started to rise, and my hand touched cloth as well as mud. I seized it and pulled it free—a long, narrow strip of silk tipped with tassels.
"Severian!" There was terror in the cry.
"Here!" I called. "I'm down here!" Another flash showed me the building and Dorcas's frantic figure silhouetted on the roof I circled the blind walls and found the steps. Our mounts were gone. On the roof, so were the witches; Dorcas, alone, bent over the body of Jolenta. By lightning, I saw the dead face of the waitress who had served Dr. Talos, Baldanders, and me in the café in Nessus. It had been washed clean of beauty. In the final reckoning there is only love, only that divinity. That we are capable only of being what we are remains our unforgivable sin.
Here I pause again, having taken you, reader, from town to town—from the little mining village of Saltus to the desolate stone town whose very name had long ago been lost among the whirling years. Saltus was for me the gateway to the world beyond the City Imperishable. So too, the stone town was a gateway, a gateway to the mountains I had glimpsed through its ruined arches. For a long way thereafter, I was to journey among their gorges and fastnesses, their blind eyes and brooding faces. Here I pause. If you wish to walk no farther with me, reader, I do not blame you. It is no easy road.
A NOTE ON THE TRANSLATION
In rendering this book - originally composed in a tongue that has not yet achieved existence - into English, I might easily have saved myself a great deal of labor by having recourse to invented terms; in no case have I done so. Thus in many instances I have been forced to replace yet undiscovered concepts by their closest twentieth-century equivalents. Such words as peltast, androgyn, and exultant are substitutions of this kind, and are intended to be suggestive rather than definitive. Metal is usually, but not always, employed to designate a substance of the sort the word suggests to contemporary minds. When the manuscript makes reference to animal species resulting from biogenetic manipulation or the importation of extrasolar breeding stock, the name of a similar extinct species has been freely substituted. (Indeed, Severian sometimes seems to assume that an extinct species has been restored.) The nature of the riding and draft animals employed is frequently unclear in the original text. I have scrupled to call these creatures horses, since I am certain the word is not strictly correct. The "destriers" of The Book of the New Sun are unquestionably much swifter and more enduring animals than those we know, and the speed of those used for military purposes seems to permit the delivering of cavalry charges against enemies supported by high-energy armament. Latin is once or twice employed to indicate that inscriptions and the like are in a language Severian appears to consider obsolete. What the actual language may have been, I cannot say.
To those who have preceded me in the study of the posthistoric world, and particularly to those collectors-too numerous to name here - who have permitted me to examine artifacts surviving so many centuries of futurity, and most especially to those who have allowed me to visit and photograph the era's few extant buildings, I am truly grateful.