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 post-card, 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 pot-holes 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.
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
‘If I should write nonsense to you during the times when the
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-collected 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
