The English Patient

measure.

“Are you listening, Geoffrey?”

“Yes, my darling.”

He said to Gyges: “Gyges, I think that you do not believe me when I tell you of the beauty of my wife, for it happens that men’s ears are less apt of belief than their eyes. Contrive therefore means by which you may look upon her naked.”

There are several things one can say. Knowing that eventually I will become her lover, just as Gyges will be the queen’s lover and murderer of Candaules. I would often open Herodotus for a clue to geography. But Katharine had done that as a window to her life. Her voice was wary as she read. Her eyes only on the page where the story was, as if she were sinking within quicksand while she spoke.

“I believe indeed that she is of all women the fairest and I entreat you not to ask of me that which it is not lawful for me to do.” But the King answered him thus: “Be of good courage, Gyges, and have no fear, either of me, that I am saying these words to try you, or of my wife, lest any harm may happen to you from her. For I will contrive it so from the first that she shall not perceive that she has been seen by you.”

This is a story of how I fell in love with a woman, who read me a specific story from Herodotus. I heard the words she spoke across the fire, never looking up, even when she teased her husband. Perhaps she was just reading it to him. Perhaps there was no ulterior motive in the selection except for themselves. It was simply a story that had jarred her in its familiarity of situation. But a path suddenly revealed itself in real life. Even though she had not conceived it as a first errant step in any way. I am sure.

“I will place you in the room where we sleep, behind the open door; and after I have gone in, my wife will also come to lie, down. Now there is a seat near the entrance of the room and on this she lays her garments as she takes them off one by one; and so you will be able to gaze at her at full leisure.”

But Gyges is witnessed by the queen when he leaves the bedchamber. She understands then what has been done by her husband; and though ashamed, she raises no outcry … she holds her peace.

It is a strange story. Is it not, Caravaggio? The vanity of a man to the point where he wishes to be envied. Or he wishes to be believed, for he thinks he is not believed. This was in no way a portrait of Clifton, but he became a part of this story. There is something very shocking but human in the husband’s act. Something makes us believe it.

The next day the wife calls in Gyges and gives him two choices.

“There are now two ways open to you, and I will give you the choice which of the two you will prefer to take. Either you must slay Candaules and possess both me and the Kingdom of Lydia, or you must yourself here on the spot be slain, so that you mayest not in future, by obeying Candaules in all things, see that which you should not. Either he must die who formed this design, or you who have looked upon me naked.”

So the king is killed. A New Age begins. There are poems written about Gyges in iambic trimeters. He was the first of the barbarians to dedicate objects at Delphi. He reigned as King of Lydia for twenty-eight years, but we still remember him as only a cog in an unusual love story.

She stopped reading and looked up. Out of the quicksand. She was evolving. So power changed hands. Meanwhile, with the help of an anecdote, I fell in love.

Words, Caravaggio. They have a power.

When the Cliftons were not with us they were based in Cairo. Clifton doing other work for the English, God knows what, an uncle in some government office. All this was before the war. But at that time the city had every nation swimming in it, meeting at Groppi’s for the soiree concerts, dancing into the night. They were a popular young couple with honour between them, and I was on the periphery of Cairo society. They lived well. A ceremonial life that I would slip into now and then. Dinners, garden parties. Events I would not normally have been interested in but now went to because she was there. I am a man who fasts until I see what I want.

How do I explain her to you? With the use of my hands? The way I can arc out in the air the shape of a mesa or rock? She had been part of the expedition for almost a year. I saw her, conversed with her. We had each been continually in the presence of the other. Later, when we were aware of mutual desire, these previous moments flooded back into the heart, now suggestive, that nervous grip of an arm on a cliff, looks that had been missed or misinterpreted.

I was at that time seldom in Cairo, there about one month in three. I worked in the Department of Egyptology on my own book, Recentes Explorations dans le Desert Libyque, as the days progressed, coming closer and closer to the text as if the desert were there somewhere on the page, so I could even smell the ink as it emerged from the fountain pen. And simultaneously struggled with her nearby presence, more obsessed if truth be known with her possible mouth, the tautness behind the knee, the white plain of stomach, as I wrote my brief book, seventy pages long, succinct and to the point, complete with maps of travel. I was unable to remove her body from the page. I wished to dedicate the monograph to her, to her voice, to her body that I imagined rose white out of a bed like a long bow, but it was a book I dedicated to a king. Believing such an obsession would be mocked, patronized by her polite and embarrassed shake of the head.

I began to be doubly formal in her company. A characteristic of my nature. As if awkward about a previously revealed nakedness. It is a European habit. It was natural for me—having translated her strangely into my text of the desert—now to step into metal clothing in her presence.

The wild poem is a substitute

For the woman one loves or ought to love,

One wild rhapsody a fake for another.

On Hassanein Bey’s lawn—the grand old man of the 1923 expedition—she walked over with the government aide Roundell and shook my hand, asked him to get her a drink, turned back to me and said, “I want you to ravish me.” Roundell returned. It was as if she had handed me a knife. Within a month I was her lover. In that room over the souk, north of the street of parrots.

I sank to my knees in the mosaic-tiled hall, my face in the curtain of her gown, the salt taste of these fingers in her mouth. We were a strange statue, the two of us, before we began to unlock our hunger. Her fingers scratching against the sand in my thinning hair. Cairo and all her deserts around us.

Was it desire for her youth, for her thin adept boyishness? Her gardens were the gardens I spoke of when I spoke to you of gardens.

There was that small indentation at her throat we called the Bosphorus. I would dive from her shoulder into the Bosphorus. Rest my eye there. I would kneel while she looked down on me quizzical as if I were a planetary stranger. She of the quizzical look. Her cool hand suddenly against my neck on a Cairo bus. Taking a closed taxi and our quick-hand love between the Khedive Ismail Bridge and the Tipperary Club. Or the sun through her fingernails on the third-floor lobby at the museum when her hand covered my face.

As far as we were concerned there was only one person to avoid being seen by.