II

 

Late that autumn his posting came through.  He was somewhat surprised to find himself accredited to the Mission in Prague, as he had been given to understand that after his lengthy refresher in Arabic he might expect to find himself a lodgement somewhere in the Levant Consular where his special knowledge would prove of use.  Yet despite an initial dismay he accepted his fate with good grace and joined in the elaborate game of musical chairs which the Foreign Office plays with such eloquent impersonality.  The only consolation, a meagre one, was to find that everyone in his first mission knew as little as he did about the language and politics of the country.  His Chancery consisted of two Japanese experts and three specialists in Latin American affairs.  They all twisted their faces in melancholy unison over the vagaries of the Czech language and gazed out from their office windows on snow-lit landscapes: they felt full of a solemn Slav foreboding.  He was in the Service now.

      He had only managed to see Leila half a dozen times in Alexandria - meetings made more troubling and incoherent than thrilling by the enforced secrecy which surrounded them.  He ought to have felt like a young dog - but in fact he felt rather a cad.  He only returned to the Hosnani lands once, for a spell of three days' leave - and here at any rate the old spiteful magic of circumstance and place held him; but so briefly - like a fugitive afterglow from the conflagration of the previous spring.  Leila appeared to be somehow fading, receding on the curvature of a world moving in time, detaching herself from his own memories of her.  The foreground of his new life was becoming crowded with the expensive coloured toys of his professional life - banquets and anniversaries and forms of behaviour new to him.  His concentration was becoming dispersed.

      For Leila, however, it was a different matter; she was already so intent upon the recreation of herself in the new role she had planned that she rehearsed it every day to herself, in her own private mind, and to her astonishment realized that she was waiting with actual impatience fro the parting to become final, for the old links to snap.  As an actor uncertain of a new part might wait in a fever of anxiety for his cue to be spoken.  She longed for what she most dreaded, the word 'Goodbye'.

      But with his first sad letter from Prague, she felt something like a new sense of elation rising in her, for now at last she would be free to possess Mountolive as she wished - greedily in her mind.  The difference in their ages - widening like the chasms in floating pack-ice - were swiftly carrying their bodies out of reach of each other, out of touch.  There was no permanence in any of the records to be made by the flesh with its language of promises and endearments, these were all already compromised by a beauty no longer in its first flower.  But she calculated that her inner powers were strong enough to keep him to herself in the one special sense most dear to maturity, if only she could gain the courage to substitute mind for heart.  Nor was she wrong in realizing that had they been free to indulge passion at will, their relationship could not have survived more than a twelvemonth.  But the distance and the necessity to transfer their commerce to new ground had the effect of refreshing their images in one another.  For him the image of Leila did not dissolve but suffered a new and thrilling mutation as it took shape on paper.  She kept pace with his growth in those long, well-written, ardent letters which betrayed only the hunger which is as poignant as anything the flesh is called upon to cure: the hunger for friendship, the fear of being forgotten.

      From Prague, Oslo, Berne, this correspondence flowed backwards and forwards, the letters swelling or diminishing in size but always remaining constant to the mind directing it - the lively, dedicated mind of Leila.  Mountolive, growing, found these long letters in warm English or concise French an aid to the process, a provocation.  She planted ideas beside him in the soft ground of a professional life which demanded little beyond charm and reserve - just as a gardener will plant sticks for a climbing sweet-pea.  If the one love died, another grew up in its place.  Leila became his only mentor and confidant, his only source of encouragement.  It was to meet these demands of hers that he taught himself to write well in English and French.  Taught himself to appreciate things which normally would have been outside the orbit of his interests - painting and music.  He informed himself in order to inform her.

      'You say you will be in Zagreb next month.  Please visit and describe to me ...' she would write, or 'How lucky you will be in passing through Amsterdam; there is a retrospective Klee which has received tremendous notices in the French press.  Please pay it a visit and describe your impressions honestly to me, even if unfavourable.  I have never seen an original myself.'  This was Leila's parody of love, a flirtation of minds, in which the roles were now reversed; for she was deprived of the riches of Europe and she fed upon his long letters and parcels of books with the double gluttony.  The young man strained every nerve to meet these demands, and suddenly found the hitherto padlocked worlds of paint, architecture, music and writing opening on every side of him.  So she gave him almost a gratuitous education in the world which he would never have been able to compass by himself.  And where the old dependence of his youth slowly foundered, the new one grew.  Mountolive, in the strictest sense of the words, had now found a woman after his own heart.

      The old love was slowly metamorphosed into admiration, just as his physical longing for her (so bitter at first) turned into a consuming and depersonalized tenderness which fed upon her absence instead of dying from it.  In a few years she was able to confess: 'I feel somehow nearer to you today, on paper, than I did before we parted.  Why is this?'  But she knew only too well.  Yet she added at once, for honesty's sake: 'Is this feeling a little unhealthy perhaps?  To outsiders it might even seem a little pathetic or ludicrous - who can say?  And these long long letters, David - are they the bitter-sweet of a Sanserverina's commerce with her nephew Fabrizio?  I often wonder if they were lovers - their intimacy is so hot and close?  Stendhal never actually says so.  I wish I knew Italy.  Has your lover turned aunt in her old age?  Don't answer even if you know the truth.  Yet it is lucky in a way that we are both solitaries, with large blank unfilled areas of heart - like the early maps of Africa? - and need each other still.  I mean, you as an only child with only your mother to think of, and I - of course, I have many cares, but live within a very narrow cage.  Your description of the ballerina and your love-affair was amusing and touching; thank you for telling me.  Have a care, dear friend, and do not wound yourself.'

      It was a measure of the understanding which had grown up between them that he was now able to confide in her without reserve details of the few personal histories which occupied him: the love-affair with Grishkin which almost entangled him in a premature marriage; his unhappy passion for an Ambassador's mistress which exposed him to a duel, and perhaps disgrace.  If she felt any pangs, she concealed them, writing to advise and console him with the warmth of an apparent detachment.  They were frank with each other, and sometimes her own deliberate exchanges all but shocked him, dwelling as they did upon the self-examinations which people transfer to paper only when there is no-one to whom they can talk.  As when she could write: 'It was a shock, I mean, to suddenly see Nessim's naked body floating in the mirror, the slender white back so like yours and the loins.  I sat down and, to my own surprise, burst into tears, because I wondered suddenly whether my attachment for you wasn't lodged here somehow among the feeble incestuous desires of the inner heart, I know so little about the penetralia of sex which they are exploring so laboriously, the doctors.  Their findings fill me with misgivings.  Then I also wondered whether there wasn't a touch of the vampire about me, clinging so close to you for so long, always dragging at your sleeve when by now you must have outgrown me quite.  What do you think?  Write and reassure me, David, even while you kiss little Grishkin, will you?  Look, I am sending you a recent photo so you can judge how much I have aged.  Show it to her, and tell her that I fear nothing so much as her unfounded jealousy.  But one glance will set her heart at rest.  I must not forget to thank you for the telegram on my birthday - it gave me a sudden image of you sitting on the balcony talking to Nessim.  He is now so rich and independent that he hardly ever bothers to visit the land.  He is too occupied with great affairs in the city.  Yet ... he feels the depth of my absence as I would wish you to; more strongly than if we were living in each other's laps.  We write often and at length; our minds understudy each other, yet we leave our hearts free to love, to grow.  Through him I hope that one day we Copts will regain our place in Egypt - but no more of this now....'  Clear-headed, self-possessed and spirited the words ran on in that tall fluent hand upon different-coloured stationary, letters that he would open eagerly in some remote Legation garden, reading them with an answer half-formulated in his mind which must be written and sealed up in time to catch the outgoing bag.  He had come to depend on this friendship which still dictated, as a form, the words 'My dearest love' at the head of letters concerned solely with, say, art, or love (his love) or life (his life).

      And for his part, he was scrupulously honest with her - as for instance in writing about his ballerina: 'It is true that I even considered at one time marrying her.  I was certainly very much in love.  But she cured me in time.  You see, her language, which I did not know, effectively hid her commonness from me.  Fortunately she once or twice risked a public familiarity which froze me; once when the whole ballet was invited to a reception I got myself seated next to her believing that she would behave with discretion since none of my colleagues knew of our liaison.  Imagine their amusement and my horror when all of a sudden, while we were seated at supper, she passed her hand up the back of my head to ruffle my hair in a gesture of coarse endearment!  It served me right.  But I realized the truth in time, and even her wretched pregnancy when it came seemed altogether too transparent a ruse.  I was cured.'

      When at last they parted Grishkin taunted him, saying: 'You are only a diplomat.  You have no politics and no religion!'  But it was to Leila that he turned for an elucidation of this telling charge.  And it was Leila who discussed it with him with the blithe disciplined tenderness of an old lover.

      So in her skilful fashion she held him year by year until his youthful awkwardness gave place to a maturity which matched her own.  Thought it was only a dialect of love they spoke, it sufficed her and absorbed him; yet it remained for him impossible to classify or analyse.

      And punctually now as the calendar years succeeded each other, as his posts changed, so the image of Leila was shot through with the colours and experiences of the countries which passed like fictions before his eyes: cherry-starred Japan, hook-nosed Lima.  Butt never Egypt, despite all his entreaties for postings which he knew were falling or had fallen vacant.  It seemed that the Foreign Office would never forgive him for having learned Arabic, and even deliberately selected posts from which leave taken in Egypt was difficult or impossible.  Yet the link held.  Twice he met Nessim in Paris, but that was all.  They were delighted with each other, and with their own worldliness.

      In time his annoyance gave place to resignation.  His profession, which valued only judgement, coolness and reserve, taught him the hardest lesson of all and the most crippling - never to utter the pejorative thought aloud.  It offered him, too, something like a long Jesuitical training in self-deception which enabled him to present an even more highly polished surface to the world without deepening his human experience.  If his personality did not become completely diluted it was due to Leila; for he lived surrounded by his ambitious and sycophantic fellows who taught him only how to excel in forms of address, and the elaborate kindnesses which, in pleasing, pave the way to advancement.  His real life became a buried stream, flowing on underground, seldom emerging into that artificial world in which the diplomat lives - slowly suffocating like a cat in an air-pump.  Was he happy or unhappy?  He hardly knew any longer.  He was alone, that was all.  And several times, encouraged by Leila, he thought to solace his solitary concentration (which was turning to selfishness) by marrying.  But somehow, surrounded as he was by eligible young women, he found that his only attraction lay among those who were already married, or who were much older than himself.  Foreigners were beyond consideration, for even at that time mixed marriages were regarded as a serious bar to advancement in the service.  In diplomacy, as in everything else, there is a right and a wrong kind of marriage.  But at the time slipped by he found himself climbing the slow gyres - by expediency, compromise, and hard work - towards the narrow anteroom of diplomatic power: the rank of councillor or minister.  Then one day the whole bright marriage which lay buried and forgotten reawoke, re-emerged, substantial and shining from the past; in the fullness of his powers he woke one day to learn that the coveted 'K' was his, and something else even more desirable - the long-denied Embassy to Egypt....

      But Leila would not have been a woman had she not been capable of one moment of weakness which all but prejudiced the whole unique pattern of their relationship.  It came with her husband's death.  But it was swiftly followed by a romantic punishment which drove her further back into the solitude which, for one wild moment, she dreamed of abandoning.  It was perhaps as well, for everything might have been lost by it.

      There was a silence after her telegram announcing Faltaus' death; and then a letter unlike anything she had written before, so full of hesitations and ambiguities was it.  'My indecision has become to my surprise such an agony.  I am really quite distraught.  I want you to think most carefully about the proposal I am about to make.  Analyse it, and if the least trace of disgust arises in your mind, the least reservation, we will banish it and never speak of it again.  David!  Today as I looked in my mirror, as critically and cruelly as I could, I found myself entertaining a thought which for years now I have rigorously excluded.  The thought of seeing you again.  Only I could not for the life of me see the terms and conditions of such a meeting.  My vision of it was covered by a black cloud of doubt.  Now that Faltaus is dead and buried, the whole of that part of my life has snapped off short.  I have no other except the one I shared with you - a paper life.  Crudely, we have been like people drifting steadily apart in age as each year passed.  Subconsciously I must have been waiting for Faltaus' death, though I never wished it, for how else should this hope, this delusion suddenly rise up in me now?  It suddenly occurred to me last night that we might still have six months or a year left to spend together before the link snaps for good in the old sense.  Is this rubbish?  Yes!  Would I in fact only encumber you, embarrass you by arriving in Paris as I plan to do in two months' time?  For goodness' sake write back at once and dissuade me from my false hopes, from such folly - for I recognize deep within myself that it is a folly.  But ... to enjoy you for a few months before I return here to take up this life: how hard it is to abandon the hope.  Scotch it, please, at once; so that when I do come I will be at peace, simply regarding you (as I have all these years) as something more than my closest friend.'

      She knew it was unfair to put him in such a position; but she could not help herself.  Was it fortunate then that fate prevented him from having to make such an elaborate decision - for her letter arrived on his desk in the same post as Nessim's long telegram announcing the onset of her illness?  And while he was still hesitating between a choice of answers there came her postcard, written in a new sprawling hand, which absolved him finally by the words: 'Do not write again until I can read you; I am bandaged from head to foot.  Something very bad, very definitive has happened.'

      During the whole of that hot summer the confluent smallpox - invented perhaps as the cruellest remedy for human vanity - dragged on, melting down what remained of her once celebrated beauty.  It was useless to pretend even to herself that her whole life would not be altered by it.  But how?  Mountolive waited in an agony of indecision until their correspondence could be renewed, writing now to Nessim, now to Narouz.  A void had suddenly opened at his feet.

      Then: 'It is an odd experience to look upon one's own features full of potholes and landslides - like a familiar landscape blown up.  I fear that I must get used to the new sensation of being a hag.  But by my own force.  Of course, all this may strengthen other sides of my character - as acids can - I've lost the metaphor!  Ach! what sophistry it is, for there is no way out.  And how bitterly ashamed I am of the proposals contained in my last long letter.  This is not the face to parade through Europe, nor would one dare to shame you by letting it claim your acquaintance at close range.  Today I ordered a dozen black veils such as the poor people of my religion still wear!  But it seemed so painful an act that I ordered my jeweller to come and measure me afresh for some new bracelets and rings.  I have become so thin of late.  A reward for bravery too, as children are bribed with a sweet for facing a nasty medicine.  Poor little Hakim.  He wept bitterly as he showed me his wares.  I felt his tears on my fingers.  Yet somehow, I was able to laugh.  My voice too has changed.  I have been so sick of lying in darkened rooms.  The veils will free me.  Yes, and of course I have been debating suicide - who does not at such times?  No, but if I live on it won't be to pity myself.  Or perhaps woman's vanity is not, as we think, a mortal matter - a killing business?  I must be confident and strong.  Please don't turn solemn and pity me.  When you write, let your letters be gay as always, will you?'

      But thereafter came a silence before their correspondence was fully resumed, and her letters now had a new quality - of bitter resignation.  She had retired, she wrote, to the land once more, where she lived alone with Narouz.  'His gentle savagery makes him an ideal companion.  Besides, at times I am troubled in mind now, not quite compos mentis, and then I retire for days at a time to the little summerhouse, remember?  At the end of the garden.  There I read and write with only my snake - the genius of the house these days is a great dusty cobra, tame as a cat.  It is company enough.  Besides, I have other cares now, other plans.  Desert without and desert within!

 

                                                     'The veil's a fine and private place:

                                                      But none, I think, do there embrace.

 

      'If I should write nonsense to you during the times when the afreet has bewitched my mind (as the servants say) don't answer.  These attacks only last a day or two at most.'

      And so the new epoch began.  For years she sat, an eccentric and veiled recluse in Karm Abu Girg, writing those long marvellous letters, her mind still ranging freely about the lost worlds of Europe in which he still found himself a traveller.  But there were fewer imperatives of the old eager kind.  She seldom looked outward now towards new experiences, but mostly backwards into the past as one whose memory of small things needed to be refreshed.  Could one hear the cicadas on the Tour Magne?  Was the Seine corn-green at Bougival?  At the Pallio of Siena were the costumes of silk?  The cherry-trees of Navarra.... She wanted to verify the past, to look back over her shoulder, and patiently Mountolive undertook these reassurances on every journey.  Rembrandt's little monkey - had she seen or only imagined it in his canvases?  No, it existed, he told her sadly.  Very occasionally a request touching the new came up.  'My interest has been aroused by some singular poems in Values (Sept) signed Ludwig Pursewarden.  Something new and harsh here.  As you are going to London next week, please enquire about him for me.  Is he German?  Is he the novelist who wrote those two strange novels about Africa?  The name is the same.'

      It was this request which led directly to Mountolive's first meeting with the poet who later was to play a part of some importance in his life.  Despite the almost French devotion he felt (copied from Leila) for artists, he found Pursewarden's name an awkward, almost comical one to write upon the postcard which he addressed to him care of his publishers.  For a month he heard nothing; but as he was in London on a three-months' course of instruction he could afford to be patient.  When his answer came it was surprisingly enough written upon the familiar Foreign Office notepaper; his post, it appeared, was that of a junior in the Cultural Department!  He telephoned him at once and was agreeably surprised by the pleasant, collected voice.  He had half-expected someone aggressively underbred, and was relieved to hear a civilized note of self-controlled humour in Pursewarden's voice.  They agreed to meet for a drink at the 'Compasses' near Westminster Bridge that evening, and Mountolive looked forward to the meeting as much for Leila's sake as his own, for he intended to write her an account of it, carefully describing her artist for her.

      It was snowing with light persistence, the snow melting as it touched the pavements, but lingering longer on coat-collars and hats.  (A snowflake on the eyelash suddenly bursts the world asunder into the gleaming component colours of the prism.)  Mountolive bent his head and came round the corner just in time to see a youthful-looking couple turn into the bar of the 'Compasses'.  The girl, who turned to address a remark to her companion over her shoulder as the door opened, wore a brilliant tartan shawl with a great white brooch.  The warm lamplight splashed upon her broad pale face with its helmet of dark curling hair.  She was strikingly beautiful with a beauty whose somehow shocking placidity took Mountolive a full second to analyse.  Then he saw that she was blind, her face slightly upcast to her companion's in the manner of those whose expressions never fully attain their target - the eyes of another.  She stayed thus a full second before her companion said something laughingly and pressed her onwards into the bar.  Mountolive entered on their heels and found himself at once grasping the warm steady hand of Pursewarden.  The blind girl, it seemed, was his sister.  A few moments of awkwardness ensued while they disposed themselves by the blazing coke fire in the corner and ordered drinks.

      Pursewarden, though in no way a striking person, seemed agreeably normal.  He was of medium height and somewhat pale in colouring with a trimmed moustache which made a barely noticeable circumflex above a well-cut mouth.  He was, however, so completely unlike his sister in colouring that Mountolive concluded that the magnificent dark hair of the sightless girl must perhaps be dyed, though it seemed natural enough, and her slender eyebrows were also dark.  Only the eyes might have given one a clue to the secret of this Mediterranean pigmentation, and they, of course, were spectacularly missing.  It was the head of a Medusa, its blindness was that of a Greek statue - a blindness perhaps brought about by intense concentration through centuries upon sunlight and blue water?  Her expression, however, was not magistral but tender and appealing.  Long silken fingers, curled and softened at the butts like the fingers of a concert pianist, moved softly upon the oaken table between them, as if touching, confirming, certifying - hesitating to ascribe qualities to his voice.  At times her own lips moved softly as if she were privately repeating the words they spoke to herself in order to recapture their resonance and meaning; then she was like someone following music with a private score.

      'Liza, my darling?' said the poet.

      'Brandy and soda.'  She replied with her placid blankness in a voice at once clear and melodious - a voice which might have given some such overtone to the words 'Honey and nectar'.  They seated themselves somewhat awkwardly while the drinks were dispensed.  Brother and sister sat side by side, which gave them a somewhat defensive air.  The blind girl put one hand in the brother's pocket.  So began, in rather a halting fashion, the conversation which lasted them far into the evening and which he afterwards transcribed so accurately to Leila, thanks to his formidable memory.

      'He was somewhat shy at first and took refuge in a pleasant diffidence.  I found to my surprise that he was earmarked for a Cairo posting next year and told him a little about my friends there, offering to give him a few letters of introduction, notably to Nessim.  He may have been a little intimidated by my rank but this soon wore off; he hasn't much of a head for drinks and after the second began to talk in a most amusing and cutting fashion.  A rather different person now emerged - odd and equivocal as one might expect an artist to be - but with pronounced views on a number of subjects, some of them not at all to my taste.  But they had an oddly personal ring.  One felt they were deduced from experience and not worked out simply to épater.  He is, for example, rather an old-fashioned reactionary in his outlook, and is consequently rather mal vu by his brother craftsmen who suspect him of Fascist sympathies; the prevailing distemper of left-wing thought, indeed all radicalism is repugnant to him.  But his views were expressed humorously and without fear.  I could not, for example, rouse him on the Spanish issue.  ("All those little beige people trooping off to die for the Left Book Club!")

      Mountolive had indeed been rather shocked by opinions as clear-cut as they were trenchant, for he at the time shared the prevailing egalitarian sympathies of the day - albeit in the anodyne liberalized form then current in The Office.  Pursewarden's royal contempts made him rather a formidable person.  'I confess,' Mountolive wrote, 'that I did not feel I had exactly placed him in any one category.  But he expressed views rather than attitudes, and I must say he said a number of striking things which I memorized for you, as: "The artist's work constitutes the only satisfactory relationship he can have with his fellow-men since he seeks his real friends among the dead and the unborn.  That is why he can't dabble in politics, it isn't his job.  He must concentrate on values rather than policies.  Today it all looks to me like a silly shadow-play, for ruling is an art, not a science, just as a society is an organism, not a system.  Its smallest unit is the family and really royalism is the right structure for it - for a Royal Family is a mirror image of the human, a legitimate idolatry.  I mean, for us, the British, with our essentially quixotic temperament and mental sloth.  I don't know about the others.  As for capitalism, its errors and injustices are all remediable, by fair taxation.  We should be hunting not for an imaginary equality among men, but simply for a decent equity.  But then Kings should be manufacturing a philosophy of sorts, as they did in China; and absolute Monarchy is hopeless for us today because the philosophy of kingship is at a low ebb.  The same goes for dictatorship.

      '"As for Communism, I can see that is hopeless too; the analysis of man in terms of economic behaviourism takes all the fun out of living, and to divest him of a personal psyche is madness."  And so on.  He has visited Russia for a month with a cultural delegation and did not like what he felt there; other boutades like "Sad Jews on whose faces one could see all the melancholia of a secret arithmetic; I asked an old man in Kiev if Russia was a happy place.  He drew his breath sharply and after looking around him furtively said: 'We say that once Lucifer had good intentions, a change of heart.  He decided to perform a good act for a change - just one.  So hell was born on earth, and they named it Soviet Russia.'"

      'In all this, his sister played no part but sat in eloquent silence with her fingers softly touching the table, curling like tendrils of vine, smiling at his aphorisms as if at private wickednesses.  Only once, when he had gone out for a second, she turned to me and said: "He shouldn't concern himself with these matters really.  His one job is to learn how to submit to despair."  I was very much struck by this oracular phrase which fell so naturally from her lips and did not know what to reply.  When he returned he resumed his place and the conversation at one and the same time as if he had been thinking it over by himself.  He said: "No, they are a biological necessity, Kings.  Perhaps they mirror the very constitution of the psyche?  We have compromised so admirably with the question of their divinity that I should hate to see them replaced by a dictator or a Workers' Council and a firing squad."  I had to protest at this preposterous view, but he was quite serious.  "I assure you that this is the way the left-wing tends; its object is civil war, though it does not realize it - thanks to the cunning with which the sapless puritans like Shaw and company have presented their case.  Marxism is the revenge of the Irish and the Jews!"  I had to laugh at this, and so - to do him justice - did he.  "But at least it will explain why I am mal vu," he said, "and why I am always glad to get out of England to countries where I feel no moral responsibility and no desire to work out such depressing formulations.  After all, what the hell!  I am a writer!"

      'By this time he had had several drinks and was quite at his ease. "Let us leave this barren field!  Oh, how much I want to get away to the cities which were created by their women; a Paris or Rome built in response to the female lusts.  I never see old Nelson's soot-covered form in Trafalgar Square without thinking: poor Emma had to go all the way to Naples to assert the right to be pretty, feather-witted and d'une splendeur in bed.  What am I, Pursewarden, doing here among people who live in a frenzy of propriety?  Let me wander where people have come to terms with their own human obscenity, safe in the poet's cloak of invisibility.  I want to learn to respect nothing while despising nothing - crooked is the path of the initiate!"

      '"My dear, you are tipsy!" cried Liza with delight.

      '"Tipsy and sad.  Sad and tipsy.  But joyful, joyful!"

      'I must say this new and amusing vein in his character seemed to bring me much nearer to the man himself.  "Why the stylized emotions?  Why the fear and trembling?  All those gloomy lavatories with mackintoshed policewomen waiting to see if one pees straight or not?  Think of all the passionate adjustment of dress that goes on in the kingdom! the keeping off the grass: is it any wonder that I absentmindedly take the entrance marked Aliens Only whenever I return?'

      '"You are tipsy," cried Liza again.

      '"No.  I am happy."  He said it seriously.  "And happiness can't be induced.  You must wait and ambush it like a quail or a girl with tired wings.  Between art and contrivance there is a gulf fixed!"

      'On he went in this new and headlong strain; and I must confess that I was much taken by the effortless play of a mind which was no longer conscious of itself.  Of course, here and there I stumbled against a coarseness of expression which was boorish, and looked anxiously at his sister, but she only smiled her blind smile, indulgent and uncritical.

      'It was late then we walked back together towards Trafalgar Square in the falling snow.  There were few people about and the snowflakes deadened our footsteps.  In the Square itself your poet stopped to apostrophize Nelson Stylites in true calf-killing fashion.  I have forgotten exactly what he said, but it was sufficiently funny to make me laugh very heartily.  And then he suddenly changed his mood and turning to his sister said: "Do you know what has been upsetting me all day, Liza?  Today is Blake's birthday.  Think of it, the birthday of codger Blake.  I felt I ought to see some signs of it on the national countenance, I looked about me eagerly all day.  But there was nothing.  Darling Liza, let us celebrate the old b ...'s birthday, shall we?  You and I and David Mountolive here - as if we were French or Italian, as if it meant something."  The snow was falling fast, the last sodden leaves lying in mounds, the pigeons uttering their guttural clotted noises.  "Shall we, Liza?"  A spot of bright pink had appeared in each of her cheeks.  Her lips were parted.  Snowflakes like dissolving jewels in her dark hair.  "How?" she said.  "Just how?"

      '"We will dance for Blake," said Pursewarden, with a comical look of seriousness on his face, and taking her in his arms he started to waltz, humming the Blue Danube.  Over his shoulder, through the falling snowflakes, he said: "This is for Will and Kate Blake."  I don't know why I felt astonished and rather touched.  They moved in perfect measure gradually increasing in speed until they were skimming across the square under the bronze lions, hardly heavier than the whiffs of spray from the fountains.  Like pebbles skimming across a smooth lake or stones across an icebound pond.... It was a strange spectacle.  I forgot my cold hands and the snow melting on my collar as I watched them.  So they went, completing a long gradual ellipse across the open space, scattering the leaves and the pigeons, their breath steaming on the night-air.  And then, gently, effortlessly spinning out the arc to bring them back to me - to where I stood now with a highly doubtful-looking policeman at my side.  It was rather amusing.  "What's goin' on 'ere?" said the bobby, staring at them with a distrustful admiration.  Their waltzing was so perfect that I think even he was stirred by it.  On they went and on, magnificently in accord, the dark girl's hair flying behind her, her sightless face turned up towards the old admiral on his sooty perch.  "They are celebrating Blake's birthday," I explained in rather a shamefaced fashion, and the officer looked a shade more relieved as he followed them with an admiring eye.  He coughed and said: "Well, he can't be drunk to dance like that, can he?  The things people get up to on their birthdays!"

      'At long last they were back, laughing and panting and kissing one another.  Pursewarden's good humour seemed to be quite restored now, and he bade me the warmest of goodnights as I put them both in a taxi and sent them on their way.  There!  My dear Leila, I don't know what you will make of all this.  I learned nothing of his private circumstances or background, but I shall be able to look him up; and you will be able to meet him when he comes to Egypt.  I am sending you a small printed collection of his newest verses which he gave me.  They have not appeared anywhere as yet.'

      In the warm central heating of the club's bedroom, he turned the pages of the little book, more with a sense of duty than one of pleasure.  It was not only modern poetry which bored him, but all poetry.  He could never get the wavelength, so to speak, however hard he tried.  He was forced to reduce the words to paraphrase in his own mind, so that they stopped their dance.  This inadequacy in himself (Leila had taught him to regard it as such) irritated him.  Yet as he turned the pages of the little book he was suddenly interested by a poem which impinged upon his memory, filling him with a sudden chill of misgiving.  It was inscribed to the poet's sister and was unmistakingly a love-poem to 'a blind girl whose hair is painted black'.  At once he saw the white serene face of Liza Pursewarden rising up from the text.

 

                                                     Greek states with their bullet holes for eyes

                                                     Blinded as Eros by surprise,

                                                     The secrets of the foundling heart disguise,

                                                     Lover and loved....

 

      It had a kind of savage deliberate awkwardness of surface; but it was the sort of poem a modern Catullus might have written.  It made Mountolive extremely thoughtful.  Swallowing, he read it again.  It had the simple beauty of shamelessness.  He stared gravely at the wall for a long time before slipping the book into an envelope and addressing it to Leila.

      There were no further meetings during that month, though once or twice Mountolive tried to telephone Pursewarden at his office.  But each time he was either on leave or on some obscure mission in the north of England.  Nevertheless he traced the sister and took her out to dinner on several occasions, finding her a delightful and somehow moving companion.

      Leila wrote in due course to thank him for his information, adding characteristically: 'The poems were splendid.  But of course I would not wish to meet an artist I admired.  The work has no connection with the man, I think.  But I am glad he is coming to Egypt.  Perhaps Nessim can help him - perhaps he can help Nessim?  We shall see.'

      Mountolive did not know what the penultimate phase meant.

      The following summer, however, his leave coincided with a visit to Paris by Nessim, and the two friends met to enjoy the galleries and plan a painting holiday in Brittany.  They had both recently started to try their hands at painting and were full of the fervour of amateurs in a new medium.  It was here in Paris that they ran into Pursewarden.  It was a happy accident, and Mountolive was delighted at the chance of making his path smooth for him by this lucky introduction.  Pursewarden himself was quite transfigured and in the happiest of moods, and Nessim seemed to like him immensely.  When the time came to say goodbye, Mountolive had the genuine conviction that a friendship had been established and cemented over all this good food and blithe living.  He saw them off at the station and that very evening reported to Leila on the notepaper of his favourite café: 'It was a real regret to put them on the train and to think that this week I shall be back in Russia!  My heart sinks at the thought.  But I have grown to like P. very much, to understand him better.  I am inclined to put down his robust scolding manners not to boorishness as I did, but to a profoundly hidden shyness, almost a feeling of guilt.  His conversation this time was quite captivating.  You must ask Nessim.  I believe he liked him even more than I did.  And so ... what?  An empty space, a long frozen journey.  Ah! my dear Leila, how much I miss you - what you stand for.  When will we meet again, I wonder?  If I have enough money on my next leave I may fly down to visit you....'

      He was unaware that quite soon he would once more find his way back to Egypt - the beloved country to which distance and exile lent a haunting brilliance as of tapestry.  Could anything as rich as memory be a cheat?  He never asked himself the question.

 

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